Amateur Photographer 15th March / Premium March 2022

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PREMIUM EDITION Passionate about photography since 1884 MARCH 2022

Passionate about photography since 1884

B&W

INSIDE 32-page pull-out guide

Black & white special: bumper issue packed with mono tips and inspiration

l SEEING IN B&W The

art of pre-visualisation l SET UP FOR MONO The best settings to use l B&W CONVERSIONS using Adobe and DxO

TESTED

The new OM-1 OM System’s tribute to an old classic

People in mono

Three very different styles for portraits with impact

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Sublime portraits of animals photographed at the zoo

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Streets and architecture are a perfect match for mono

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B&W cityscapes

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7days COVER PICTURE © TONY SELLEN

Black & white photography should not logically exist in a world that is so colourful, and where reproducing those colours accurately is easier than it has ever been. But not only does it exist it remains hugely popular, and with good reason. Done well, b&w has a purity and a graphic power that colour can only envy. These days any colour photo can be turned into a monochrome

This week’s cover image

one in seconds, but the best b&w photography is not done after the fact, but visualised that way from the outset. This week we share the expertise of a wide variety of skilled b&w shooters working in a variety of genres. Once you have absorbed the advice and inspiration contained within these pages you’ll be ready to enter the B&W round of our Amateur Photographer of the Year competition, where you could win £500 to spend at MPB. Details are on page 64. Nigel Atherton, Editor

If you’d like to see your words or pictures published in Amateur Photographer, here’s how:

SOMETHING TO SAY? Write to us at ap.ed@kelsey.co.uk with your letters, opinion columns (max 500 words) or article suggestions.

PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to ap.ed@kelsey.co.uk.

JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.

Our cover image this week is by Tony Sellen. Read his advice on shooting urban b&w on page 50

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This week in 1939

In this issue

TREASURES FROM THE HULTON ARCHIVE

3 7 days 14 Seeing in B&W 22 Inbox 24 Making strides 28 The heritage business 32 Behind the print 36 An inside job 40 Black & white portrait skills 46 Silver still-life 46 Sentient creatures 50 The shape of the city

58 B&W tools you can trust 64 APOY launch: R2 68 Reader portfolio 72 OM System OM-1 79 Google Pixel 6 82 Accessories 84 Tech talk 87 Buying Guide: Cameras 98 Final analysis

3 Contents Getty Mar15 NA JP.indd 3

© GETTY IMAGES

54 Infrared: the right way

Model Soldiers by Gerti Deutsch Two members of the Society of Collectors of Model Soldiers inspect each other’s handiwork at one of the society’s meetings at their HQ, the Mason’s Arms public house in Maddox Street, London. This image featured in a story in Picture Post entitled ‘Hearth Rug Rearmament’. The photographer, Gerti

Deutsch, also known as Gertrude Hopkinson (she married Picture Post editor Tom Hopkinson) was an Austrian-born British photographer. She produced a huge catalogue of photographic features over 30 years, becoming the first female photographer (and staffer) on Picture Post.

The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.

08/03/2022 17:50

Our favourite photos posted by readers on our social media channels this week

AP picture of the week Mother and Child

by Kevin Mcguinness Sony A7II, 28-70mm, 1/80sec at f/10, ISO 320 ‘I started photography as a hobby and it soon became a passion,’ says Kevin. ‘No matter the weather, I’ll be outside shooting somewhere. On this day, I was out testing my new Sony A7 II, which I had just bought to try out and explore the world of mirrorless after using DSLR for so many years. I took this image close to where I live and I’ve walked this track many times, but on this day the mist was just right.The trees were bare, as it was mid January, and from this perspective and the way the trees were interacting, it looked like an adult and a child standing in the park. I shot handheld, then processed the image in Lightroom and DxO FilmPack 5 for the black & white conversion.’

Instagram @kmc_foto

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Shore

by Eduardo Vicente Caballero Nikon D5600, Sigma 17-50mm at 44mm, 1/400sec at f/8, ISO 100 Eduardo tells us, ‘I took this image when the sun was setting, but still allowed enough light to create shadows and a great range of grey tones. I recently started out in photography and am continuously learning.’

Visit www.flickr.com/photos/193830262@N07

www.amateurphotographer.co.uk

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We also liked...

Art of Fruit

by Amitha AR Canon EOS 1200D, 18-55mm, 1/100sec at f/4.5, ISO 3200 India-based self-taught photographer Amitha says, ‘Most of my pictures are inspired by dark, raw food and their natural textures.

Every image is a new lesson for me. This image is of the red banana. I took this at the start of the day in my home studio, the light made the banana look eye-catching.’ Instagram @official_amithaar

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Manali to Kaza by Anju Mishra Nikon D750, 24mm, 30sec at f/13, ISO 71, 10-stop ND filter ‘This image was made during a trip from Manali to Kaza in the Spiti Valley.

The green hut under the blue sky created a beautiful drama which appealed to me.’ Visit cargocollective.com/ Anjumishra and @indiakalakaar on Instagram.

Enjoy the Silence and the Free

by Steffen John Fujifilm X-T2, 100-400mm with 1.4x teleconverter, 1/950sec at f/8, ISO 800 ‘I took this photograph on the island of Amrum in the North Sea. On the northern end of the island is a headland called Odde, where you can watch these seals. It is a safe rest place and you can view the seals from a safe distance. I’m a big fan of these animals,’ says Steffen.

View more of Steffen’s work on Instagram @beginner17

Want to see your pictures here? Share them with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Or email your best shot to us at ap.ed@kelsey.co.uk.

See page 3 for how to find us. www.amateurphotographer.co.uk

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08/03/2022 12:03

Cosina reveals prime lens quartet The Honor Magic4 Pro in cyan

Honor unveils Magic4 Pro phone HONOR has unveiled its flagship Magic4 Pro smartphone with a 100x ‘digital zoom’ within its extensive camera specifications. The Honor Magic4 Pro’s camera set-up consists of a 50MP wide camera, a 50MP ultra-wideangle camera with an aperture of f/2.2, a 64MP telephoto camera with 3.5x optical and 100x digital zooms, plus a 12MP selfie camera at the front of the phone.

The Honor Magic4 Pro will be £899 in the UK on release. There’s also an Honor Magic4 handset on the way, but exact pricing for the regular Magic4 and UK release dates for both handsets have yet to be confirmed.

COSINA has unveiled four Voigtländer manual-focus prime lenses. Along with an APS-C format 23mm in Nikon Z and Fujifilm X mounts, there’s a 35mm and a 50mm for Nikon full-frame Z-series cameras.

The Voigtländer APO-Lanthar 35mm F2 Aspherical lens for full-frame Nikon Z cameras has an apochromatic design, features 11 elements in nine groups and includes a 12-bladed aperture diaphragm. Minimum focus distance is 0.35m, resulting in a maximum magnification ratio of 1:6.77.

The Voigtländer APO-Lanthar 50mm F2 Aspherical lens is also an apochromatic design. It promises to eliminate aberrations and deliver clean, high-resolution images, even when shooting wide open at f/2.

The Voigtländer Nokton D 23mm F1.2 Aspherical lens is for Nikon Z-series APS-C cameras. The 23mm lens delivers a roughly 35mm-equivalent focal length when shooting with the APS-C format.

Voigtländer’s second-ever X-mount lens, after 2021’s Nokton 35mm F1.2, is the Nokton 23mm F1.2 Aspherical for Fujifilm X. It’s optically the same as the Nikon 23mm DX version but has a different cosmetic design.

Cosina has also launched the Voigtländer VM-E Close Focus Adapter II, which allows users to mount Voigtländer VM and Zeiss ZM lenses to full-frame Sony E-mount cameras.

Official UK pricing is yet to be announced, but as a guide, the 35mm and 50mm each cost £899 in their Sony E-mount incarnations.

The four Voigtländer lenses and close-focus adapter The QR11-L 2.0 on a Fujifilm X-T4 camera

3 Legged Thing revamps its QR-11 L-brackets THREE Legged Thing (3LT) has revamped its QR11 Universal L-brackets, with design updates and improved features, to produce its QR11 2.0 brackets. The new-style brackets have been made in response to customer feedback, mainly because of the large number of cameras launched since the original QR11 in 2017. They are available as QR11-L 2.0 for standard mirrorless and DSLR cameras or QR11-FB 2.0 for ‘full-body’ and cameras with grips. The brackets have a refined shape and reduced weight. Available in either 3LT’s signature Copper or Metallic Slate Grey, the QR11-L 2.0 has an SRP of £49.99 and the QR11-FB 2.0’s SRP is £59.99.

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TPG to exhibit Deutsche Börse finalists THE PHOTOGRAPHER’S Gallery (TPG) in London will exhibit the work of the four finalists in the 2022 edition of the Deutsche Börse Photography Foundation Prize, from 25 March to 12 June.

The nominated projects from the 2022 shortlisted artists – Anastasia Samoylova, Jo Ractliffe, Deana Lawson and Gilles Peress – will be in an exhibition over two floors of TPG. The overall winner of the £30,000 prize will be announced at an evening award ceremony on 12 May, with the other finalists each receiving £5,000.

The nominated projects include installations of Jo Ractliffe’s Photographs 1980s to now (on post-Apartheid South Africa) and Gilles Peress’ Whatever You Say, Say Nothing (shot on the streets of Northern Ireland).

In Centropy, Deana Lawson explores her representation of Black experience. Anastasia Samoylova’s FloodZone is an investigation

into climate peril in Florida that reveals the stark dissonance between idealised imagery and the reality of rising tides.

After being at TPG, the exhibition will then tour to Deutsche Börse’s headquarters in Eschborn/Frankfurt as of 30 June 2022.

Flooded Garage, 2017, from the series FloodZone © Anastasia Samoylova www.amateurphotographer.co.uk

08/03/2022 17:22

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Books & exhibitions The latest and best books and exhibitions from the world of photography

Street Scene, Hulme, Manchester. A group of children standing by a sign in front of a ‘cleared’ row of houses, the shells of houses due for demolition behind, 1965.

Shirley Baker Photography © Nan Levy for the Estate of Shirley Baker

Iconic British photos in Barbican showcase ICONIC British photographs feature in the new exhibition, Postwar Modern: New Art in Britain 19451965, at the Barbican Art Gallery in London, till 26 June 2022.

The main photographers showcased in the exhibition are Shirley Baker (19322014), Bill Brandt (1904-1983), Bert Hardy (1913-1995), Nigel Henderson (1917-1985), Roger Mayne (1929-2014) and Lee Miller (1907-1977).

The exhibition showcases art produced in Britain during the 20 years after the end of the Second World War. It brings together around 200 works of photography, painting and sculpture by 48 artists, drawn from public and private collections from around the world. Much of the work is little known, while other works are exhibited for the first time.

Divided into 14 thematic sections,

the exhibition reveals the particular subjects that preoccupied artists in the post-war period – the body, the postatomic condition, the Blitzed streetscape, private relationships and imagined future horizons.

The exhibition puts together an array of artists in both expected and unexpected groupings. In ‘Post-Atomic Garden’, Bert Hardy’s photographs of bombed-out Birmingham are found alongside the sculpture of Lynn Chadwick, the paintings of Prunella Clough and the collages of Nigel Henderson.

Shirley Baker’s colour photography is shown alongside the lesser-known paintings of Eva Frankfurther. The theme ‘Intimacy and Aura’ is explored by bringing together the photographs of Bill Brandt with paintings by artists Lucian Freud and Sylvia Sleigh.

Leica unveils Q2 Monochrom Reporter LEICA has launched the Q2 Monochrom Reporter – an update of its robust, full-frame, 47MP monochrome-sensor reportage camera and the latest incarnation of 2019’s Q2.

Leica claims the absence of a colour filter array, ‘leads to an unparalleled detail rendition and increased sensitivity.’

The full-frame compact camera has a fixed Summilux 28mm f/1.7 lens and an ISO range of 50-50,000. There’s also a 3.68m-dot OLED viewfinder and a 3in rear touchscreen.

It is equipped with a ‘body armour’ made of Kevlar – a synthetic fibre used in the production of protective clothing. www.amateurphotographer.co.uk

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Leica’s 47MP Q2 Monochrom Reporter

The remaining areas of the camera are protected by a specialist, dark-green, paint with abrasion-resistant properties.

Leica’s Q2 Monochrom Reporter is available now with an RRP of £5,250.

Portrait of Britain Volume 4 £22.95, Hoxton Mini Press, Hardback, 336 pages, ISBN: 9781914314131

Now in its fourth volume, the annual Portrait of Britain competition is a real treat for contemporary portrait fans.

Bringing together 200 images that depict Britain during another tumultuous period, these gripping portraits are paired with insightful stories and comments which show off how diverse, and perhaps more importantly how similar, we all are. This volume also includes an introduction by Jess Phillips MP to set the portraits within their cultural context.

As we see consistently from books by Hoxton Mini Press, it’s been lovingly and beautifully designed, with the pages making the best use of its compact size to reproduce the portraits well.

You’ll find works from established photographers alongside those lesser known. Names include Frederic Aranda, Joanne Coates, Robert Darch, Jillian Edelstein, Rory Lewis and Carolyn Mendelsohn – it’s a very worthy addition to your shelf.

Journal of the Plague Year

by Cold War Steve £16.99, Thames and Hudson, hardback, 128 pages, ISBN: 9780500025154 Well-known satirist Cold War Steve puts together humorous photo montages alongside witty captions to deliver his messages.

Sometimes dubbed ‘the modern-day William Hogarth’, Cold War Steve takes a scathing look at the pandemic, the government’s dealings of it, the US election, lockdown and myriad crises and scandals.

Although not the sort of traditional photography book we might usually feature in AP, it’s an interesting look at how photography can be used in different ways for political commentary, satire and art.

A humorous book to have on the shelf as a document of extraordinary times – if you can get through it without shaking your head in disbelief, then you probably deserve some kind of prize.

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From the archive

Nigel Atherton looks back at past AP issues

Tales of photography in East Africa

Wallace Heaton: endorsed by God, no less

At the Harbour, by F.R Ratnagar of India.

From the Colonial and Overseas contest

British-made Ensign Carbines at £243 and £400 in today’s money

Ads for the Leica Model II and Rolleiflex

A round up of lenses and useful sundries

16 March 1932 The 1932 Spring and Empire Number featured on its cover a host of golden daffodils, and in colour, no less – a rarity for covers of the time. In the inter-war years AP published an annual Empire issue with contributions almost entirely from residents of the colonies – not all of whom enjoyed springtime in the month of March.‘For the lonely man of tropical countries there exists, perhaps, no more fascinating hobby than photography,’ wrote one correspondent using the nom de plume “African Amateur”. ‘The writer of these jottings, when in East Africa, found it a splendid pastime which, incidentally, brought him a fair financial return by taking photographs of natives. While professional photographers live 100 miles away in the big townships, the natives depend for portraits on the amateur; and a native simply loves to see his own face.’ Living 120 miles from the nearest shops he stressed the importance of maintaining supplies. ‘With petrol at three shillings a gallon I couldn’t just run over on my motorcycle to buy a shilling’s worth of developer.’ In Choosing the 1932 Camera, the choice was between roll-film cameras (ideally the folding type, rather than the ‘cheap boxform type’); the pocket plate camera (preferably with some ‘rise of front’) and the reflex (the most popular choice among ‘the leaders of photography’). Meanwhile an ad entitled Good Advice: the Reverend knows a good thing recounts a fictional encounter with the local vicar, who bought his camera from Wallace Heaton and advised readers to do the same.

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08/03/2022 17:45

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14/02/2022 01/03/2022 14:19 14:16

Technique Brian Lloyd Duckett

Brian Lloyd Duckett is a pro documentary and street photographer and a Fujifilm ambassador.

He’s the founder of StreetSnappers www.streetsnappers.com and runs workshops across the UK and in Europe. You can also find him on YouTube @streetsnappers.

Black & white thinking How do you go about learning to see in black & white and decide which subjects work better without colour? Brian Lloyd Duckett shares some essential advice and techniques with Geoff Harris

W

hy choose to shoot in black & white?

Because it looks cool?

Because it was/is the medium of choice of legendary photographers such as Henri Cartier-Bresson, Mary Ellen Mark or Don McCullin? Because you like street photography or moody landscape work and feel it ought to be in monochrome? To succeed in black & white photography, you will usually need more compelling reasons than these for it to be creatively rewarding and grab the attention of other people.

There is no easy answer or handy checklist, but as with everything, we can learn from experienced photographers who have worked successfully in this area for a long time. Brian Lloyd Duckett, the 14 www.amateurphotographer.co.uk

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principal and course tutor at street photography specialists Streetsnappers, has brought out a great new book, 52 Assignments: Black and White Photography (for a 25% discount, see page 18). We asked Brian to share some of his advice and insights to help us all to see more effectively in black & white so that we can better decide when to use it.

How to decide on black & white

‘What was once a technical constraint – once you loaded black & white film you were stuck with it – is now a creative option and we have the luxury of being able to make an informed choice either before or after the event,’ Brian explains.

‘However, I’ve always believed that www.amateurphotographer.co.uk

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Above: Modern buildings, particularly those built in the ’60s and ’70s, often have a variety of richly textured surfaces, which translate well to black & white Left: Great black & white photographers are able to previsualise how colours will look.

The gradation in the sky’s tones can be easily achieved by tweaking the colour sliders in your editing software

the decision to shoot in black & white should be made with intent, ideally before the shutter is pressed.

The alternative is looking at a colour image and thinking, afterwards, “That looks a bit boring, I’ll see if it’s any better if I convert it to black & white” – which is the wrong way round. It’s far better to visualise a black & white shot at the design stage. It should be a deliberate aesthetic decision rather than an afterthought or an attempt to rescue a boring image.’

When Brian started out as a photographer, he didn’t have much choice when it came to shooting in black & white, and this proved to be helpful later on. ‘I started shooting film as an impoverished student and couldn’t afford colour. Black & white film was cheaper to buy and I could

develop it myself – much to the consternation of my parents, who could only take so much of the smell of fixer in the bathroom. So my first experiences of “seeing” in black & white were watching a print emerge in the developing tray under the glow of a red light.’

Brian’s first job was doing work experience at the local paper in the summer holidays and, rather morbidly, his first published picture was of a dead dog in a litter bin – in black & white of course. ‘Colour only really came into newspaper photography in 1986 with the launch of the Today tabloid so, prior to that, seeing in black & white was the norm – you had to instinctively feel how an image would look on the page: the tones, the contrast, the form 15

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Technique

SEEING IN BLACK & WHITE

Brian’s top ten tips Brian has the following essential advice to help if you are struggling to see in black & white

1

Shoot some projects specifically in black & white to see how you get on – particularly projects with a documentary feel. Then ask for feedback, from your peers in a camera club for instance, or on online forums.

2

Shoot black & white by design rather than by accident. Never use it as a means to rescue poor colour images.

3

Set your viewfinder/LCD screen to monochrome to aid the ‘seeing in black & white’ process.

4

Work on your photographic style and find a way to integrate black & white shooting into that style.

5

Musicians use expression in their creations and so can we.

So I’ll use black & white to add expression or feeling to an image – which could mean, for example, feelings of timelessness, nostalgia, mood, mystery or ambiguity.

6

Use black & white when the scene has strong graphical qualities and you want to emphasise form, lines, angles or areas of high contrast.

7

If you feel that the colours are too distracting and the frame needs simplifying, black & white may help viewers better understand the image.

8

Choose the subject carefully: not every scene will work well in black & white. Shooting raw and comparing the colour and black & white image side by side will help with this.

9

Shoot black & white if it’s part of a project which has a consistent monochrome aesthetic throughout – and for me this usually means a documentary rather than a purely street project.

10

Shoot film to help you appreciate the nuances of black & white. And if you do shoot film, don’t obsess about perfection – care more about mood and feel.

Less is often more with black & white: the brightness of the snow masks out any distracting background detail

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and the textures.

‘I think I’ve always tried to look beyond the colour, almost blanking it out and visualising how the frame will look in monochrome.

I remember some of the Gestalt principles we were taught when I did A level photography – one of them being “simplicity”, whereby we try to reduce an image to its simplest form; this works very well in helping to see in black & white and I use it when teaching my workshop students today.

‘If I were starting out again now, life would be much easier, especially with a mirrorless camera which would allow me to preview the world in black & white before pressing the shutter.’

Placing the head in the white part of the frame helps to emphasise the silhouette

Have a clear sense of purpose

Digital cameras and indeed smartphones have really opened up photography but Brian believes it’s been a mixed blessing for black & white photographers. ‘Digital has a lot to answer for as it’s removed much of the thinking from photography. It’s too easy to “spray and pray” without giving too much thought either to the creative process or to what’s happening technically.’

With street photography, however, Brian believes that there is a counter-argument. ‘If you look at some of the great street photographers at work – Garry Winogrand, William Klein and Daido Moriyama spring to mind – you can see them shooting compulsively and instinctively, getting through dozens of rolls of film in a single day. If they slowed down to think too deeply about ‘seeing in black & white’, then the spontaneity, the instinct, the sense of moment and the energy would be missing from many of their notable images.’

For Brian, this whole question takes us back to his earlier point: everything needs to be done with a clear sense of purpose. ‘So if I’m planning to shoot in black & white, I’ll stick to that plan. Assuming I’m shooting digitally, I’ll shoot in raw and will set my viewfinder to monochrome. This means that I’m not only conceptualising the world in black & white, I’m physically visualising it that way too.’

Getting to the heart of the image When putting together AP’s obituary for documentary photographer Tom Stoddart, we www.amateurphotographer.co.uk

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Contrast is key: punchy blacks and bright whites result in good tonal separation referred back to a famous quote by Canadian photographer Ted Grant: ‘With colour photography you see the colour of somebody’s clothes, with black & white you see the colour of their soul.’ Does Brian subscribe to this?

‘I’m not so sure… I think this quote is a bit overplayed these days.

We live in a colourful world and our eyes see in colour, so colour photography is realism; black & white is an abstraction. Having said that, there’s a grain of truth in Ted’s quote. Black & white can help strip away the irrelevances and the distractions of colour, taking the viewer’s eye, Exocet-like, to the heart of the image.

‘However, there’s an alternative take on this. Just look at the rich, vibrant moods from Fred Herzog in his seminal book, Modern Colour, which has “soul” in bucket loads

and which kind of disproves Grant’s point. So I think it’s less about the medium and more about the photographer’s ability to create an image which draws the viewer in and connects with them on an emotional level. Black & white and colour can do this equally effectively.’

Don’t just default to mono

There is a tendency for a lot of photographers to switch automatically to black & white for certain subjects – winter landscapes, gritty urban portraits and indeed a lot of street photography generally.

Then people jump back to colour for macro images or sunny travel shots, for instance. Does Brian think we should all be more creative and think outside the box more when deciding what and when to shoot in black & white?

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Shadows can form strong graphical patterns and on a sunny day there’s potential for them everywhere

‘Yes. I think a lot of people, especially street photographers, think that certain types of image “should” be shot in black & white – and often without good reason (other than it looks more “street”).

I’ve never been sure why, although it could be because the photographer wants to associate their work with some of the iconic black & white street shots from the 1960s and ’70s.

Or perhaps it’s a throwback to the first half of the last century when colour was seen as the work of the devil by the photographic establishment!’

Brian is very clear that we shouldn’t have generalised preconceptions about whether a particular genre should be shot in black & white or colour – least of all street photography. ‘Photography needs to evolve and sometimes it feels like we’re all stuck in a rut, doing the same stuff over and over again – you can see plenty of evidence of this in some camera club competitions. One approach I’ve always liked is to perceive black

would have done in colour. For this project I’m shooting black & white JPEGS, using the Acros film simulation in my Fujifilm cameras.’

Apart from specific projects like this, Brian always shoots raw so he has the flexibility to choose black & white if he needs it. ‘Sure, there are Colour or mono: stay flexible occasions when you won’t know Brian’s book does a great job of whether an image works best in ‘selling’ black & white photography, black & white or colour until you so much so that you’re left can see the two edited shots wondering why not use it all the side-by-side. You may ask yourself time. It is therefore surprising to hear “which version helps me to better that most of Brian’s output is now in tell the story?” or “which one is colour. What gives? going to look better as a 20x16 fine ‘I tend to shoot black & white art print?”’ mainly for specific projects rather The value of printing than random images. For example, Staying on this subject, Brian is a I’m currently working on a project huge fan of printing and believes it’s called Soho Noir which is all shot a real shame so many of us have after dark. The night-time streets of thousands of good images Soho have been done to death in languishing on hard drives. ‘There’s colour and I thought I should break so much joy in having a lovely print away and do something different. in your hands – especially a black & I’m enjoying experimenting with high contrast and lots of movement white one that’s been printed on decent paper. and I seem to be able to generate ‘I’m pleased to say that darkroom more energy in black & white than I

& white photography as an art form in itself. In fact, I know people whose total output is in black & white and in a way I’m quite envious of this approach – it removes all the angst over making the decision about colour.’

To get an exclusive 25% discount on Brian’s new book, 52 Assignments: Black & White Photography (Ammonite Press), simply visit giftstome.co.uk and apply the discount code R2201. Or you can order by phoning 01273 488005 and quoting the same discount code.

Offer price £9.74 plus P&P. Offer closes 03/06/22.

18 www.amateurphotographer.co.uk

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08/03/2022 12:11

SEEING IN BLACK & WHITE

Technique

The woman’s white clothing pops against the black negative space, which, combined with her positioning towards the edge of the frame, helps create a feeling of insignificance or displacement

skills are actually still alive and kicking – evidenced by the fact that the Analogue Zone at last year’s Photography Show was one of the busiest areas. Schools, colleges and universities are now focusing more on these traditional skills to there’s a big “ground up” movement to keep them going.

‘That said, I appreciate that not everyone wants to shoot film – or has access to a darkroom – so editing software is the next best thing. Most of what we do in the darkroom is based around dodging, burning, cropping and changes to exposure and contrast, and software can do all that perfectly well. I think the challenge is to just do what’s necessary and not to get carried away with effects – but maybe that’s my documentary background telling me to stick with “authenticity”!’

Learn from film When capturing patterns, try different shooting angles to create the effect you want www.amateurphotographer.co.uk

14-19 SeeingInB&W Mar15 GH JP.indd 19

The film revival shows no sign of slowing down, and Brian is very much in favour of the current interest in analogue. So what

particular qualities does black & white film bring to black & white photography – there’s grain, obviously, but what else?

‘I remember being overjoyed when vinyl started to make a comeback in music and I feel the same about film. For me, film has a lovely naturalness and a real-world quality that is missing from digital.

Digital is, of course, marvellous but sometimes it just too “good” – too sharp – too perfect.

‘Film is generally less harsh than digital, with more forgiving tones, and this is illustrated perfectly in black & white portraits, which can have beautifully even and flattering skin tones. In fact, if I’m shooting black & white digitally, an important part of my workflow is to dial down the clarity a little: this in itself can help give a softer, more filmic, look.

‘However, the end result is only part of the story; whilst the destination can be wonderful, it’s the journey that matters and shooting black & white film is something everyone should try.’

19

08/03/2022 12:11

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YOUR LETTERS

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LETTER OF THE WEEK WINS A SAMSUNG 64GB EVO PLUS MICROSDXC CARD WITH SD ADAPTER. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

Subscriptions

I’ve been a fan of Dorothea Lange for a long time, so I was interested in Zelda Cheatle’s Final Analysis (11 January issue). I have seen this photograph in two exhibitions, so I can vouch for its emotional power.

The impact is almost physical, so I can easily accept that the image reduced Dorothea to tears many years after she took it. On this occasion I found the title especially interesting. Child living in Oklahoma City shacktown, 1936, is a factual, objective description, but it doesn’t tell the whole story, and it prompted me to ask, ‘What’s in a name?’

At the Tate Modern exhibition of photographs from Elton John’s collection, the picture was called The Damage is Already Done. Two years later, at the Barbican exhibition of Dorothea’s work, the title was Damaged Child. On neither occasion was it suggested that the child in question had learning difficulties, and whether or not this is factually correct I don’t think it has anything to do with what Dorothea was trying to say.

This was an overtly political picture from the outset. It formed part of Dorothea’s Dust Bowl Era work, which, in collaboration with husband Paul Taylor’s text, is credited with influencing Franklin D Roosevelt’s New Deal agencies. For me, both the AP and the Barbican titles detract

from the power of this image. They enable the viewer to move on to the next picture without really considering the message.

But The Damage is Already Done, coupled with the child’s expression, seems to point an accusing finger at the viewer, and saying, ‘Where were you when I needed you?’ I do not know how this image came to have at least three different titles, but each affects its power in important ways.

As a final thought, in April 2000, a copy of this image sold at Christie’s for US$70,500 – wealth unimaginable to the child, and even to disadvantaged children today. What would Dorothea have made of that, I wonder?

I’d like to say thank you to Dorothea, and to Zelda. You made me think, and in the ‘Final Analysis’, isn’t that what AP is all about?

Alan Cox

Win!

The Samsung 64GB EVO Plus microSDXC memory card with SD adapter offers fast U1, Class 10 rated transfer speeds of up to 130MB/s, offers 6x Multi Proof protection and a Limited 10-year warranty. www.samsung.com/uk/memory-storage/

Don’t be deceitful

I have read many magazine articles about street photography and they all follow a pattern

similar to Richard Bond’s letter (1 Feb issue). First, they extol the virtues of the genre but soon get to the nitty-gritty – how to do

see what you’re doing, use shop doorways, lean on a lamppost at the corner of the street etc.

But why? If you believe ‘street’ photography is a legitimate practice, why the deception?

I take lots of photos of the built environment.

I wear my camera openly.

I do get challenged at times (not everyone likes having their property photographed) but I answer honestly and courteously, saying what I am doing and why. The result is often to be told of other interesting buildings and features I might like.

I understand there may be a certain schoolboy frisson in doing something secretive and getting away with it, but we do photography a disservice with this kind of behaviour.

If you can’t be up front, don’t do it.

Andrew Saunders Your argument makes sense if you’re shooting architecture, but street photography is more about people, and capturing unposed, candid moments of life and culture that form part of a record of the way we live. We can thank previous generations of street photographers and photojournalists for our visual history of life over the past 100-odd years.

When a subject is aware of the photographer, a picture ceases to be candid and becomes a posed shot. But there is certainly an increasing debate about some photographers’ behaviour and what is acceptable.

Vito B it. They all agree: ‘Be deceitful’. Wear dull clothes, use a small camera, pre-set the settings, don’t let anyone

It was good to read about classic 35mm cameras in your recent issue, as I recently bought and had serviced a Vito B camera.

This is a superbly engineered and tiny camera, but yields www.amateurphotographer.co.uk

08/03/2022 17:29

YOUR LETTERS

SPE C I A L SU B SC R I P T ION OF F E R !

Get 13 issues for £19.50 Andrew Redding’s picture taken on a Vito B using Ilford HP5

first-class results due to its four-element Skopar lens. I took the attached photo (above) using Ilford HP5 and developed in Rodinal for 8 minutes.

I would even go so far as to say it is as good as, if not better than, a Leica of the same era. However, it does have the limiting factor of only having a fixed lens.

Andrew Redding

My Hunter Penrose

I was interested to see the picture of the 30x40in Hunter Penrose and background story contained in this week’s Letter of the Week. I’ve bought and renovated a number of these cameras over the years and attach a couple of shots of the current one I have and use for wet plate photography. This one takes a 20x24in plate using a wet plate back I made myself (standing against the radiator).

The original cameras were made for copy work, as mentioned, and the only movements incorporated in my cameras were the front rise and fall. I have modified this camera to include front and rear swing and rear tilt to make it more usable in the studio. I also modified the front standard to take larger lens boards as I use the camera with large and fast lenses. The one shown here is a 900mm f/4 on the standard 9in board, but I also use a 1000mm f/3.5 Leitz Epis lens which requires an 11in lens board.

Tony Lovell

No security

I write to highlight the lack of any built-in security codes for modern camera systems. Like some of your readers I have had my camera gear stolen in recent times. Although insurance can cover a loss, the real issue is to reduce the incentive for any theft.

Today you can easily spend £3,000 on a new camera and lens, and currently there is no simple electronic security built into the cameras.

Every mobile phone has a simple and effective security code to keep its owners’ phone and data secure even when the phone cost is less than a few hundred pounds.

Surely camera manufacturers should include a simple anti-theft code system within all camera bodies, making the camera useless to pass on to others if stolen and impossible to trade in the market place.

I understand some professional bodies in the US are already demanding action and I urge AP readers to press for an industry-wide agreement to build in some simple security to better protect what is now a very attractive item for thieves.

Your magazine has over the years influenced photographic design and development, and I believe you can call for the industry to address this urgent issue to protect the assets of all photographers.

Mr K J Mack A very good point, Mr Mack. It shouldn’t be too difficult to incorporate such a feature as an option on new cameras.

YOUR FREE APOY ENTRY CODE Tony Lovell with his Hunter Penrose camera, fitted with a 1000mm Leitz Epis lens

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08/02/2022 09:49

08/03/2022 17:29

DORIS DERBY

Making strides

Documenting the civil rights movement in 1960s Mississippi, Doris Derby’s work came right from the heart of the action.

Amy Davies discovers more

A

new book (A Civil Rights Journey) celebrates the work of Doris Derby, known for – among other things – her images which documented the civil rights movement in Mississippi during the 1960s and ’70s. As somebody actively involved and present herself, her photographs are at once more ordinary, more intimate, more relatable and arguably therefore more powerful than those captured by other contemporaries.

Not only a photographer and civil rights campaigner, Doris has had a long and multifaceted career. A working member of the Student Nonviolent Coordinating Committee (SNCC), she also co-founded the Free Southern Theater. Later, she was the director of Georgia State University’s Office of African American Student Services and Programs and was also an adjunct associate professor of anthropology.

Doris has a long-standing familial connection to the civil rights movement. Her grandmother was a founding member of the NAACP (National Association for the Advancement of Colored People), while her father was a civil rights activist who was forced out of his career in engineering due to bigotry.

He died shortly before Doris’s move down to Mississippi in 1963.

Having grown up in Williamsbridge, on the outskirts of the Bronx, New York, Doris was

24

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motivated to move south in August 1963 after participating in the March on Washington for Jobs and Freedom. Her intention was to carry out activism among the poor farmers and sharecroppers. By then, she had a background in education and the church, and she would go on to work in and with various programmes that encompassed political, economic, arts and social justice innovation and development.

As an activist she was involved in securing voting rights and voter registration, she worked to develop literacy programmes and worked intensively on the development of pre-school education. Throughout all of this she had her camera with her, carefully documenting those at the centre of change, often working with Southern Media Inc, a documentary photography and film-making organisation.

Electing to move to the South at a time when there was widespread poverty, segregation and regular violent tactics from the Klan – helped by what Doris refers to in the book as the ‘activities of complicit state and local government officials’ must have been extraordinarily difficult – and complex. As she points out, ‘The system was set up to monitor and oversee the slaves, even though slavery had been outlawed. The system had evolved, but the mindset was the same.’

Also writing in the book Doris tells of the threatening situation after

Right: Civil rights activist Fannie Lou Hamer, after speaking at the National Democratic Convention, Chicago, Illinois, 1968 All pictures © Doris Derby

Right: Southern Christian Leadership Conference leader Dorothy Cotton (seen wearing glasses) at Morehouse College, Congress of Afrikan People (CAP) Convention, Atlanta, 1970

www.amateurphotographer.co.uk

08/03/2022 14:51

DORIS DERBY

Above: xxxx xxxx xxxx xxx xxxxx xx xx

arriving in 1963. ‘There was a significant danger of being harmed or killed by whites who did not want the civil rights initiatives to succeed, so we had to have meetings at an individual’s house or a Freedom House in a Black neighbourhood, or on a Black independent landowner’s property.

I was housed with a family who had donated the land for an education project who received threats from white vigilantes. At night, the father and sons kept watch with guns.

Rifles were kept at the Head Start Center in case of an attack.’

Doris stayed in Mississippi for almost ten years, getting to know the ordinary citizens as well as the activists, leaders and those in power extremely well. Forming close connections with people such as LC Dorsey and Fannie Lou Hamer gave her access and connections which www.amateurphotographer.co.uk

24-27 F_DorisDerby Mar15 AD JP.indd 25

really show up as documentary evidence in her photographs.

Attributing her political involvement to being ‘part of the team’, Doris was not involved in the political process before she arrived in Mississippi. All of that changed as she became more and more embedded, culminating in her coverage of the 1968 National Convention where she was both a production assistant and photographer. As part of Southern Media, she would also provide photographic services for local campaigns and elections, taking pictures for free.

In 1972 Doris decided to leave Mississippi, feeling that after such a long time there, she had done much of what she set out to achieve. She was invited to apply to study anthropology at the University of Illinois by Southern Media 25

08/03/2022 14:51

DORIS DERBY

ALL PICTURES © DORIS DERBY

founder Bill Peltz, who was by then teaching. It was clear then, just as it is now, that there is still work to do however. As she writes towards the end of her book, ‘We are seeing repeats today of what we saw back then, like voter suppression and police brutality.

When you make strides, the enemy takes steps to block your achievements and you must do

26

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something else. Sometimes Black people stop supporting the progress that was made because viable, forward-looking alternatives are challenged by economic and social realities. The circumstances are such that young people need to continue what was done because history can revert at any time.’

Now in her 80s and suffering from ill health, she wasn’t available for

Top: Southern Media staff member Larry Rand and civil rights workers at the Erwin Family Farm, Tougaloo, Mississippi, 1969 Bottom: Independent farm workers, Louisiana, 1968

interview for this piece. Instead, I was able to speak to Hannah Collins, the artist and curator who worked with Doris on her book after curating the exhibition ‘We Will Walk – Art and Resistance in the American South’ at Margate’s Turner Contemporary back in 2020.

The book was a collaboration between Hannah, Gregory Harris, curator at the High Museum in Atlanta, and of course, Doris herself.

The process involved digitising and contextualising some 5,000 negatives, many of which hadn’t been seen for decades – if ever.

Amazingly, the process from archive digitisation to book completion took just four months – it seeming like a more pressing and urgent time than ever to get a book and project like this out into the world.

In order to create the narrative in the book, Hannah conducted several weekly Zoom calls with Doris.

Discussions between the three working on the book about what to include – and indeed what to leave out – were quite intense. Hannah explains, ‘She [Doris] had quite strong opinions almost entirely motivated by politics, and by social activism – or by social activism and therefore politics. My interest I think had a lot to do with human www.amateurphotographer.co.uk

08/03/2022 14:51

DORIS DERBY Left: Voting at the polls, Hinds County, Mississippi, 1971

concerns and trying to find that narrative. With Gregory, he had a more aesthetic viewpoint. It’s also true that Gregory and I are white, Doris is a person of colour. You have to be very careful that what was being organised was something that didn’t follow a narrative that somebody else would prefer – it all had to come from the pictures.

‘I think Doris found it quite hard to hand over because she hasn’t ever had the opportunity to do that – to let somebody else take the strain.’

The experience has led to Hannah becoming good friends with Doris.

‘Things that you have in common aren’t necessarily the things you’d think you might have, they come at odd angles. What we shared was the sense of making the things that were hidden away visible, and how to do that. I learned a lot from working with her.

‘I thought it was going to be impossible to do the book as quickly as we did. We had to make lots of decisions that weren’t always easy and find a structure for the book.

We wanted, for example, to find a way of showcasing the most important themes right at the beginning. The result is that within the first five or six pictures there’s a picture of a colonial home – so a picture of the oppressor’s home basically – there’s a picture of voting, there’s a picture of rural poverty and there’s pictures of people carrying a banner in protest. We wanted to sum it up before you even get to the title page of the book.

‘We then decided we needed a foreword, which is where Doris talks www.amateurphotographer.co.uk

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Doris Derby: A Civil Rights Journey is published by MACK and is available to buy now.

RRP £30. ISBN: 9781913620448.

about what made her go and do that work, and what was the point of it. I think it’s a really important time for it to come out. I knew I’d maybe get criticised for being somebody white working on something that is not from my own history. However, through my own work I find it quite interesting to look at things tangentially – I think she found that quite useful too.’

It’s the feeling of being very much an active member of the community that Hannah feels makes Doris’s work stand out. ‘A lot of civil rights photography of that era concentrates on civic action events, so things like Martin Luther King Jr being jailed, or the march from Selma to Montgomery, for example.

It may have human interest but it’s very much the big event and you often have the feeling that the photographer came and left. What’s very interesting about Doris is that she didn’t leave – she was there for ten years. A lot of the pictures that she took were the first of something – but at a much more community level, such as literacy and medical programmes. I think she knew that nobody otherwise would document it. I think she was very aware that she was an active part of a very real history, so I think the fact that they knew that meant that concentrated on making sure things got noticed.

‘It was such a privilege to look at a period of time in a small area like that and seeing what happened.

Then later when she’s involved in bigger events, such as at the conventions, she’s photographing important people, but it’s still

people she actually knows. It’s really different to see a picture taken by somebody who’s intimately involved with somebody – it’s one of the great forces in the pictures.’

Being a woman potentially also adds to the perspective Doris brought. Hannah explains, ‘She was really interested in children and education as well, and had been brought up looking after younger children. As a result, there’s lots of pictures of children – especially very poor children. I think she understood the challenges they were facing. I think somebody who wasn’t as intimately involved – and maybe who wasn’t a woman actually – probably wouldn’t have focused on those things.

‘There’s a lot to say on that angle.

Similarly, if you look at the pictures of the marches from Selma to Montgomery [taken by other photographers], there are very few pictures of women. It always struck me about her photographs that in a group exhibition they’d often be the only pictures of women who weren’t just “wife of” a male subject. One of the things going through the pictures and choosing them was there was a lot of opportunity to find the strength in them.’

Echoing what Doris herself says at the end of the book, Hannah sees the book as being inspirational to the current generation. ‘From my point of view, there’s definitely a message to be got out, and that’s that there’s lots of work still to do.

This [book] is a really good guide, in a way, about how to approach something.’

27

08/03/2022 14:51

The heritage business For the latest in our series celebrating the UK’s photographic heritage, Mike Crawford tells the storied history of Ilford Film

I

find it difficult to believe I first used Ilford photographic paper in the school darkroom 45 years ago. In the UK, the name is synonymous with black & white photography, and there have been Ilford films, papers and chemicals in production for over 130 years. The brand’s origins date back to 1879, when Alfred H Harman, who ran an early photographic printing business in London, started to manufacture dry plate film, having moved to the Essex town of Ilford.

From Britannia Works to Ilford

These were sold under the name Britannia Works and in just two years, Harman had built up his company, opened several factories and extended the range of products to include photographic papers, registering his business as a limited company in 1881. In 1886, following legal disputes, his products were renamed Ilford, two years before the trade name Kodak was registered, making it one of the oldest photographic brands in constant production. (Tetenal in Germany dates back further to 1847.)

For more than 100 years, Ilford continued to expand, having 28

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absorbed and conglomerated several smaller photographic manufacturers.

The company name was changed to Ilford Limited in 1902, by which time Harman had sold his shares in the company. Expansion followed over the decades and while a complete history of Ilford is perhaps too involved to cover in detail, it should be noted that by the 1970s, Ilford was a global company, with bases in the UK, Switzerland and France with over 6,000 employees.

There have been several different owners of the company since Harman’s death in 1913.

Throughout that time, Ilford has continued to innovate and produce world-renowned black & white materials. By 1983, its factory and HQ had moved to Mobberley, Cheshire, in the grounds of the old Rajar factory, a smaller company acquired in 1928.

Management buyout

One of the most pivotal moments in its recent history was in 2005. Forced with the prospect of liquidation, due to the rise of digital and falling sales, a group of six Ilford managers took the bold step of buying out the company from the receivers. This

Above: HP5 Plus is a classic, fine- grain, high-speed black & white film.

Harman Technologies produces 11 different Ilford black & white films Right: Alfred H Harman, 18411913, founder of the company

effectively saved the factory and Ilford’s film, paper and chemical products, with a new company formed named Harman Technology Ltd. While reduced in size, it has prospered with the growing interest in analogue photography over the past ten years and now exports to over 90 countries.

The company was sold to Pemberstone Ventures Ltd in 2015, and continues to operate from its manufacturing base in Mobberley, producing both Ilford, Kentmere and more recently Harman products. I recently had the opportunity to speak online to Michelle Parr and Matt Parry from their marketing department on the continued success www.amateurphotographer.co.uk

08/03/2022 17:42

BRITISH HERITAGE SERIES

Ilford Logo and Branding When the brand name Ilford was chosen in 1886, its first recognisable logo, or trademark of a paddle steamer, soon appeared on packaging. The simplified version shown here was its last iteration used from 1930. This was replaced by the Sunburst symbol in 1964, along with colour coding for different film speeds, while the familiar, bold lettering, still in use today, first appeared in the 1970s.

Below: The first Ilford Multigrade paper was produced in 1940.

Subsequent versions followed, with the fifth generations of papers being introduced in 2013 for Fibre Based (FB Classic) and 2020 for Resin Coated (RC Deluxe).

Other Ilford papers include Warmtone FB and RC, Cooltone FB and RC and Art 300

growth of social media platforms and the ability for people to share information and knowledge within a like-minded community. This has become an integral part of Harman and Ilford Photo’s marketing and communications. ‘Using social media, and our website, which everything is linked to, gives us a global reach and audience for our products,’ confirmed Matt. ‘This is the difference between now and 15 years ago. In doing so we have two main aims: to educate and to inspire.

We try to give the basics, then more advanced, but also offer inspiration in what other people are doing and how they use our film and paper to create something unique.’

Michelle mentioned that they are very active on all main outlets – Instagram, Facebook, YouTube and Twitter – and added the importance of communicating with their customers. ‘The most popular video on our YouTube channel

of the Ilford brand and the challenges faced during the past few years.

The modern operation

‘Our company name is Harman Technology though we trade under Ilford Photo and our products are mostly Ilford brands,’ Matt told me.

‘One of the reasons we survived and other larger companies did not, was that we were able to make our operation more scalable and flexible so we could adjust and adapt to different volumes. We have had consistent growth now for seven years or more, driven by sales of film.’

The renewed interest in film and analogue photography has been aided and complemented by the www.amateurphotographer.co.uk

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08/03/2022 17:42

BRITISH HERITAGE SERIES

Getting started with printing

Without good instruction, the first steps into printing may seem daunting. ‘There is a perception of the learning curve required when starting to print,’ agreed Matt.

‘Anyone can pick up a film camera and shoot but there is an idea that printing is somehow less accessible, but it’s quite straightforward to make a darkroom at home from basic materials. One struggle is access to affordable enlargers, though something like the Intrepid Enlarger is a good stepping stone.’

This is particularly relevant to further education in universities and colleges. Indeed, after the management buyout in 2005, I was involved, with other printers, giving Ilford workshops around the country.

‘Education is very important, but it’s

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not just the teaching of skills but also sharing the enthusiasm,’ Michelle emphasised. ‘We see that with our student competition. We get entries from all over and the best work comes from where the lecturers and technicians are really involved. It’s not just a job for them but a passion.

They enjoy being in the darkroom and sharing their knowledge.’

‘Colleges and universities are big users of our paper,’ added Matt. ‘It was a challenge during the pandemic as schools, college, university and community darkrooms were all shut.

While film stayed very consistent to 2019 figures, which was our best year for many years, paper took a hit with darkrooms being closed.’ Inevitably our conversation changed to the problems faced during Covid-19.

Working through the pandemic ‘When it started, no community darkrooms were open so there was a definite need to learn online,’ Michelle told me. ‘We were luckier than a lot of businesses as our products were still accessible. Before shutting down for two months, we ensured there was plenty of stock and that dealers were supplied. We were very proactive during this time, such as Matt filming a YouTube video at home with his son. People were looking for things to do and shooting film and processing it was ideal. So many processed their first film during lockdown.’

‘We were told by our dealers and

© MIKE CRAWFORD

for the past eight months has consistently been “Making your first darkroom print.” We talk to our customers as there is no point in us just saying what people want. We have really good relationships with film shooters and printers in the community and ask them what they want to see. We are very approachable through social media and people feel that they know us. I use the word a lot, but I really think there is a community of film shooters out there and generally they’re a friendly bunch. They are welcoming and happy to give advice and to help out someone new asking questions.’

www.amateurphotographer.co.uk

08/03/2022 17:42

BRITISH HERITAGE SERIES

Behind the Film documentary Ilford Photo’s YouTube channel has many inspirational videos to watch. Notable is the work by Sarah Reyes and Daniel Driensky of Exploredinary, (exploredinary.com), who have made several short films on Ilford, including Behind the Film. This takes the viewer on a tour of the Mobberley factory, meeting some of the engineers, technicians and other employees involved in producing Ilford products, plus visiting the emulsion making, R&D, quality control and other departments. youtube.com/Ilfordphoto.

© EXPLOREDINARY

Sylvia Clarke, Lab technician.

From the video, Behind the Film

distributors that during Covid we were consistent,’ Matt said. ‘Film as a product is relatively low value but high volume. Film sustained a lot of the photographic retail and distribution networks in the marketplace. Many said if it hadn’t been for our products and those from other film makers, their firms might not be here today, which shows the popularity of analogue and processing at home.’

Both Michelle and Matt emphasised and credited the skill and dedication of their workforce and the importance of recruiting new staff. ‘They have a lot of knowledge,’ Matt remarked. ‘There are scientists, graduates and apprentices working in R&D and we’re actively looking at the next generation of engineers to continue making the products. New people are needed to learn from those with 30 years or more experience, making www.amateurphotographer.co.uk

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Above left: I’ve used Ilford films for as long as I can remember.

My main choice of films are HP5 Plus, FP4 Plus and Delta, 3200

Berlin, 1998, Rolleiflex 2.8E, Ilford HP5 Plus Far left: The original Britannia Works factory at Ilford, Essex, taken from an 1888 engraving originally published in the British Journal of Photography

Left: All Ilford films and papers are produced at its factory and HQ at Mobberley, Cheshire

sure we have the right people to make the products consistently.’

As usual, there are plans for new products and initiatives. ‘We always have more ideas than we could ever do,’ Michelle said. ‘Over recent years we have launched things like the Harman reusable cameras, our fifth-generation Multigrade RC papers, our Ortho film and our new Pop-Up Darkroom. We’ve also produced a Film Processing Starter Kit with Paterson and are soon launching the Darkroom Starter Kit.’ For myself, it is reassuring and important to know that the classic Ilford brand of papers and films, with such an impressive history and heritage, continue to be produced, having spent so many years using them and with the intention of many more to come.

ilfordphoto.com Instagram, Facebook, YouTube, Twitter: @ilfordphoto 31

08/03/2022 17:42

Technique Michael Topham Michael is based in the south east of England, and enjoys documentary and railway photography. He also shoots weddings and can be found on Instagram @michaeltophamphotography

2

1

The B&W Mixer lightens and darkens specific colours

The Straighten tool helps ensure the image is perfectly level

Behind the

print Michael Topham reveals how he creatively edits his images to give them a black & white film aesthetic A few years ago, I was asked by a magazine to photograph the first steam locomotive to be made in Great Britain for almost 50 years. I wasn’t given much of a brief. All I was told was that the photograph had to be striking and taken in the portrait format, as it was to be a pull-out poster in a forthcoming issue.

The mix of natural and fluorescent lighting inside the engine shed, combined with the bright vermilion red buffer beam, made shooting in colour tricky. Converting the image to black & white before applying a few other basic adjustments in Adobe Camera Raw transformed the photograph to one that could have been taken in the heyday of steam on a film camera. To my relief, it got the thumbs up from the editor and I still get great satisfaction from seeing it pinned up or framed on other railway enthusiasts’ walls.

3

Grain is applied to give the image an aesthetic quality that replicates the look of film

4

A vignette draws the eye to the centre of the image and away from distractions at the edge

PREPARING FOR PRINTING

1 Correct distortion

After loading a raw file into Camera Raw, one of the first things I do is enable lens profile corrections which, in the case of this image, removed the barrel distortion that arose from shooting close to my subject at the wide end of the zoom. Next, I selected the Straighten Tool (A) and drew a straight line across the buffer beam of the loco to get the image perfectly straight.

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2 Use the B&W Mixer

Hitting the keyboard shortcut E is the quickest way of returning to the editing area of Camera Raw. From the list of Profiles, I selected Adobe Monochrome before making subtle tweaks to the Exposure (+0.35), Contrast (+40), Highlights (-60), Shadows (+90), Blacks (+15) and Clarity (+45) sliders. Next, I used the B&W Mixer to specifically darken the red tones in the image. The red slider is set to -20.

3 Add grain

To quickly compare the current settings with the default settings and see how the black & white edit is advancing, I like to use the Backslash keyboard shortcut (\). In the stage above, the image was too clinical for my liking. To replicate the film look I was after, I entered the Effects tab and added Grain (55) before setting the Size and Roughness to 30 and 50 respectively. www.amateurphotographer.co.uk

08/03/2022 16:33

IN ASSOCIATION WITH

Michael’s top tips Michael reveals a few top tips to try when using Adobe Camera Raw to edit your images Enlarge the edit window

1

Ever tried entering full screen mode in ACR? Hit the letter F on your keyboard and you’ll find the interface instantly fills your screen – handy if you’re editing on a laptop with a small screen.

2 Learn the shortcuts

Hover your mouse or cursor over the tools in the toolbar and you’ll be able to view the name of each tool and the shortcut key, which is revealed in brackets.

Learning the shortcuts is a great way of speeding up your workflow.

3 Refer to the histogram

Remember to keep a close eye on the histogram up at the top right of the interface at all times. Turning the Shadow (U) and Highlight (O) Clipping Warnings on is a good idea if you want to check areas where you think you might lose detail.

4 The original

Adobe Camera Raw offers some great tools for checking images before and after changes have been made. They’re found at the bottom right of the preview window and can be toggled through by hitting the keyboard shortcut, which is the letter Q.

5 Reset the dialog

If you’d like to reset the image back to its original state and dismiss any changes you’ve made, simply hold the Option/Alt key on your keyboard, which will turn the Cancel button to a Reset button.

WhiteWall recommends 4 Apply a vignette

To draw the eye to the centre of the image and away from the distractions either side of the locomotive, I applied a Vignette (-45) from the Effects tab, with the Midpoint set to 65 and the Feather to 70. Before opening and saving the image prior to printing, I finished off by making a few localised adjustments using the Masking Tools to emphasise the steam rising from the chimney. www.amateurphotographer.co.uk

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For this impressive black & white photograph, I would recommend our Solid Wood frame in matt black with Passe-Partout. The PassePartout in natural white transforms this photograph into an authentic gallery piece. When it comes to black & white photo prints, baryta paper is the best choice. This heavy black & white photo paper has a glossy surface and the baryta texture gives it a silky shimmer.

Jan-Ole Schmidt, Product Manager, WhiteWall.com 33

08/03/2022 16:33

SIGMA’s ultra-wide-aperture crop-sensor prime lens trio is now available for Fujifilm X Mount cameras.

Available mounts: L-Mount, Sony E-mount, Micro Four Thirds, Canon EF-M and Fujifilm X Mount *L-Mount is a registered trademark of Leica Camera AG

Sigma Imaging (UK) Ltd, 1 Little Mundells, Welwyn Garden City, Hertfordshire AL7 1EW | 01707 329999 | sales@sigma-imaging-uk.com | sigma-imaging-uk.com

AP_2022_03-15_Sigma Imaging (UK) Ltd_FP.indd 1

04/03/2022 12:43

Mono Mini Guide special

32 pages of advice and inspiration to pull out and keep

Setting up for B&W success

How to optimise your camera for great b&w shots

Mono people Three people photographers on their approach to b&w

PLUS

Infrared

David Clapp explains how to do it the right way

Urban B&W

Architecture and street

Still life

Peter Eleveld’s wet plate photos

B&W editing

Conversions in Photoshop, Silver Efex and FilmPack 35 Pull-outCover Mar15 NA JP.indd 35

Animal magic

Fie Johansen’s b&w zoo portraits

07/03/2022 18:12

This scene called for a very graphic treatment so I used the Graphite Picture Control on the Nikon Z 7II and increased the contrast

An inside job Angela Nicholson has 12 steps to help you to get great black & white images without even starting up a computer – everything can be done in-camera

1 Use the Picture Controls

Whether they are called Picture Controls, Picture Styles, Film Simulation modes or some other combination of those words, these are the settings that give you control over the colour, sharpness, contrast, toning and filter effect that’s applied to your JPEG images. They are the go-to controls for switching from capturing colour images to creating black & white images in-camera. At the very least there will be a Monochrome setting, but there are also often variations on that theme to enable you to produce more interesting results. With Canon and Nikon cameras, the manufacturers offer free-to-download software that enables you to create your own Picture Styles/Controls and upload them to your camera for future use. They’re perfect for creating a bespoke monochrome look.

2 Check out the Filter effects

Along with the Picture Controls, there are sometimes a few filter effects that are worth checking out when you’re looking to create b&w images in-camera. Olympus’s (now OM System models) Art Filters are particularly good and the Grainy Film I and II filters work well for some monochrome shots. They also have additional ‘Pin Hole’, ‘White Edge’ and ‘Frame’ effects that can be applied to give your image another look.

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03/03/2022 15:59

Technique

6 Boost the contrast

Although there are some monochrome modes that produce superb images without any intervention, others benefit from a tweak to the contrast. If your camera offers a Clarity control, that should be your first port of call as boosting it usually gives black & white images a bit more ‘bite’ thanks to the increased local contrast.

Alternatively, or possibly additionally, you can adjust the Picture Control’s contrast setting to give an image a global contrast boost.

7 Shoot in live view mode

Mirrorless cameras give you an advantage when you’re shooting in monochrome mode because you can see the black & white image in the viewfinder with any filter effects, toning or contrast adjustments applied.

You can get close to this with a DSLR by shooting in live view mode but it means the image has to be composed on the screen on the back of the camera rather than in the viewfinder.

the B&W 3 Try Filters

Many of the monochrome Picture Controls offer a different sort of filter effect to the one in point 2, left.

These are designed to replicate the impact of using a traditional coloured filter over the lens when using black & white film. Typically, there are yellow, orange, red and green filter effects and they brighten their own colour while darkening their opposite colour in the colour wheel. Using the orange filter effect, for example, makes blue skies appear dark grey or black in a monochrome image while a red filter effect makes green foliage darker and red objects light grey. www.amateurphotographer.co.uk

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4 Use traditional filters

Rather than using your camera’s digital filter effects, consider using traditional yellow, orange, red, or green filters on the end of your lens when you’re shooting in monochrome mode. You could also consider adding a polarising filter to really accentuate the white clouds in a blue sky, while graduated and plain neutral density filters are just as effective for monochrome photography as they are for colour.

subtle with the 5 Be toning effects

Many cameras offer toning effects that you can apply to your images when you’re shooting in the monochrome Picture Control. These can give your images a sepia or other colour-toned appearance but the default settings are often rather strong. Thankfully, it’s usually possible to turn down the strength of the effect so it’s subtler. It’s well worth taking a few experimental shots to find out which level works for you.

Fujifilm Acros

Fujifilm has a long history of film manufacturing and the expertise that it has built up over the years has been utilised in the creation of the Film Simulation modes in its digital cameras. The Acros Film Simulation mode is designed to replicate the look of Fujifilm Neopan Acros film and it does an excellent job, imparting a different look to the grain in the shadows and highlights for images with greater depth.

In Fujifilm cameras like the X-T4 and X-S10, the Acros Film Simulation mode can be used in its default settings or with a yellow, red or green filter effect, and with or without adjustments to the Tone Curve, Sharpness, Clarity and Grain Effect settings to produce a bespoke look to your images.

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Technique

IN-CAMERA B&W

Above: Sometimes the basic Monochrome Picture Control delivers the result you want

Turn off 9 the vignette control

8

Use in-camera raw conversion

Many cameras have a raw editing or conversion tool on-board that allows you to adjust images without firing up your computer. This is a nice way to while away a bit of time while you wait for your tea and cake to arrive in a cafe or you’re on the train home from a day out with your camera. You’ll usually find that you’re able to select an alternative Picture Control if you wish and also adjust aspects such as the Clarity, Contrast, Filter effects and Toning.

Monochrome images are all about light and shade.

One way that you can add a bit more shade to your shot is to turn off the in-camera vignette control to introduce some corner shading. The degree of corner darkening depends on your lens and the aperture that you use (there’s usually more at wide apertures) but it can be a very effective way of putting more emphasis on the subject.

10 Use the aspect ratio controls

Aspect ratio is an important consideration with any image, but when a scene is reduced to a series of white, greys and black, it seems even more important. Most cameras offer a selection of aspect ratios that you can apply at the shooting stage. These are particularly useful with mirrorless cameras or when you’re shooting in live view mode on a DSLR as you can see the cropped image before you shoot. Many, but not all cameras, don’t apply the crop permanently to raw files, so if you set an aspect ratio of 1:1 and you realise that the image would look better using the full width of the sensor, you can ‘uncrop’ the raw file. Nikon’s Z-series cameras are a notable exception.

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03/03/2022 15:59

The Leica M10 Monochrom uses the M-mount

Leica Monochrom If you’re really serious about getting the very best monochrome images then it might be time to consider investing in a Leica camera that’s dedicated to the genre. Unlike most cameras that record colour images, the full-frame sensors in Leica’s Monochrom cameras don’t have the usual RGGB coloured filter array over them. This means that they cannot reproduce colour, only brightness.

It also means that there’s no interpolation of the pixels to create the colours of a scene, so the images have more detail.

The M10 Monochrom is a 40MP rangefinder camera based on the Leica M10, so it accepts Leica M-mount lenses. The 47.MP Leica Q2 Monochrom, however, is a full-frame compact camera with a fixed Summilux 28mm f/1.7 ASPH lens with autofocusing and a 3.68MP OLED viewfinder on board.

At £7,200 for the M10 Monochrom and £5,050 for the Q2 Monochrom you have to be dedicated to black & white photography to buy one, but they come as close to the experience of shooting on black & white film as is currently possible with a digital camera.

The Q2 Monochrom, a full-frame compact camera

11

Experiment with exposure

With colour images we often want to be careful to protect the highlights and avoid making shadows very dark, but many monochrome images look better with some true blacks and whites. This can mean pushing the exposure further in one direction or the other than we would with a colour image. Depending upon the scene, a bright overcast sky may look better white rather than light grey, for example. Backlit subjects can also make very effective silhouettes.

www.amateurphotographer.co.uk

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Above: The aspect ratio controls can help to remove distractions from your image

12 Shoot Raw & JPEG files

Ultimately, the aim here is to produce perfect black & white images in-camera, but occasionally you may capture an image that you later realise is crying out to be seen in colour. If you shoot raw images you have the luxury of capturing the full colour information so you can create a colour image while still having your monochrome JPEG. 39

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Technique

PEOPLE PHOTOGRAPHY

Black & white

portrait skills Monochrome strips back distractions and reveals so much about a person. Claire Gillo gets inspirational tips from three eminent b&w portrait photographers This image is called ‘Push’.

From Marjorie’s collection, Ice

Marjorie Salvaterra

Marjorie Salvaterra is an artist who lives in Los Angeles, California, with her children and husband. Her work focuses predominantly on women and their role and experiences in society. Find out more about her and her projects at www.marjoriesalvaterra.com, follow on Instagram @marjoriesalvaterra and on Twitter @HerSalvaterra

MARJORIE Salvaterra’s work is intriguing, witty, personable and relatable all in one breath.

You could spend hours looking through all of her images and still discover new meaning as her concepts are layered and interpretable.

Marjorie uses the art of black & white photography to predominantly shoot portraits of women (these are often close friends) dressed in costumes and wigs. Marjorie’s work resonates with those who are drawn to artists like Cindy Sherman and Sally Mann, and her concepts mostly focus on women and the experiences and pressures they encounter in life. When asked why she uses the black & white medium to

communicate her ideas she replies, ‘I see things in black & white. I’ve always loved black & white photography. I think it’s just what I’m drawn to.

I think it’s amazing for storytelling, because it leaves things more open for interpretation.’

Born to shoot

Despite not picking up a camera until her 30s Marjorie found she had a natural affinity for the medium and has always been a storyteller. ‘I was writing before I was doing photography, and it’s sort of the same world to me,’ she says.

Marjorie admits she is not a technical photographer (although learning all the time),

however that doesn’t seem to stop her getting picturesque and striking results with her Sony Alpha 7R II. To find the perfect locations for her photo shoots Marjorie uses what is available on her doorstep and luckily for her she lives in a beautiful part of the world. ‘Because I’m a full-time mom I use places close to me,’ she says. ‘Although I have travelled a little, like six hours up to Mammoth Mountain for the trees and to Death Valley for the salt flats.’ Unfortunately Marjorie suffers from travel sickness and so finds car journeys to be rather unpleasant. ‘I’ve got to confess I’m not a huge outdoorsy person but I love the salt flats.

It’s just magnificent what the ocean left behind at one point.’

When it comes to creating a series Marjorie does the majority of her work in her

40 www.amateurphotographer.co.uk

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03/03/2022 15:58

‘When The Universe Has A Bigger Plan For Your Life’. Taken from Marjorie’s series, Her

head. ‘I usually try to work from the inside out waiting for the images to come to me,’ she tells us. Authenticity is also important for Marjorie and she will abandon a series of work if it doesn’t feel right. ‘I call it my B side when that happens,’ she jokes. ‘The teacher I learnt from worked with Berenice Abbott – she was her apprentice and Berenice used to say, “You have to always be working on a project that you’re excited about, that gets you out of bed in the morning.”’ Marjorie finds this a good ethos to follow.

Although Marjorie has a planned idea for what she wants to achieve before each photo shoot, she also leaves room for spontaneity. For example on her project ‘Her’ Marjorie was setting up a group nude scene. ‘First, everybody gets naked, and I say, ‘Wait, is that like a thing now – nobody www.amateurphotographer.co.uk

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Marjorie’s top tips 1

Wait for the moment.

Don’t click click click click.

Shoot as if you’re using film and it’s expensive.

2

See the world differently.

Whether you have to stand on your head, be up against it or a thousand feet away, you want to see it differently from everybody else.

This image has been taken from Marjorie’s series, Her. The image is called ‘Him’ has pubic hair any more?!” To create a tongue-and-cheek image from this encounter Marjorie gets all the ladies to remove their big fake bushy wigs from their heads and place them over their lower private parts. The image is called ‘The Politics of Being Real’ (see

image at bit.ly/3rL6Bm4).

When asked if humour is an important element to her images she replies, ‘Yes, because when things get so crazy, we have to laugh. Laughter is relaxation, and then you can tell the other parts of the story.

You can draw people in.’

3

Know your backgrounds.

Because you don’t want to have this great shot with a tree coming out of somebody’s head. The background is as important as the subject.

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Technique

Iko-Ojo Mercy Haruna

Iko-Ojo Mercy Haruna, known as Mercy, is a Kent-based visual artist and documentary photographer dedicated to capturing the fleeting moments of family life as well as those that dive into the deeper conversations about the realities of motherhood. Find out more at www.imharuna.com and follow on Twitter and Instagram @ immeiko

Below: Mercy captures everyday moments like this shot of her children brushing their teeth MERCY started her project ‘This is Home’ to simply document her family’s daily life in and around their home in Kent.

‘I’m inspired by the kinds of photos I wish I had of my own childhood if my parents had owned personal cameras,’ she tells us. ‘I capture the fleeting, everyday moments between the milestones we’re accustomed to recording.’ Mercy began this project when her children were three and one – they are now five and eight. ‘My intention was to continue for as long as I can but I’ve noticed in the

past year, it’s getting harder to photograph us the way I used to. My eight-year-old doesn’t enjoy being photographed as much and our lives are busier,’ she explains. ‘Maybe over time the project will evolve into something else, but I will definitely need to continue to be intentional about making the images, printing and archiving them.’

In her kit bag she has the Sony Alpha 7R II and a Sony FE 50mm f/1.8 50mm and lately, she’s also been using the Zeiss-Batis 25mm f/2 to get

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03/03/2022 15:58

Mercy’s top tips 1

Shoot with black & white in mind. Practice seeing in monochrome by using the black & white profile on your camera, if it has one.

2 3

Focus on the story and interesting light.

Don’t worry about perfection! Low light and grain is part of the charm of black & white portrait images.

Above: Foggy conditions create the atmosphere to capture her children walking down the road Left: This image is one of Mercy’s favourite images from her collection and is of her daughter sleeping on her husband’s chest

Right: Mercy features herself in this image doing her son’s hair more of the environment into her portraits. ‘I also always have my Canon EOS 300X and a roll of Ilford HP5+ in my bag,’ she reveals, however Mercy is not bound by worrying about what device she uses. She will grab whatever is closest to hand (DSLR, mirrorless, analogue or phone) freeing herself of limitations as she describes it, and ensuring she can capture the moments as they unfold.

It just works for me

For Mercy, capturing her family in the black & white medium www.amateurphotographer.co.uk

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has been a transition from when her photography journey started on black & white film.

‘It just stuck with me,’ she says.

‘It has really defined how I see the world. It also appeals to the minimalist in me, and helps me distil the focus down to the exact moment or story I’m trying to tell.

‘Unless colour is significant to Mercy’s story, she almost always prefers to see photographs in black & white. ‘I also love black & white for the simple and nostalgic feeling it creates. It just works for the kind of stories

I like to tell! It also helps to keep the series coherent, considering I use different kinds of cameras.’

Mercy’s documentary approach to family portraiture means she doesn’t pose or direct the scene. ‘The first element I look for is the moment or story unfolding.

I love to capture what makes every family unique.’ Mercy confesses there is nothing better than real life and even moments like a child throwing a tantrum is perfectly fine, ‘it’s all part of the unique story’, she

explains. ‘I am also drawn to interesting light – a balance of highlights and shadows and artful illumination of the subject. That could be light streaming through a window, a spotlight from a mobile device or lamp, harsh sunlight casting striking shadows, or a foggy scene.’

Mercy’s images from her This is Home project are currently being shown at the Moments in Time exhibition at Free Space Project until 30 May 2022. Find out more at www.freespaceproject.org.

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Technique

PEOPLE PHOTOGRAPHY

Damien Lovegrove Damien Lovegrove is a photographer best known for his location and studio portraits of women. He finished taking on client commissions in 2018 and now concentrates on personal work, workshops, books and teaching videos. You can learn more from Damien on his YouTube channel at www.youtube.com/c/ LovegroveTraining and follow on Instagram @damienlovegrove. www.lovegrove photography.com

Textured gloss painted backgrounds like this garage door make an excellent setting for a monochrome location portrait

PHOTOGRAPHER Damien Lovegrove has much experience when it comes to shooting portraits in the studio, however it is when he is out and about on location that he feels most inspired. ‘The world is my studio!’ he jokes. ‘I’d rather be out in the real world, and photography has given me the opportunity to do that.’

Damien is an advocate of the black & white medium and explains why. ‘I find it really useful for making punchy pictures,’ he states. ‘But I also like the opportunity to remove distractions and to simplify the picture. It’s one step closer to art in a lot of people’s eyes. That can be useful when you want a picture to be considered a piece of art as opposed to a record of a scene. We see the world in colour, and so black & white is a big distortion, but because black & white photography has existed for so long we have accepted it. We think it looks natural.’

For the previous five years Damien has been shooting on a

medium format Fujifilm GFX 50S II although he states what camera you use is irrelevant. ‘A good lens is more important than your camera; however even more important than that is your eye.’

Simplicity is the key

In his kit bag Damien likes to keep things simple. ‘I have a short telephoto and a wide angle,’ he says. ‘I need those

two lenses and they are equally important. Some of my work is placing the person in the environment, so I use my wider lens to reveal the narrative,’ he continues. ‘But then to focus on the beauty in more intimate pictures I use my short telephoto lens.’ He explains that with his short telephoto lens he is able to capture more flattering facial features.

When it comes to choosing

Look for elements in a scene such as these hot air vents in an urban environment to make your monochrome portraits pop

the right locations for his monochrome portraits Damien is full of sound advice. Take for example his image of the girl in front of the textured chevron doors. ‘Black glossy paint on a surface looks great,’ he says.

Damien carries on to describe how the gloss paint flicks back the flash to the camera to create the intense effect. ‘You have to get the camera down quite low so the hotspot of the flash is directly behind the person. And that’s partly the reason for the central position of the model in this image.’

Damien has further advice when it comes to finding locations and advises in the urban environment to hunt around the back of modern office buildings for elements in the scene such as air vents. ‘This type of location is great because first it is not monitored with CCTV, so you’re not seen as a security risk, and there is no one around to get in the way.’

In his image of the man resting his head against the vents Damien confesses to not having

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Damien’s top tips 1

Take portraits for yourself. If you like them, that’s all that matters. Damien only shoots images for himself now.

2

Planning pays off. Explore and find locations before your shoot. Keep the GPS switched on when snapping recce images (do these on your phone) to easily locate locations again.

3

Keep it simple and your bag light. Damien switches between two lenses – a wide and tight angle and that’s it.

Left:This image was taken at the edge of a wood where a gap in the trees created the perfect natural light Below: Damien rearranged the hay bales in the scene to create a more pleasing composition what he would call the ideal light conditions. ‘The light is coming up predominantly from the ground and normally that’s a real no-no because it makes people look scary, but here it feels right. So just bear in mind that sometimes the rules are there to be broken!’

Although Damien is highly experienced when it comes to shooting with artificial lighting, he states that you don’t need to have lots of fancy kit in order to get great results. In his close-up portrait of the girl he tells us that it was taken on the edge of a woodland. ‘When you get to the edge of the woods, you get this lovely horizontal letterbox of light,’ he reveals. ‘In this picture, there was a small clearing where one tree had collapsed and left a hole in the canopy. That clearing just gives a little bit of light at the back. This style of light is available in the real world – you’ve just got to know what to look for.’ www.amateurphotographer.co.uk

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Photo Stories

Silver still life

Peter Eleveld gave up a commercial studio in London to concentrate on perfecting the wet-plate collodion process. Benedict Brain finds out more

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utch photographer Peter Eleveld was first seduced by the magic of the wet-plate collodion process in 2015. He was stuck in an artistic slump after years of managing a photo studio for Amazon in the UK and was searching for something new to revitalise his creative spirit after returning to the Netherlands.

It was while viewing a creative show on the outdoors that Peter first became aware of and entranced by the wet-plate collodion process.

There was a segment in the show that revealed the magical world of mobile darkrooms, large, unwieldy wooden plate cameras, and the alchemy of the collodion process. This process could, it seemed, be the perfect antidote to the sterile digital world which had stifled his art.

‘I felt the need to return to the roots of photography,’ explains Peter. ‘I was immediately seduced by the wet-plate collodion process. I loved the idea that you never know exactly what’s going to happen, and the unexpected variables that are very hard to control were a refreshing alternative to the predictability of studio-based digital photography. The wet-plate collodion process has a really special look, especially if you can find the right kind of objects to photograph.

The intensity of the silver creates a beautiful richness with a lovely depth.’

He adds, ‘The process did lift me up again – it is such a great process, although sometimes it can also be disappointing.’

The wet-plate collodion process is not for the faint-hearted, though, and it took Peter a year or so to gather all the necessary equipment, tools and chemicals, and to learn a whole new set of processes and skills.

‘First, I needed a large-format camera,’ he explains. ‘I tend to use an old wooden 18x18cm camera, and I had to adapt cassettes to hold the glass plates. Finding the right lens is important, too. I like the characteristics of the old Petzval lenses, although an old projection lens is a good, cheap way to get started. You also need to take a darkroom with you and this is usually in a tent – which can attract attention from passers-by and even the police.’

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for his wet-plate work. Peter advises that daylight is really the best light source as the process works well with ultraviolet light, but he will also use LED lights when natural light is scarce, especially in the winter.

The process itself is delicate, fiddly, expensive and frustrating. However, when it comes together and works, the results can be simply stunning and worth all the effort. Peter explains a little about the process. ‘First, you take the glass plate and hold it in your fingers, you throw the collodion on in the middle and move the plate slowly to create an even coat on the glass. The bigger the plate, the harder it becomes.

‘Other ingredients can be added to the collodion, such as ethanol, ether, cadmium bromide and ammonium iodide – I have different recipes for different effects. Once coated with collodion, you dip the plate into a silver-nitrate bath for 3-4 minutes, and this settles into the collodion. This is all done in the red darkroom light. After removing the plate and letting the excess silver nitrate drip off, it is ready to be loaded into the cassette while still wet. It’s very important to ensure your camera is set up, composed, lit and focused. You then remove the darkslide, remove the lens cap and start making the exposure, which is somewhere between 30 to 60 seconds. Remove the plate and in the dark use the developer to process the image in much the same way as you coated the plate with collodion. This is the magical part of the process. Stop the developing with water using your judgement, then fix in a regular tray, wash for 20 minutes and air dry.

You also need to be very mindful that silver nitrate is dangerous and will stain everything.

But once you have everything in order, it is a very rewarding process.’

Choosing the right subject matter is vital, and Peter has gravitated towards still life. At first, he thought subjects such as sunflowers would be ideal, but he soon realised the process didn’t take well to rendering yellows and greens. Other surfaces such as glass and metal can render beautifully. ‘I am always on the lookout for objects,’ says Peter. ‘I often don’t really know exactly what I am looking for. I just wait for a feeling and connection with an object that I intuitively sense will work with the process.’ www.amateurphotographer.co.uk

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Peter Eleveld

Netherlands-based photographer and artist Peter Eleveld has been working in the professional photography industry for many years, with both film and digital photography. Now he works exclusively with the wet-plate collodion process using large wooden cameras and concentrating mainly on still life. In 2021, Peter won the still-life category of the Sony World Photo Awards. Visit eleveld.net/blog

Clockwise from top left: Hydrangea, Money Plant, Just Hogweed, Black Tulips, Glass in Glass

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Photo Stories

Sentient creatures Photographer Fie Johansen spent two years photographing animals at Copenhagen Zoo. Amy Davies discovers more about these beautiful monochrome results

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eautiful. Extraordinary. Different. All words that can easily be applied to the images found in All The Things You Are, a series of images that has recently been published as a book by Danish photographer Fie Johansen.

The collection aims to reflect on who we are – as humans – by taking a closer look at other species. Fie attempts to show that these are sensitive and sentient beings, aware of their surroundings and able to feel just as we might do.

Starting on somewhat of a whim – as many excellent photography projects do – a two-year period of photographing at Copenhagen Zoo started when Fie needed somewhere to test out her new camera. That choice might not necessarily be what most would immediately land on when searching for a suitable camera for wildlife either.

She explains, ‘In 2018, I came across a review of the Leica TL2. The pictures showed a fun, retro-looking and minimalistic camera – something NASA might have thought up. I went to the Leica store to try it out – since it’s so close to Copenhagen Zoo, I thought I’d go there to test it out.

‘Having mixed feelings about restrained animals, it was my first visit to the zoo in 20 years. The camera turned out to be an inspiration, and so was Copenhagen Zoo where much had changed since my last visit.

A new elephant house had been designed by Sir Norman Foster, and the lighting there was extraordinary. Covered by an impressively large dome, the space where elephants wandered about was lit by the sky, creating a constant change in light. The patterns falling upon the animals were so magnificent that I felt like I wanted to go and live there.’

Swapping her Leica M9 for the TL2 (mounted with the Leica M-Adapter to allow her to use her existing M-series lenses), Fie regularly visited the zoo over the next couple of years to create her images. Over that time, she estimates she took around 9,000 images, with just 71 making the cut.

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Fie didn’t work strictly, however, without checklists or structures. ‘I worked alone, intuitively, with the belief and hope that I had chosen the right time and the right place for special moments to reveal themselves.’

A good selection of lenses was used throughout the project. As the Leica TL2 uses an APS-C sensor, the crop factor gave her extra reach with her full-frame M-series lenses. The kit bag included the Leica Macro-Elmar-M 90mm f/4 (135mm equivalent) and the Leica Elmar-R 180mm f/4 with a Novoflex adapter (270mm equivalent).

Manual-focus lenses such as these are probably not the first choice for the average animal photographer. As such, she also used a couple of TL lenses in order to capture speedy moments. Those included the APO-Macro-Elmarit TL 60mm f/2.8 and the APO-Vario-Elmar-TL 55-135mm f/3.5-4.5 lenses (90mm and c80-200mm equivalent).

It’s also fairly unusual to select monochrome for pictures of animals. Vibrant colours, textures and patterns are what characterises many of them. But for Fie, black & white allows the true character to come to the fore without distraction. She considers the digital darkroom to be akin to the traditional one. ‘My intention with the photographs is to show files pretty much as they are – without other manipulation other than converting them, just as I would have done had I made them as prints in my analogue darkroom.’ To meet her aims and shoot with intentionality, Fie also sets her camera to display the preview image on the screen and through the EVF in black & white.

Zoos are a much more accessible place to photograph animals for the vast majority of us. But much of the technique for capturing great shots is similar to if you were out in the wild. Fie’s advice is, ‘Be patient, work and move quietly and with respect for your subject. Take the time to observe and feel connected to your subject. Be comfortable – don’t carry a lot of heavy and clanging gear, work alone and concentrate.’ www.amateurphotographer.co.uk

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Fie Johansen

Prizewinning photographer Fie Johansen is considered one of the pioneers of digital photography and printing in Denmark. She is also known for her analogue work with non-silver and historic printing processes. She has been exhibited internationally. Visit fiejohansen.com

Clockwise from top left: Sclater’s crowned pigeon; Asian elephant; Southern white rhinocerous; Hamadryas baboon; Reticulated giraffe

All The Things You Are is available to buy now.

Published by Kehrer Verlag.

ISBN: 9783969000403. www.amateurphotographer.co.uk

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Technique Tony Sellen

Award-winning photographer Tony Sellen is passionate about fine art, long exposures and London, the city he calls home. He loves to travel, capturing architecture, seascapes, landscapes and street images. Tony runs 1:2:1 workshops, licenses images and accepts commissions. To find out more visit www.londonfineartphotography.co.uk

The

shape of the city Buildings are designed for people, so including a human element in your pictures can help you to tell a story. Tony Sellen talks to Tracy Calder about his skilful black & white technique

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KIT LIST

‘I would go months without touching the camera, but then I’d learn something new every time I did pick it up,’ he recalls. To hone his skills, he took up bird photography, experimenting with depth of field to get ‘a nice, blurry background’, before deciding to attend a workshop focusing on long exposures. ‘At first I didn’t really understand what long exposures were or how to use them, and I couldn’t get my head around the maths,’ he recalls, ‘but

Prime lenses

Prime lenses force you to work harder when it comes to composition, but the results are worth it. Tony will sometimes shoot with a 24-70mm zoom and return later with one of his favourite primes such as the Zeiss Makro-Planar T* 50mm ZF.2.

doing the workshop made me realise that you don’t really need to know that much!’

Find a style

Capturing wildlife remains a great passion for Tony and he believes that if he’d picked up a camera earlier (or lived ‘in the middle of nowhere’) he might have made it his focus. But living in London he felt his options were limited. ‘What was I going to shoot? An urban fox, a sparrow, some

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hen Tony Sellen walks into a building, his brain perceives a mix of lines, shapes, light and shadow. ‘Everything is a picture to me,’ he reveals. ‘When I walk into a hotel lobby, I notice the design and the thought process behind the seating arrangement.’ But it hasn’t always been that way. In fact, Tony only decided to take his photography seriously in 2014; before then it was more of an on/off hobby.

Nikon D810

The Nikon D810 is Tony’s main camera. When you’re shooting in low-light conditions, you need a camera that handles noise well – the D810 has an ISO range of 64-12,800, which makes it ideal.

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pigeons,’ he laughs. Once he’d accepted that his love for nature needed to be satisfied outside the city, he was free to concentrate on what was on his doorstep.

‘I realised I could get some nice long exposures of the Thames, and I started to enjoy photographing buildings too,’ he recalls. ‘The more I looked the more I noticed little details in the architecture.’ At this point Tony started to develop a personal style. ‘The creative process

Above: Corkscrew

Nikon D810, 18mm, 1/250sec at f/6.3, ISO 100 Above right: Only God Knows

Nikon Df, 35mm, 1/60sec at f/6.3, ISO 800

Right: Walk the Line

Nikon D810, 20mm, 1/200sec at f/3.5, ISO 1000

Nik Silver Efex

When it comes to black & white, using the desaturation tool to remove colour isn’t enough. Tony likes to use Nik Silver Efex due to its unique algorithms and advanced tools and controls. www.amateurphotographer.co.uk

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Technique The Unknown

Nikon D810, 24mm, 1/1000sec at f/3.5, ISO 400

began, and the compositions started to fall into place,’ he recalls. Looking at his geometric street compositions I can’t help wondering if he has a background in maths. ‘No,’ he laughs. ‘Although I do work as an engineer for London Underground, so who knows? I guess people are wired in different ways – some people notice details like lines and shapes, while others don’t. I think it’s something that’s always been in me and photography has just brought it out.’

Celebrate black & white

While there is a smattering of colour in Tony’s portfolio, you have to dig deep to find it. ‘It’s always black & white, unless it’s not,’ he laughs. ‘Having a style is important to me and I don’t think there’s any place for colour photography in the style that I’ve found.’ While Tony has nothing against colour – and he believes it will always be more popular on social media – he feels somewhat frustrated by the ongoing trend for highly saturated images.

‘People see the colour and nothing else,’ he suggests. ‘It annoys me because it’s often

“fake” colour achieved by pushing the saturation up. It feels like the photographer is trying to trick the viewer into believing that’s what something really looked like.’

For Tony, black & white is ideal for emphasising the sleek lines, polished glass and reflective steel that he finds himself attracted to. ‘You get that nice silvery finish on some of them,’ he explains. Naturally, the architectural landscape of London is always changing, providing Tony with limitless material. Personally, I love the juxtaposition between old and new, but shooting a small Victorian pub next to a looming glass skyscraper is always going to be challenging. ‘I love old London,’ agrees Tony. ‘I wish there was more of it, but modern buildings are generally better suited to my style of photography.’

Pick a day

Prior to the pandemic, which Tony admits has made him ‘a bit lazy’, the photographer was almost exclusively shooting with prime lenses. ‘They’re much more challenging because you have to really think about composition, where you stand etc,’ he says,

‘but the results I get with some of my Zeiss primes makes it worthwhile – the contrast is amazing.’ As a compromise, Tony will sometimes head out with his Nikon D810 and 24-70mm lens and if he finds something he likes he will return later and reshoot with one of his primes. Looking at the level of precision in his work, I’m keen to know how much pre-shoot planning he does. ‘A lot of the time I just decide what day I want to go out, check the weather and then decide what I’m going to shoot,’ he explains. ‘If it’s a bright, blue-sky day I might take my infrared camera (a converted Sony A7R); if it’s a nice day with fast-moving clouds I might take my filters and shoot some long exposures; and if it’s an in-between day I might shoot some street stuff.’ Tony’s ‘pick the day and work with what you get’ approach is refreshing.

Tell a story

Looking at Tony’s geometric street work, I’m struck by the way he uses human figures to add a sense of scale, drama and occasionally humour. ‘Architecture is designed for people to use, so sometimes

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Tony’s top tips Be courteous

Tony rarely gets stopped by security, but if he does he remains polite – if you get defensive and start telling people your rights, it rarely ends well.

Sometimes they will say you need a permit, in which case simply ask where you can get one from!

Pick a day

Don’t let the weather dictate when you go out – pick a day, check the conditions and then decide what to shoot. If it’s a bright, blue-sky day then consider infrared, if there are fast-moving clouds, then try experimenting with filters and long exposures. Work with what you get given.

Accept human behaviour

Including people in the frame requires patience. If your camera is on a tripod, people will often avoid walking in front of the camera out of politeness! On the flip side, sometimes people will act up in front of the camera – it’s all part of the process.

Look around you

Tony enjoys photographing wildlife but living in London he finds his options are limited. Sometimes you’re better off concentrating on what’s directly around you – in this case, architecture. The more you look, the more you’ll start noticing details.

Tell a story Foggy Faith

Nikon D600, 50mm lens, 1/80sec at f/5.6, ISO 200 it’s nice to include a human element,’ he says. Generally speaking, he’s not a big fan of the standard street photography that fills many social media feeds. ‘I just can’t relate to it,’ he admits, ‘Reflections in coffee shop windows, wet pavements etc – people say it tells a story, but does it?’ To make things more interesting, he concentrates on a building first and then considers whether or not a human presence adds anything to the story. ‘Most of the time the picture will work without the person, but sometimes they add something special,’ he explains. But waiting for the right person to come along can be frustrating. ‘Often you’re just looking and hoping that they won’t see you or pay you any attention,’ he says.

‘You have to be patient.’ The figures are so perfectly placed that I can’t help wondering if they’ve been directed. ‘No, no,’ says Tony. ‘I’m quite a shy person and I wouldn’t do that. They are all candid pictures. If you’re setting things up, asking someone to behave in a certain way, then it’s not street photography for me, it’s just a staged image.’ www.amateurphotographer.co.uk

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Notice how people interact with the architecture around them and try to tell a story. Buildings are designed for people to use, so it can help to include a human element – doing so can provide a sense of scale.

Re-Lamp

Nikon D810, 105mm, 1/400sec at f/8, ISO 64

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Technique

INFRARED

David Clapp

Landscape photographer David Clapp is an infrared nut and has been shooting in the medium for the past 12 years. David is renowned in the photography industry for his landscape images that cover locations from Dartmoor in the UK to Death Valley in California, USA. After having a break from travelling and running his workshops due to the pandemic, David is now back in action. Find out more at www.davidclapp.co.uk

Infrared the right way David Clapp shares the key techniques behind his dramatic black & white infrared scenes with Claire Gillo

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hen David Clapp answers a question he first has to explain a whole load of other things before his answer can make any sense. His knowledge of infrared photography is so in-depth that we would need the entire magazine to explain everything he discussed during his interview!

To quiz David about monochrome infrared photography, we met on Slapton Sands in Devon on a cold and overcast grey day in January. Unlike many photographers I interview, David lives just around the corner so as a rare treat we got to discuss this topic face to face rather than over the phone or via Zoom. His enthusiasm for infrared photography is inspiring and has made me want to explore the medium further. ‘It’s a very imaginative

and imagination-fuelled way of translating the world,’ he states.

To begin we talk about the basics of what infrared is. ‘In a nutshell,’ he starts, ‘the visible spectrum (i.e. the light we can see with our eyes) is from 350nm to 700nm.

Ultraviolet light is at 350nm and then fades into violet. Red light is at 700nm and then fades into infrared. So there’s this area around 700 – it’s not exact – it’s a blend of the colour red going into infrared. When you buy a filter and screw it on to your lens, it’s called a high-pass filter. The standard infrared filter is at 720nm and will allow any light past 720nm to go through.’

Marvellous mirrorless

David explains that there are three ways to produce an infrared image. The first is to simulate the effect in an image-editing

The infrared effect in black & white photography can sometimes be subtle yet still effective, as in this example taken on the Cornish coastline 8 secs at f/11, ISO 100 program (good for beginners wanting to experiment with the effect), the second is to shoot using a high-pass filter (good for those on a budget), and the third and by far the most popular with those wanting to take IR seriously, is to invest in a converted infrared camera.

Being a complete novice when it comes to the technical aspects of IR cameras I first got David to explain to me about his camera set-up and the advantages of having a full-spectrum camera on a 54 www.amateurphotographer.co.uk

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KIT LIST

Camera

David has upgraded from his previous Canon EOS 6D with a 665 nanometer conversion (this mixes the visible red spectrum to the infrared spectrum) to his mirrorless Canon EOS RP with a full-spectrum set-up.

A full-spectrum camera conversion is an adaptation where the internal IR cut filter is taken out, and replaced with a clear filter.

This in turn makes the camera sensitive to UV, visible, and IR light.

Adapter RF to EF

David has a Canon Drop-In Filter Mount Adapter EF-EOS R that means he can shoot on his Canon EOS RP using his EF lenses. This adapter has a drop-in filter slot as well.

Filters

David uses a 590nm filter and a 665nm filter made by Kolari Vision (kolarivision. com). These filters work using a slot into the special RF/ EF adapter (mentioned above). David also has a special clip-in ‘visible spectrum’ filter that blocks UV and IR light and brings his camera back to the visible light spectrum when he wants to take non-IR images.

Lenses

mirrorless system. David got his converted Canon EOS RP camera from an American company called Kolarvision and it can shoot anywhere on the light spectrum from ultraviolet right the way through to infrared depending on what filters he puts in place. Before this David was doing all of his IR photography on a Canon EOS 6D with a 665nm conversion which was far more restrictive. This new set-up means he has a lot more flexibility and can be even more experimental. www.amateurphotographer.co.uk

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The other massive advantage of using a mirrorless system is the camera still focuses correctly with the AF setting. ‘The mirrorless infrared world is so much sharper than the mirrored (i.e. a DSLR) infrared world,’ David reckons. ‘The AF setting is tack-sharp on my Canon EOS RP because it uses the sensor to focus, creating a far better result.’ Really when it comes down to it, if you want to pursue infrared photography on a professional level invest in a mirrorless camera system.’

Above: The Taj Mahal in India gleams in the infrared effect

Canon EOS 6D, Canon EF 24-70mm f/4L IS USM, 1/125 sec at f/8, ISO 1600

Through trial and error David has worked out which lenses are susceptible to hot spots and which are not. Hot spots are a common problem in IR photography where an area of the image has a glowing white spot caused by a technical lens flaw. David’s go-to lenses for IR photography are his Canon EF 16-35mm f/4L IS USM, Canon EF 24-70mm f/4 IS USM and his Canon EF 100-400mm f/4.5-5.6L IS II USM. 55

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Technique

INFRARED

This image was taken at Vixen Tor on Dartmoor.

The IR effect enhances the grass and tree leaves

1/45sec at f/16, ISO 400

A house in Ponsworthy, Dartmoor, is the perfect subject for a monochrome IR image. The green foliage around shines in the light

1/60sec at f/8, ISO 100

Which subjects work best

When it comes to selecting the best subjects for black & white IR, David says there aren’t limitations. ‘There are the obvious subjects such as green foliage and some landscape settings that work well; however I’m a great believer in pushing the boundaries and being experimental. I really got into photographing London this year in infrared,’ he enthuses, ‘and I started doing a project on the coast down at Land’s End in Cornwall.’

He brings up a picture on his laptop and explains how the coastline is a great location because it enhances elements like the grassy patches and trees on the land but it also makes everything look more dramatic. In this type of setting there is a

subtlety to the IR effect that is not overwhelming however it also no doubt also enhances. ‘The effect has this inky darkroom look to it,’ he says, and continues, ‘The sea cliffs look like charcoal, meaning they have this really unusual sort of render to them. It’s so much more interesting than just making a monochrome colour image.’

We continue talking about this image for a while and then David adds, ‘If you think about the fact that if you take anything that’s grass and you make it monochrome in a colour spectrum, it comes out mid-tone grey. And if you take anything that’s got grass in it and put it into an infrared spectrum, it comes out white. So suddenly you have lots of highlights where you

would have mid-tones and that’s a really important factor because to be successful at infrared you have to be able to translate what you’re looking at into that medium, and that’s where the difficulty is. The ability to pre-visualise what is happening around you before you even take the camera out is what will make you successful.’

When questioned about what’s the best light to shoot IR monochrome in, David

DAVID CLAPP’S TIPS FOR SUPERB INFRARED IMAGES

Learn to see in infrared

‘Infrared is a translatory medium and you need to learn to see in it to become better at capturing it.’ A good way to help you to achieve this is to set your monochrome picture style to black & white on your camera, as David does.

Experiment and surprise yourself

David says, ‘You’ll think you’ve got it sussed out and you’ll think that you’ve got specific subjects that will or will not work; however don’t be presumptuous and keep experimenting with everything.’

Explore urban environments ‘The city is a great place to explore and is an alternative take on IR monochrome,’ David says. ‘The IR effect provides a different look to standard monochrome images. I’ll often tandem shoot two cameras together in different effects to see what works.’

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highlights that the dull grey overcast day we had on the day of his interview would be perfect. ‘When you go and photograph something that is IR in monochrome you can turn really average conditions into extremely interesting pictures. It keeps me creative more often than if I were hankering after light either end of the day. You can be creative all day,’ he exclaims. ‘It’s not seasonal dependent, it’s not light dependent

Take your polariser

‘Infrared and polarisers work really well together,’ David states. ‘It looks really interesting. Clouds and skies become much more defined and infrared than they do in colour.’ Find the perfect conditions, as with David’s Dartmoor capture here. www.amateurphotographer.co.uk

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At the end of the interview we discuss editing techniques and how he manages to achieve that punchy and detailed look that his monochrome infrared images are famous

for. ‘Originally I had to process all my IR images in Capture One but I can now use lightroom as I have created a profile especially for my camera. With my monochrome IR images after I’ve finished my shoot I simply upload my images into Lightroom. Then it’s just a case of carefully balancing the tones to make it look good. It’s the basic things like getting the blacks and whites and exposure correct.’

The reds are important

Crank up the ISO

although it does look good in directional light but it doesn’t rely on any colour. If you took an image half an hour before sunset and at sunset they would look the same.’

The final process

When using your histogram David advises to ensure you look at the individual colour channels as it’s very easy to clip the reds. ‘In IR photography the histograms are very heavily biased to the red channel. Always watch your histogram in three colour mode.’

For those shooting on a converted camera David advises not to be afraid of pushing up the ISO and shooting handheld. ‘People think you need a tripod but you don’t. You can be far quicker and more creative without the use of a tripod.’

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Technique

Black & white

tools you can trust Photoshop CC, DxO FilmPack and Silver Efex are all great for mono – James Paterson shows the strengths of each

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hen it comes to converting your images to black & white, there are some excellent image-editing options out there. Over the next few pages we’ll explore the key features of three of the best black & white editors – here we’ll look at Photoshop, then delve into DxO FilmPack 6 and Silver Efex (formerly Silver Efex Pro).

As the best all-round image-editor, Photoshop has a depth of features that no other program can match. For black &

BEFORE

white conversions alone there are at least six methods (Camera Raw B&W Panel, Black and White Layer, Desaturate command, Gradient Map Adjustment, Channel Mixer, and LAB Color technique).

But this raft of options doesn’t necessarily translate to superior black & white conversions. Where Photoshop really brings benefit to the black & white photographer is in the unique degree of control it gives you over the final image.

This is down to two main things. Firstly, Photoshop’s brush-based tools and

selection features are the best there is, so local adjustments that let you enhance different areas of the image can be made with precision. Whether you want to lighten your subject, darken their surroundings or add contrast to parts of the frame, these can easily be done. Secondly, every edit you make can be carried out on a separate Photoshop layer or Adjustment Layer. This non-destructive workflow not only lets you tone things down or increase the strength of an effect but also gives you the freedom to experiment and take your

2 Experiment with profiles

3 Boost contrast with Curves

USING PHOTOSHOP

1 Open in Camera Raw

Photoshop’s Camera Raw and Lightroom both offer identical black & white tools. These are the best tools for converting to mono in Photoshop. Open the image into Camera Raw then click the B&W button in the Basic Panel to begin the conversion process.

If you want quick and easy black & white treatments then try using Profiles. These one-click effects can transform your image in seconds, and also make for useful starting points for further edits. Go to the Profile Browser in Camera Raw/Lightroom and try out the range of black & white profiles.

Go to the Tone Curve panel and plot three points along the diagonal curve line then drag them to make a shallow S-shape. The top point controls the highlights, the bottom point sets the depth of the shadows, and the midpoint controls the midtone brightness.

The more pronounced the S-shape, the greater the contrast.

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Top tip

Fine-tune with B&W Mixer panel Even though we’re removing the colour, it can still play a vital role in the look of our monochrome image. The Black and White Mixer panel has eight sliders that let you control the brightness of different colour ranges. We can use these to, for example, darken down the blues to make a sky more dramatic, or lift reds and oranges to make skin tones brighter. You can use the sliders but it’s easier to grab the target tool and then drag left/right over parts of the image. Not only is this more intuitive, it also allows you to affect several sliders at once, which leads to more-naturallooking shifts in brightness.

AFTER

4 Burn the shadows

Open the image into Photoshop for dodging and burning, then duplicate your layer with Cmd/Ctrl+J. The Dodge and Burn tools let you lighten or darken tones. We begin here with the burn tool. First we set the Range to Shadows or Midtones and strength to 20%, then paint to darken areas of the image. www.amateurphotographer.co.uk

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5 Dodge the highlights

‘Photoshop’s non-destructive workflow gives you the freedom to experiment with different edits’

Next we can switch to the Dodge tool (or hold Alt to temporarily switch) and paint to lighten areas. The Dodge tool works best when the range is set to Midtones or Highlights. Once done, we can check our dodging and burning by toggling the layer on and off, or lower layer opacity to tone it down if we need to.

6 Add local contrast

Adjustment Layers are ideal for making local adjustments. Here we add a Curves layer and plot an S-shaped curve to boost contrast just as in step 3, but then we hit Cmd/Ctrl+I to invert the mask on the curves layer and hide the effect. Now we can paint with white over the image to reveal local contrast changes in the areas that need it.

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Technique

SOFTWARE TUTORIAL

Recreate classic black & white films Get the look of legendary monochrome film stocks in DxO FilmPack 6

AFTER

USING DXO FILMPACK 6

1 Choose a preset

Open FilmPack 6 (or if using Photoshop go to Filter > DxO > FilmPack 6) then begin by choosing a film stock from the list on the right. You can filter the 84 films on offer to view the various black & white choices. As well as film stocks, you’ll also find several image effects such as ‘old postcard’ and ‘new selenium’.

2 Find out about the film

When you choose a particular film stock an info box will pop up that explains when the film was first produced, when (or if) it was discontinued and what the characteristics of the film are. We’ve chosen the classic Kodak Tri-X 400 here, used ‘by the great reporters of the 1960s and 1970s’.

3 Fine-tune the grain

You can fine-tune the characteristics of your chosen film stock in the Modify workspace. A film intensity slider lets you tweak the overall strength of the effect, and grain settings below allow you to add more or less, or choose between different formats like 35mm, medium or large format – each of which has its own specific grain.

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BEFORE

Top tip

Time Machine titbits

IT’S SOMETIMES said that digital photography struggles to capture the ‘feel’ of black & white film. While it might be impossible to recreate the feeling of being in a darkroom – the smells, the red glow of the safelight, the magic of the chemical process – the actual look of black & white film isn’t unattainable, and there isn’t some sort of inherent flaw in the digital image that prevents you from making great black & white photos.

The ‘feel’ of black & white film can be broken down into distinct characteristics like contrast, tone, grain, and dynamic range. These characteristics can be analysed, quantified and recreated in digital images. This is exactly what happens in DxO FilmPack 6.

FilmPack 6 is a film simulator that

4 Control micro contrast

In days gone by black & white was the only option, but these days we make a conscious choice to remove the colour. Why do we make that choice?

Perhaps because it connects the image to a rich photographic heritage. FilmPack 6 gives us an intriguing look into this heritage with its unusual Time Machine feature. This lets you filter the different film stocks by the decade in which they were first released, so you can, for example, look at films from the 1950s like Ilford HPS 800, or the 1970s like Polaroid 672 here. Each decade also brings up a set of classic photos – of public figures, street scenes, famous portraits and landscapes – and offers insights into how the image was created, its place in history and the film used to capture it. gives you 84 analogue film looks to play with. Amongst the 38 black & white films on offer are classics such as Kodak Tri-X, Fujifilm Neopan and Ilford FP4 Plus. DxO has a deserved reputation for image quality – its PhotoLab application offers unrivalled automatic noise-correcting and lens-correcting tools – and this same attention to detail is carried through to FilmPack. Each of the film effects has been carefully calibrated through in-depth analysis and lab tests of the film stocks on which they are based, with particular attention paid to the grain, dynamic range and contrast of each classic film.

FilmPack costs £129, and it works as either a standalone app or as a plug-in for Lightroom, Photoshop, Capture One or DxO’s own PhotoLab.

A set of tonal sliders let you adjust the exposure and add more or less contrast. The Micro Contrast and Fine Contrast sliders can be useful for defining details like the clouds here. Heavy use of these can detract from the overall feel of the film stock and result in an image that looks over-processed, so use a light touch. www.amateurphotographer.co.uk

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5 Try a border

‘Each of the film effects has been carefully calibrated, through lab tests of the film stocks they are based on’

If you like you can finish off your image with a border effect. There are 35 to choose from, ranging from simple black borders or white keylines to atmospheric old glass or paper edges. These can be great if you want to complement a classic film stock with a vintage effect.

6 Add a vignette

The vignette controls in FilmPack 6 are excellent. We can add a vignette to darken down the corners of the frame (which works especially well for symmetrical compositions like this one here) then adjust the centre point and sizing. There’s also an option to blur the corners to mimic the edge softness of old lenses.

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Technique

SOFTWARE TUTORIAL

Convert to mono like a pro Get to grips with Silver Efex for beautifully balanced black & white effects

AFTER

USING SILVER EFEX

1 Try a preset

Drag an image into Silver Efex to begin editing, or if in Photoshop you can open via Filter>Nik Collection>Silver Efex. The simplest place to begin is the presets panel at top left.

This gives you a range of effects to try out, from classic black & white treatments to old analogue processes and vintage colour tints.

2 Adjust dynamic brightness 3 Boost the structure We chose the Full Dynamic (smooth) preset here in the ‘Modern’ set. Next we can use the sliders to the right to fine-tune the look of our mono conversion. The Global Adjustments panel lets us make typical changes to brightness, highlight detail and so on. The Dynamic Brightness slider here gives us a welcome boost.

The contrast and structure controls in Silver Efex are second to none. Increasing Highlights Structure here lets us pull detail out of the clouds without making them look over-processed, while the Midtone structure slider lets us add contrast to the midtones, which gives the image a bit of extra crunch.

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03/03/2022 17:10

BEFORE

Top tip

The power of vignettes

SILVER Efex Pro (now known as Silver Efex) has long been the tool of choice for monochrome lovers, and with good reason. If you’re after a program that’s dedicated entirely to black & white photography, it’s the best you can get. You get a wide array of presets, brilliant contrast control, a variety of film stock presets and the ability to make precise local adjustments with Silver Efex’s intuitive control point system.

As such there’s plenty of depth to this black & white plug-in. But more than this, the best thing about Silver Efex is how it just seems to come up with the goods time and again.

Whenever we edit our images there are inevitably umpteen decisions and judgements we need to make – should this slider be set to 10 or 20? Should I

4 Try the film stocks

boost the contrast a touch? Should I add more grain? And so on. With Silver Efex these judgement calls just seem to be a little easier than with other editors. Perhaps it’s the strength of the presets, which often take your image a long way straight off the bat.

Having a solid starting point ensures that, while you might go on to try out different effects, tonal settings, colour tinting and so on, the end results are almost always pleasing.

Silver Efex comes as part of the Nik Collection by DxO, so you can also make use of the other included software plug-ins such as Analog Efex for vintage treatments, HDR Efex for high dynamic range images and Perspective Efex for perspective corrections. The set costs £135 and there’s a free 30-day trial.

Scroll down the list of settings on the right and you’ll find a set of film stock presets.

Based on classic film stocks similar to those in FilmPack 6 (DxO produces both FilmPack and Silver Efex), these film effects apply differing amounts of grain, contrast and dynamic range to your black & white image. www.amateurphotographer.co.uk

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5 Use Control Points

When editing monochrome images we can push our edits further than we perhaps would with colour photos. They can withstand heavier lightening and darkening without looking too over-processed. Of course, this is only helpful if we have a clear idea of the best places to lighten and darken. The viewer’s eye is naturally drawn to the lightest parts of an image first, and away from darker areas. This is why one of the simplest monochrome local adjustments – a vignette – is so effective, as by darkening the corners of the frame we can draw the eye into the image. Silver Efex offers a handy set of vignette presets like the Lens Falloff 2 effect used here. We can open up the settings to further fine-tune the brightness and spread of our vignettes.

‘If you’re after a program that’s dedicated entirely to black & white photography, it’s the best you can get’

The Control Points feature lets you make local adjustments to areas of the image. Unlike brush-based adjustments, these work by automatically locking on to details within an area defined by a simple circle. We can then go on to alter the tones using the sliders on the right. Here it lets us brighten the figure.

6 Try colour filters

As anyone who has used lens-mounted colour filters with black & white film will know, different colours will filter out different wavelengths of light, resulting in brighter or darker colours. The Color Filter options in Silver Efex let you mimic this effect. Here the red filter lifts the subject’s clothes.

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COMPETITION

Amateur Photograp her of

Your chance to enter the UK’s most prestigious com petition for am

Round two Black & White

Snowy landscapes lend themselves perfectly to the monochrome treatment

For this round, anything goes, as long as it’s black & white. But simply desaturating a colour image isn’t enough, because you need to consider tone, form and light. Is the composition enhanced by the monochrome treatment? Did you ‘see’ the image in black & white when you shot it? Take some time to study the experts of the genre – Michael Kenna, Ragnar Axelsson, Sally Mann, Pentti Sammallahti… the potential for inspiration is almost endless.

Your guest judge

© MURRAY MCMILLAN

Your guest judge for this round is Steve Gosling. Steve’s photographs have been widely published internationally and his fine-art prints have been exhibited in the UK and overseas. He has run workshops for over 20 years, encouraging and inspiring photographers from across the world, and is an ambassador for Gitzo and Permajet inkjet papers as well as being a LEE Filters Master. Visit www.stevegoslingphotography.co.uk.

Plan your APOY 2022 year Below is a list of all this year’s rounds, including when they open, when they close and the dates the results will be announced in AP.

OPENS PHOTOCROWD

OPENS AP

CLOSES

RESULTS

Low light

08 Feb

15 Feb

04 Mar

AP 12 April

Black & white

05 Mar

15 Mar

25 Mar

AP 10 May

Travel

26 Mar

12 Apr

22 Apr

AP 7 Jun

Landscapes

23 Apr

10 May

20 May

AP 5 Jul

Best of British 21 May

7 Jun

17 Jun

AP 2 Aug

Close-ups

18 Jun

5 Jul

15 Jul

AP 30 Aug

People

16 Jul

2 Aug

12 Aug

27 Sep

Wildlife

13 Aug

30 Aug

09 Sep

25 Oct

Street

10 Sep

27 Sep

07 Oct

22 Nov

Sport & Action 08 Oct

25 Oct

04 Nov

20 Dec

YOUR FREE ENTRY CODE Enter the code below via Photocrowd to get one free entry to Round two – Black & White

APOY29663242

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To enter visit www.amateurp

© RON TEAR

THEME

ALL ABOUT APOY 2022 The camera club award

Do you belong to a camera club? You can accumulate points for your society when you enter APOY, and after all the ten rounds are complete, the one with the most points will win a voucher for £500 to spend at MPB. The club might want to spend it on gear for use by members, or even run its own in-house competition with the prize going to the most successful photographer. It’s entirely up to the winning group to decide. www.amateurphotographer.co.uk

03/03/2022 16:02

ograp her of the Year

estigious com petition for amateur photographers

£11,000

In association with MPB

of MPB prizes to be won PRIZES WORTH

£900

What you win

Take your pick from MPB’s huge catalogue of used gear

To enter visit www.amateurphotographer.co.uk/apoy2022

2022 The Young POTY award

For the second time, we are adding a Young Photographer of the Year category to APOY, in order to encourage our up-and-coming snappers.

Entrants should be 21 years old or younger by the competition’s final closing date of 4 November 2022. All the categories are the same as for the main competition – simply select the Young APOY option on Photocrowd when you upload your images. This category is free to enter; each category winner receives a £250 voucher, and the overall winner receives a voucher for £500 to spend at MPB. www.amateurphotographer.co.uk

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The winner of each round of APOY 2022 receives a £500 voucher to spend on anything at MPB. For this, you could treat yourself to a Nikon D5600. This small-scale, lightweight DSLR is great for unobtrusive shooting, but doesn’t compromise on quality with its 24MP sensor. The vari-angle LCD screen is extremely useful, too. Pick one up at MPB for £449 in mint condition.

If you’re in the market for a Sony lens, the FE 70-200mm f/2.8 GM OSS is simply outstanding. The 23 elements in 18 group construction gives beautiful bokeh, and the lens is dust- and moisture-resistant. MPB’s stock ranges in price from £1,439 to £1,669, depending on condition.

Another great all-round APS-C DSLR, the Canon EOS 80D features a 24MP sensor, 45-point hybrid AF system and 7fps continuous shooting. This good-value camera can be purchased at MPB for between £404 and £579.

There are second-placed and third-placed voucher prizes of £100 and £50, while the winner of the Youth category wins a voucher for £250.

Simply check out www.mpb.com to take your pick from thousands of items of second-hand gear.

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AP Photo Tours In association with

Quality workshops to top UK and worldwide destinations ● Small groups led by world-leading photographers ● High-quality accommodation, daily activities and lectures ● A tour coordinator from Zoom Photo Tours on every trip ●

Book now!

www.amateurphotographer.co.uk/photo-tours 67 ZoomToursAd Sept25 NA JP.indd 67

14/09/2021 18:19

CELEBRATING THE YEAR’S BEST PRODUCTS

GLOBAL AWARDS 2021-22 visit www.eisa.eu for the winners

EISA is the unique collaboration of 60 member magazines and websites from 29 countries, specialising in all aspects of consumer electronics from mobile devices, home theatre display and audio products, photography, hi-fi and in-car entertainment. This truly international association includes expert members in Australia, India, Canada, the Far East, USA and the wider European community, ensuring the EISA Awards and official logo are your guide to the best in global consumer technology!

TESTED BY THE EXPERTS n WWW.EISA.EU AP_2022_03-15_EISA_FP.indd 1

08/03/2022 13:43

Reader Portfolio Spotlight on readers’ excellent images and how they captured them 1

Bill Duncan, Dundee About Bill Bill is a member of the Photo Forum at Dundee Contemporary Arts.

Favourite subjects I love being outdoors, where I’m drawn to form, texture and tone.

How did you get into photography?

For as long as I can remember I’ve been making and looking at drawings, paintings, prints and photos. Visual art has been a constant in my life.

What do you love about photography?

Mastering techniques can be frustrating and satisfying in equal measure. It’s constantly stimulating.

First camera Aged ten, a 6/11d Diana.

Current kit Nikon D7100, Nikon D90, converted for infrared to 720nm, Nikon and Sigma lenses, Giotto tripod, LEE filters. All my kit is second-hand’.

Favourite lens Sigma 10-20mm F3.5 EX DC HSM. Favourite accessory A £20 pair of gloves with magnets and openings on the forefingers and the thumb.

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Dream purchase A high-quality drone to experiment with.

What software do you use?

Lightroom CC and Silver Efex Pro. How do you find inspiration?

Northern landscapes are my thing. I’m a repeat visitor to Orkney and Iceland.

And I’m lucky to live near amazing mountains, beaches and forests. I love glowering skies and moody weather.

Favourite photographers Don McCullin for the darkness – literal and metaphorical – in his work. Ragnar Axelsson for his bravura approach, which often ignores photo conventions.

Thomas Joshua Cooper.

Favourite tips Get a firm grasp of technical basics by mastering the exposure triangle. Then experiment, take risks and surprise yourself. Engage actively with photo books for inspiration.

Is there a story behind your photos?

All these images were taken on one four-day trip over the Highlands of Southern Iceland in a ‘covid-window’ in July. I had to travel light, and stayed in mountain huts on the Laugavegur trail.

This necessitated a stark decision: taking just one camera and one lens.

See more Instagram @bill.duncan.1253

Sulphur Wave

1 Mount Brennisteinsalda (sulphur wave) rises from the vast lavafields. Ahead, four days of snowfields, river crossings, black sand deserts and the birchwoods of Thorsmork.

Nikon D90 (converted), 18200mm, ISO 1000

3

www.amateurphotographer.co.uk

08/03/2022 14:27

NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

YOUR PICTURES IN PRINT

The Reader Portfolio winner chosen will receive a copy of Skylum Luminar AI, worth £79. See www.skylum.com

Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, while over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

Submit your images Please see the ‘Pictures’ section on page 3 for details of how to submit. You could see your photos here in a future issue!

Into the Mountains

2 Where the lavafields meet the mountains.

The snowfields assume intriguing shapes; some abstract, others suggestive of human or animal forms. Soon the snow sets in, and we walk in it for 10km across the highest part of the trail Nikon D90 (converted), 18-200mm, 1/100sec at f/11, ISO 200

The Storhiver

3 Shifting clouds of steam rise and drift, pressurised gases bubble and hiss through the magma.

The odour of sulphur dioxide – rotten eggs – hangs in the air.

Nikon D90 (converted), 18200mm, 1/125sec at f/10, ISO 200

Storkonnufell – the Woman’s Peak 4 The day after snowfields, geothermal springs and lavafields, a black sand desert, flanked by snow-capped mountains and distant glaciers.

Nikon D90 (converted), 18200mm, 1/125sec at f/11, ISO 400

Hattfell

5 An extinct volcano looms above the black basalt desert.

This was Iceland at its most lunar and alien.

Nikon D90 (converted), 18200mm, 1/250sec at f/11, ISO 200 4

www.amateurphotographer.co.uk

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5

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08/03/2022 14:28

SPEC I A L SU B SC R I P T ION OF F E R !

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08/02/2022 09:45

S U B S C R I P T ION OF F E R

LETTER FROM THE EDITOR

IN EVERY ISSUE

Dear reader, NEWS

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Visit shop.kelsey.co.uk/AMP0322P Call us on 01959 543 747 and quote AMP0322P *Offer available to new UK Direct Debit based subscribers, including print and digital editions, available until 30th April 2022. You will pay £19.50 for 13 issues via Direct Debit – saving 57% off the usual shop price. You will then continue to pay £24.99 every 3 months. Discounts are calculated on the full cover price and digital edition download fee. For overseas credit/debit card offers, visit our website at shop.kelsey.co.uk. For digital subscriptions, visit shop.kelsey.co.uk/amp. Calls charged at your local network rate. Order lines open 8.30am-5.30pm, Monday-Friday. Full T&Cs can be found at shop.kelsey.co.uk/terms. Kelsey Publishing takes your privacy seriously and will only use your personal information to administer your account and to provide the products and services you have requested from us. We will only contact you about our special offers via the preferences you will indicate when ordering and you can update these at any time by emailing us at cs@kelsey.co.uk or by calling us on 01959 543 747. **You can unsubscribe from the weekly newsletter at any time.

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08/02/2022 09:46

Testbench

CAMERA TEST

At a glance

£1,999 body only l 20MP Four Thirds Live MOS sensor l 50fps with C-AF, 120fps fixed AF l I SO 80-102,400 (extended) l 1,053-point AI-detect AF l 5.76m-dot EVF, 0.83x magnification l 1.6m-dot 3in vari-angle touchscreen l 5-axis in-body stabilisation l IP53 rating with specific lenses

OM System Olympus OM-1 Joshua Waller reviews the new OM System ‘Olympus’ OM-1 Micro Four Thirds camera, with new 20MP Stacked BSI Live MOS sensor For and against 50/120fps continuous shooting at 20MP raw (C-AF/S-AF) Excellent handling, helped by improved menus Improved image quality High-res electronic viewfinder IP53 weather-rating and high build quality Impressive stabilisation ALL PRICES ARE APPROXIMATE STREET PRICES

Improved video 20MP sensor – some will want more resolution Last Olympus-branded camera Menus not touch-compatible 72

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Data file

T

he OM System ‘Olympus’ OM-1 is OM Digital Solutions’ Sensor 20MP Live MOS, 17.4x13.0mm update to the Olympus Output size 5184x3888 OM-D E-M1 Mark III. It boasts a Focal length mag 2x brand-new 20MP Stacked BSI Lens mount Micro Four Thirds Live MOS sensor, updated body Shutter speeds 60-1/8,000s (mechanical) 60-1/32,000s (electronic) design, high-resolution OLED EVF, Sensitivity 200-25,600 (80-102,400 extended) updated vari-angle touchscreen, Exposure modes PASM, B, Movie and – make sure you’re sitting Metering Multi-pattern, centreweighted down – a completely redesigned average, spotmetering menu system.

Exposure comp +/-5EV (0.3EV steps) The new sensor, along with a Continuous 120fps with fixed focus, new image processor, allows for shooting 50fps with AF-C high-speed continuous shooting, Screen 3in, 1.6m-dot fully articulated LCD at 120fps at full-resolution, an Viewfinder 5.76m dots, 0.83x magnification improved sensitivity range up to AF points 1,053 ISO 102,400, which OMDS says Video C/4K 60p, Full HD 240fps will give up to two stops of noise External mic 3.5mm stereo improvement, as well as an extra Memory card Dual UHS-II SD stop of dynamic range. The firm Power BLX-1 Li-ion rechargeable battery also claims that most Micro Four Battery life 520 shots Thirds users, when asked, wanted Dimensions 134.8x91.6x72.7mm better noise performance, rather Weight 599g with battery and card than higher resolution.

There’s a completely new, and first-to-market ‘Quad Pixel AF’ system, with 1,053 cross-type AF points covering the entire sensor.This supports continuous shooting speeds up to 50fps with Continuous AF, when using a compatible Olympus PRO lens.

AI detection AF has been improved upon from the E-M1X and is said to be three times faster. It now supports planes, trains, motor vehicles, birds, and animals such as cats and dogs, with both subject and face/eye detection. Autofocus is sensitive down to -5.5 EV, and you can choose whether to have a small focus point all the way up to the full frame, with multiple sizes and areas in between.

Features

A new high-resolution OLED EVF, with 5.76 million dots, offers the www.amateurphotographer.co.uk

08/03/2022 16:14

AI bird-detection AF has quickly detected and focused on the bird’s eye, giving a great photo with plenty of detail

OM System OM-1, Olympus 40-150mm F2.8 with MC-14 at 160mm, 1/320sec at f/4, ISO 1000

same resolution as premium models such as the £5,879 Canon EOS R3 and the £4,000 Leica SL2-S. Magnification is 0.83x, with the same optics as the E-M1X, and the refresh rate is 120fps. There’s also an anti-fogging coating for shooting in wet conditions.

In-body Image Stabilisation has long been a feature of Olympus cameras, and offers up to 7 stops of shake reduction with most lenses. When combined with an optically stabilised Olympus lens, the sync IS will give up to 8 stops of correction.

There’s a new Handheld Assist display to support long-exposure shooting, which also works with Live Composite and Live Bulb.

The camera includes a whole new menu section dedicated to computational photography. This is where you’ll find High-res shot, www.amateurphotographer.co.uk

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Live ND, Focus stacking, HDR, multiple exposure, plus Live composite/time/bulb mode options. These last three settings can be quickly accessed using the B setting on the mode dial.

Video recording has been improved to include unlimited Cine 4K at 60fps from 5K oversampling, with 4:2:2 10-bit (H.265 codec) internal recording, 12-bit raw external recording, and FullHD at up to 240fps (cropped).

As mentioned, the camera features a completely redesigned menu system. It’s now neatly colour coded and browsable with the front and rear command wheels or the four-way controller.

Unfortunately, menu settings are not selectable using the touchscreen, however the Super Control Panel is touch-sensitive for most options. Greyed-out items that are not selectable are

explained with a pop-up message, and you can also get information on each option by pressing the Info button. There’s also a MyMenu section for quick access to your favourites.

Shutter life is rated to 400,000 shots (using the mechanical shutter), and we expect an unlimited number of shots can be taken with the electronic shutter.

As an example of the advanced shooting options available, there’s an option to use the camera’s interval-shooting options, and you can set the interval time from 1 second up to 24hrs, 59mins, 59secs, and can take up to 9,999 shots!

It almost goes without saying that the camera features Wi-Fi and Bluetooth built-in. This allows remote connections and control with your smartphone or tablet, or sharing images on social media.

Build and handling

The OM-1 will look familiar to anyone who has used E-M1 cameras, but there are a few subtle changes that are designed to make it easier to use. These include a new AF-ON button on the back, a smaller function lever (that normally switches between AF and MF), as well as redesigned command dials at the front and back. The shutter button is now separated from the command wheel, and the hand grip gives an excellent feel.

The controls are all neatly positioned to make them easy to reach, and you have direct access to the most important settings, with dedicated ISO, Exposure compensation, and AF-ON buttons. There’s a dedicated video record button, and the majority of buttons and controls can be customised 73

08/03/2022 16:14

MODEL: LUCY WOODROFFE

Portraits have great colour, but images can sometimes be too sharp on default settings

OM System OM-1, OM System 12-40mm F2.8 II at 35mm, 1/80sec at f/2.8, ISO 500 to your own personal preferences. The ISO button doubles up for quickly star-rating images in playback.

The camera body has a solid metal construction, and with multiple seals it offers improved weather-sealing over previous Olympus cameras. It’s the first to offer an IP53 rating, being both dust- and splash-proof when used with specific PRO lenses. The camera is ever so slightly larger than the E-M1 III, at 134.8x91.6 x72.7mm, and weight is slightly increased, at 599g.

The battery compartment is found underneath, and features a metal latch that locks firmly into place. You can see there are good levels of weather-sealing, and it’s possible to open the battery compartment even when using a relatively large tripod plate. The new BLX-1 battery has a 2280mAh capacity and is rated for 520 shots per charge, which is an improvement over the BLH-1 used in the E-M1 III. Using the Quick sleep mode is said to double battery life, and the new, optional HLD-10 vertical grip can also hold a second battery.

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Viewfinder and screen

The electronic viewfinder (EVF) looks great, with a high-resolution OLED display at 5.76million dots.

It gives a very detailed view and the optics are of high quality, giving you a sharp view right into the corners. Icons and text are clearly displayed, and you can access the menus and Super Control Panel if needed to change settings. You get the choice of 0.83x magnification, filling the frame, but can switch to 0.74x if this is too large. The 120fps refresh rate renders smooth motion and you’ll also find that you can shoot at 120fps or 50fps without blackout. This really is useful when you want to ensure you’re still capturing the subject, and the AF-tracking is doing its job (at 50fps).

A simulated optical viewfinder (S-OVF) setting is available that’s designed to give you a view similar to using an optical viewfinder. A new Night Vision option has been added to support astrophotography, and this is designed to work with the Starry Sky AF setting.

There’s a 3in, 1.62m-dot touchscreen, which is fully

‘Image quality is excellent, particularly at lower ISO speeds, with a noticeable improvement in the levels of detail’ articulating, and can be tilted out to face forwards. The view is very clear, and colours look great, matching the viewfinder. The screen has good viewing angles and it’s also bright enough outdoors, with adjustable brightness levels.

Autofocus

With its new AF-ON button, the OM-1 can be used in the same way as other cameras with this control. For those that love to use back-button focus this will be a real bonus.

You can customise the AF area, and while there are numerous areas already set up, you can also set up four custom focus areas. Pressing the top left AF/ metering button gives you access to AF modes includes S-AF, C-AF, MF, C-AF + Tracking, Preset MF, and Starry Sky AF, as well as metering options. www.amateurphotographer.co.uk

08/03/2022 16:14

CAMERA TEST

Image quality is excellent, particularly at lower ISO speeds, with a noticeable improvement to be found in the levels of detail visible in images. In fact, depending on your subject and the lens you use, you may want to reduce the sharpness slightly, particularly with portraits.

The new OM System M.Zuiko Digital ED 12-40mm F2.8 II PRO lens gives excellent images, with rapid focus and extremely sharp

Colour reproduction and auto white balance gives excellent results straight from the camera

OM System OM-1, OM System 12-40mm F2.8 II at 12mm, 1/400sec at f/7.1, ISO 200

Focal points In effect, the OM-1 is a significantly updated successor to the Olympus OM-D E-M1 Mark III

New image processor

The TruePic X image processor is 3x faster than TruePic VIII/IX, giving 2x faster High-Res and Focus Stacking processing.

OLED EVF

The camera features a new 5.76m-dot EVF with 120fps refresh, 0.83x magnification, blackout-free shooting, and anti-fogging.

Weather-proofing The camera body meets the IP53 rating, and is dust-, splash-, and freeze-proof when used with a similarly sealed PRO lens.

Power

The new BLX-1 battery gives a 25% increase in performance, for 520 shots per charge, and the camera supports USB-C charging as well as PD support (9V, 3A).

Hi-Res shooting

The high-res multi-shot mode gives 80MP or 50MP images, and is now easier to access using the movie button in photo mode. It also promises improved noise performance.

Starry Sky AF

This AF option helps you capture photos of stars at night, with the camera focusing correctly on the distant stars.

91.6mm

MODEL: LUCY WOODROFFE

Performance

results. It’s been updated to improve image quality and weather-resistance, as well as a gaining a new fluorine coating to help keep the glass free of fingerprints or splash marks.

The lens performs extremely well, and has an impressively close focus distance.

Colour is, as you would expect with the OM-1’s heritage, very pleasing. Olympus cameras have always given great colour reproduction, thanks to an excellent auto white balance system. There are multiple picture modes to choose from, and you can customise the sharpness, contrast, saturation, and gradation of each to your own personal preferences if needed. However, default settings give excellent results straight from the camera.

The image-stabilisation system is superb. However, on default settings, the camera tends to keep shutter speeds high and raise the ISO to compensate.

So if you’re happy to use the IS system more, rather than rely on higher ISOs and shutter speeds, then it’s worth adjusting the settings. You should then be able to get sharp shots at much slower shutter speeds than you would with other camera systems. This gives you the benefit of lower noise and

72.7mm

AI subject detection gives you the choice of motorsports (cars, motorcycles), airplanes (including helicopters), trains (of all types), birds, and animals – specifically cats and dogs. When you’re not focusing on these subjects, then the camera will also focus on humans with face and eye AF, which is extremely rapid.

Subject detection requires you to choose the subject before shooting. It’s worthwhile customising a button for this, or adding it to the MyMenu section, as it can take a while to find this option otherwise. It doesn’t appear to be accessible on the Super Control Panel. Using this mode you can see the camera quickly track the subject, with the main area box, plus a highlighted smaller box, for example the head/face and eyes of a subject.

Testbench

134.8mm www.amateurphotographer.co.uk

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08/03/2022 16:14

Testbench cleaner detail in images, assuming you’re not shooting moving subjects.

In the normal photo modes, holding the movie record button and turning the rear dial lets you switch on the high-res mode, as well as select between handheld and tripod modes. The camera then combines multiple shots with impressive results, giving visible extra detail. Processing speeds have been improved, taking roughly 5 seconds, meaning you can more quickly move on to your next shot.

The ability to shoot at 120fps is all well and good, if you like taking lots of shots and hoping you captured the right thing.

However, your reaction times need to be really good if something unexpected happens.

That’s where Pro Capture comes in, letting you record up to 70 shots before you press the shutter release button. This makes it a really useful feature, as you can be more confident of getting the action, and can often shoot less compared to other cameras without this feature.

Dynamic range, exposure, and colour all work well, giving really pleasing images straight from the camera

OM System OM-1, OM System 12-40mm F2.8 II at 32mm, 1/60sec at f/2.8, ISO 800

CAMERA TEST Like the other high-speed shooting options, you can shoot at 120fps with fixed focus and exposure, or at up to 50fps with C-AF/AE tracking. You’ll need to ensure light levels are good, though, as the shutter speed needed for this is 1/640sec.

Unlimited 4K 60fps video is available, with options for CINE 4K or UHD, as well as Full HD at speeds upto 240fps. Audio is recorded using built-in stereo microphones. Detail in video footage is good, and the camera’s in-body image stabilisation gives impressive levels of stabilisation.

OMDS says the standard range is ISO 200 to ISO 25,600, with extended (high) settings going all the way up to ISO 102,400. It’s welcome to see an MFT model offering a sensitivity range that’s competitive with APS-C cameras.

While ISO 25,600 showed image quality drop off noticeably on previous models, the OM-1 delivers better results, with JPEG images looking good. Whether you want to shoot at these higher ISO speeds will be up to you.

Of course, by working with the raw files, you can adjust the noise-reduction settings to suit each image. You can process raw images in-camera to adjust the noise reduction, or use Olympus Workspace, which has been updated to include an AI noise-reduction tool. The raw files are also supported by the latest version of Adobe Camera Raw. The one area the OM-1 does lag behind is resolution, with its 20MP sensor unable to match its competitors. Sheer numbers, however, don’t always tell the whole picture, as the quality of the pixels, colour reproduction, focus and many other factors are involved in making a high-quality image. As a result, the real-world difference compared to 24MP or 26MP cameras is minor.

No doubt, if this camera did offer a higher-resolution sensor, we’d have a more limited ISO range, and mostly likely be complaining about noise performance. So ultimately it’s good to see an extended ISO range, even if it does mean we have a 20MP sensor.

Value for money

Competitors to the OM-1 include the Fujifilm X-T4, with 26MP and 30fps continuous shooting, which is very competitively priced at £1,399 body only. There’s also the Panasonic Lumix G9, Olympus OM-D E-M1 Mark III, and E-M1X, which all offer 60fps continuous shooting, but none of these offer the same updated sensor as the OM-1. Full-frame models at a similar price include the Nikon Z 6II (24MP, 14fps continuous shooting), £1,999 body only and Sony Alpha A7 IV, with a 33MP sensor and 10fps shooting for £2,399 body only.

However, it’s extremely difficult to find other cameras that offer such high-speed continuous shooting as the OM-1, without increasing the price massively.

The closest is the £5,299 Nikon Z 9, which offers 120fps continuous shooting at 11MP or 30fps at 47MP, but these speeds are only in JPEG.

Have you considered trading in your old equipment for either cash or Part-Exchange?

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Tell us what you have at cameraWorld.co.uk/trade-in www.amateurphotographer.co.uk 08/03/2022 16:14

Thanks to the camera’s excellent image stabilisation, I was able to use a slower shutter speed and a lower ISO

OM System OM-1, OM System 12-40mm f2.8 II at 22mm, 1/15sec at f/2.8, ISO 1000

Verdict

GOLD

ISO and noise With its 20MP sensor, one area where this camera lags behind is in resolution, compared to most of the competition. However, OMDS has made improvements in noise performance, thanks to the new BSI CMOS sensor and AI noise reduction algorithm. While ISO 6400 felt like the limit on the E-M1 III, I’d say that using ISO 12,800 and ISO 25,600 on the OM-1 produces improved results. There are also great results at lower ISO speeds, with images showing high levels of fine detail. Just The crops shown below are taken be aware that with a base speed of ISO 200, the extended ISO 80 and from the area outlined above in red ISO 100 settings do show a reduced highlight range.

RAW ISO 200

RAW ISO 3200

RAW ISO 6400

RAW ISO 12,800

RAW ISO 25,600

RAW ISO 51,200

WITH a brand new stacked sensor and new image processor, the OM System OM-1 gives Micro Four Thirds users a step up in image quality and noise performance, along with extremely rapid shooting.

For those who enjoy shooting Olympus, the excellent high-resolution viewfinder, improved screen, new menus and controls, and IP53 rating make this the best ‘Olympus’ camera ever released. Autofocus has been greatly improved, and image quality sees a boost both in the ISO range available, and decreased noise at higher ISO settings. Meanwhile, for those who want rapid shooting with continuous AF, this camera really does offer some unique features, including Pro Capture and a blackout-free viewfinder. The improvement in weather-sealing also gives the OM-1 real appeal when you want a camera that can be used in all conditions.

For fans of smaller mirrorless camera systems, the OM-1 offers a really compelling option, particularly when you factor in the vast choice of compact Micro Four Thirds lenses available for it. By sticking with Micro Four Thirds, OMDS has been able to create a relatively compact, weather-sealed camera system.

Yes, full-frame mirrorless cameras are also quite compact, but are the lenses?

And if you want high speed, you’re looking at a significantly larger, and more expensive system. So at £2,000 body only, the OM-1 offers a competitive option.

Without doubt, the OM System OM-1 is the best Micro Four Thirds camera currently available. It goes well beyond what you would expect from a £2,000 camera in terms of subject-detection AF, high-speed performance, and the sheer number of useful shooting features available.

FEATURES BUILD & HANDLING METERING AUTOFOCUS AWB & COLOUR DYNAMIC RANGE IMAGE QUALITY VIEWFINDER/LCD www.amateurphotographer.co.uk

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10/10 10/10 9/10 9/10 10/10 9/10 9/10 10/10 77

08/03/2022 16:14

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08/03/2022 15:55

SMARTPHONE TEST

Testbench

The astrophotography mode will use longer exposures when it detects a solid mount such as a tripod

Google Pixel 6, 16sec at f/1.8, ISO 129, 24mm equivalent

Google Pixel 6 The Google Pixel 6 looks like great value for money. Joshua Waller puts this new smartphone through its paces

T

he Google Pixel 6 may be the bargain of the year when it comes to smartphones. It offers almost all the same features as the Pixel 6 Pro, but is £250 cheaper, making this £600 premium smartphone seriously www.amateurphotographer.co.uk

79-81 GooglePixel6Mar15 AW JW AM.indd 79

good value for money. But there’s more to it than value for money, as we look at what makes the Pixel 6 unique, thanks to some impressive computational photography features.

Google has developed its own smartphone processor,

At a glance

£599 12GB/128GB model l 50MP Quad Bayer wide camera,

24mm equivalent, f/1.85, OIS

l 12MP ultrawide camera,

16mm equivalent, f/2.2

l 8 MP fixed-focus selfie camera,

84° field of view, f/2.0

l 6.4in display, 20:9 aspect ratio,

1080x2400 OLED, up to 90Hz

lG oogle Tensor processor,

12GB RAM, 128GB storage

l Android 12

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08/03/2022 16:25

Testbench

SMARTPHONE TEST

16mm Ultra-wide

24mm Wide

The Google Pixel 6 offers an ultra-wide camera, a standard wide camera, and 2x digital zoom that combines multiple shots to give a better result

the Google Tensor. The firm says that with this new high-performance machinelearning processor, it’s able to bring amazing new photo features, including Motion Mode and Face Unblur, as well as Speech enhancement and HDRnet for video. Other impressive photo features include a Magic Eraser that makes removing unwanted objects from images incredibly easy and quick.

Google likes to give its phones a unique look, and the Pixel 6 is no different. It has a distinctive camera bar along the back that brings a different appearance to all other smartphones. Here you’ll find the ultra-wideangle camera, as well as the wideangle (standard) camera. However, it is lacking the 4x telephoto camera that the Pixel 6 Pro features. The available colours comprise a grey/black model (Stormy Black), as well as Sorta seaform (Green-ish), and Kinda Coral (cream/pinkish).

The main camera on the rear is said to be able to capture 2.5x as much light as the Pixel 5, thanks to the use of a larger 50MP 1/1.31in sensor, along with an f/1.85 aperture, optical image stabilisation, and Laser AF. The main camera and the ultra-wide cameras both output 12MP images, even though the main camera has a 50MP sensor.

The front selfie camera is an 8MP f/2.0 fixed focus unit, with an 84° field of view.

The camera bar gives a good area to grip on to when holding 80

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the phone. But the rear, sides and screen are all particularly slippery, so a rubberised case is highly recommended if you want the device to stay on desks or any other surfaces you put it on. Otherwise it’ll be quite happy to slip off.

You’ll also find 128GB storage and 12GB RAM. But there is no MicroSD memory expansion available, which could be an issue for some people, depending on how you use your storage.

The screen is a 6.4in OLED display with a 20:9 aspect ratio, a FullHD+ resolution, and a variable refresh rate up to 90Hz. The screen is flat, and the borders are quite noticeable, especially in comparison to the curved screen on the Pixel 6 Pro. It’s claimed to be twice as scratch-resistant as previous Pixel phones, thanks to the use of Corning Gorilla Glass Victus.

As a flagship smartphone you’ll also find stereo speakers built-in, and IP68 protection, meaning it’s dust-resistant and can survive being immersed in water.

Wireless charging is supported, and Google says the new Tensor chip consumes less power compared to previous Pixel smartphones. However, I found that battery drain appeared to be quite quick when the always-on display feature was used.

I also found the phone was particularly fussy when it came to charging, rejecting some chargers and cables. You may need a new charger to get the best speeds, as there isn’t one in the box.

2x digital zoom Original

Photographic features

One of the Pixel 6’s clever new features is Motion blur, which gives you the option of Action Pan or Long Exposure. I focused on the long exposure option to create waterfall shots with blurred water. Sure, you could probably do this with a smartphone with manual controls, and perhaps an ND filter if you could work out how to attach it, plus a tripod and mobile adapter. But the simple ability to point this phone at a scene, with the camera handheld, and take amazing blurred movement shots is incredible.

The only other actual camera that makes this almost as easy is the OM System (Olympus) OM-1, with its built-in Live ND option.

So not only are smartphones more convenient than cameras, being smaller, and easier to use (for the most part), they also have much better sharing

features, as being constantly connected to a mobile network means you can easily share images straight away. But they’re now starting to chip away at the areas of photography that were previously only possible with a ‘proper’ camera.

If camera companies don’t start embracing computational photography, then people are going to start asking questions such as, ‘Why do I need to use a dedicated camera to achieve this, when my mobile phone can already do it? And it’s significantly easier as well…’

In the case of the Google Pixel 6, it’s also cheaper than a number of cameras.

In addition to Motion, the camera also features a Night Sight mode, which has been a feature on Google Pixel phones for a long time. This mode lets you take low-light night photos www.amateurphotographer.co.uk

08/03/2022 16:25

In Motion mode, the camera stores both the blurred image and the original (left). Curves adjusted

Google Pixel 6, 1/612sec, f/1.85, ISO 884, 24mm equivalent

Recommended

Verdict Original without the need for a tripod, allowing you to take photos of the night sky full of stars, or other low-light scenes.However, using the night sight mode, which combines multiple images, you can often end up with an image that has a hyper-HDR look, depending on what’s in your scene.

Introduced with the Google Pixel 4 was an additional astrophotography mode that delivers even more impressive star photographs. When the phone is used on a tripod, the camera will automatically detect that it is stable, and then allow for even longer exposures to capture more detail. Using the smartphone on a tripod, the camera decided to take a 4-minute exposure.

This produced an image using a much lower ISO speed, which is greatly improved over the handheld shot.

Google’s Portrait mode gives an impressive level of background blur (or bokeh).

For the most part this works well enough, giving a more impressive-looking image compared to a standard photo.

But for those who are used to using portrait lenses on ‘real’ cameras the effect won’t be as attractive, particularly around the subject’s hair. Here, fine detail www.amateurphotographer.co.uk

79-81 GooglePixel6Mar15 AW JW AM.indd 81

Long-exposure effect can often be blurred, giving an unnatural look.

Portraits also benefit from improved skin tones and colours as part of Google’s new ‘Real Tone’ processing that’s designed to better reflect the beauty of all skin tones. However, saying this, there does appear to be the risk of images and skin tones looking overly HDRed at times, while selfies can lack detail due to the 8MP selfie camera. If you do use the LED flash, then this has a yellow tone which can give your images a warmer tone.

photography when opening raw files in image processing software from the likes of Adobe.

The ultra-wideangle camera doesn’t offer as wide a view as some of the main competitors, such as the iPhone 13 Pro. However, images do look very good, with colours matching the standard camera.

The main camera offers up to 7x ‘Super resolution zoom’, which combines multiple exposures to produce images with more detail than a standard digital zoom would. However, I’d say that beyond 2x zoom, Image quality images don’t look particularly As the camera takes multiple good, and they aren’t a match for a true telephoto camera. images for each shot and Video recording is available in merges them together, you get significantly more dynamic range 4K resolution and 60fps, with effective image stabilisation, than you would with a normal camera. But this can also mean as well as good low-light performance. While the camera that your images look overly automatically records video in HDR-processed, while colours HDR, it doesn’t offer the same can also look a little bit off if features as some other you’re used to using standard smartphones. Here the iPhone cameras and non-HDR settings.

It would be good if Google could 13 series and Samsung S21 series lead the way, with a give users the option to tone number of background blur and down this HDR look.

You do get the option to shoot cinematic options, as well as 8K video on the Samsung. When raw and JPEG images, but no questioned about this, Google option to switch off HDR. So even the DNG files are not ‘true’ said it is working on the video raw, but instead have HDR baked quality, but it’s a long-term project, and may take some into them. This means you still get the benefits of computational time to improve.

OVERALL, the Pixel 6 takes excellent images that are entirely on a par with flagship smartphones costing nearer £1,000. Yes, you miss the telephoto camera that’s included on most other premium flagships.

But if you can live without this, you’re making an impressive saving, as well as benefiting from some of the most impressive computational photography features seen on any camera, let alone a smartphone.

One area where the Pixel 6 could improve, perhaps, is by giving more control to the user.

A fully manual mode might be useful, especially if you want to learn more about how to take photos. However, it looks like this isn’t very likely to happen.

The selfie camera also lags behind some competitors, as Samsung’s flagships offer AF, rather than fixed focus, and even 4K video selfies. Another area for improvement is in video. The Pixel 6 will record 4K 60fps video, with great stabilisation, but other smartphones offer more.

But for stills photography, the competition, both from other smartphones, and cameras (particularly) has a lot of catching up to do!

Data file Ultra-wide camera 16mm f/2.2, 12MP 1/2.9in sensor Wide camera 24mm f/1.85, OIS 50MP 1/1.31-in sensor, PDAF Display 6.4in

OLED, FullHD+ (1080x2400) 20:9, 441ppi, up to 90Hz Operating system Android 12 Dimensions 158.6 x74.8x8.9mm Weight 207g 81

08/03/2022 16:25

Testbench

ACCESSORIES

3 Legged Thing Punks Billy 2.0 The Billy 2.0 brings some interesting upgrades to the original. Angela Nicholson sees how it shapes up l £289.99 l www.3leggedthing.com THE ORIGINAL Billy was a popular and reliable tripod, but 3 Legged Thing has refreshed it with all the upgrades that it has made to the second generation of its Punks range. That means that all three of the tripod’s legs can be unscrewed and replaced by the optional Vanz feet to create a tabletop tripod. One of the detached legs can also be attached to the centre column to make a monopod or microphone boom measuring around 1.7m in length.

Because of 3 Legged Thing’s high-quality machining, the legs are easy to detach, and then reattach smoothly with little risk of cross-threading.

In addition, the leg locks are beefier and have a central knurled metal section with textured rubber grips either side to give better purchase and make them easier to turn even in wet conditions.

Helpfully, when the tripod is collapsed the three locks on each leg sit close enough together for them to fit within the span of your hand so they can be unlocked with one movement. It also only takes around a quarter of a turn to unlock the legs for extending, meaning that you can deploy the Billy 2.0 in a matter of seconds.

Three Legged Thing supplies the Billy 2.0 with the AirHed Neo 2.0 ball head. Together, they have a combined weight of 1.57kg while packing down to 45.7cm in length, making them a good choice for travel. Unlike some travel tripods, you’re unlikely to find yourself having stoop to use the Billy 2.0, as its maximum height with the centre column extended is 1.66m, or 1.37m with the centre column collapsed. It’s also possible to reverse the centre column quickly for near to ground-level shooting.

The canopy that sits below the tripod head has been redesigned to make it useful for threading cables through to keep them tidy, or for clipping on an accessory. There’s also a metal D at the base of the centre column for attaching a weight to add extra stability.

ALL PRICES ARE APPROXIMATE STREET PRICES

Verdict

There are bigger, heavier and more stable tripods available, but 3 Legged Thing has done a great job with the Billy 2.0 so it’s the sort of tripod that you’re happy to carry with you. It looks, feels and performs like a high-quality tripod and can keep your camera still for long-exposure photography. It’s also versatile, thanks to its new accessory mount and the ability to create a monopod or tripod boom.

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Recommended

Carbon fibre

The legs and centre column are made from eight layers of carbon fibre. The Billy 2.0 is available with either copper or blue accents for a splash of colour.

Detachable legs

Accessory

All three of the Billy 2.0 legs are removable. They can be replaced with the optional Vanz feet to create a mini tripod for £59.99.

Feet

There’s a reinforced 1/4-20 thread integrated into the tripod canopy for attaching an accessory arm to hold a monitor or light.

At a glance l Maximum height 1.66m l Folded length 45.7cm l 1.57kg weight l 18kg load capacity

3 Legged Thing offers a collection of optional alternative feet for use on different terrain.

WHAT’S IN THE KIT? As well as the tripod legs and the excellent AirHed Neo 2.0 ball head with an Arca-Swiss compatible quick release plate, 3 Legged Thing supplies a useful carabiner tool with hex and coin keys, plus a decentquality padded clamshell bag and strap to carry the tripod kit. www.amateurphotographer.co.uk

08/03/2022 15:11

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07/03/2022 14:05

Tech Talk

Professor Newman on…

Raw reductionism Professor Newman explores different ways of downscaling raw files

A

ndy Westlake, AP’s technical editor, asked me ‘why companies haven’t just made lower-resolution raw files by down-sampling the individual RGGB Bayer channels’. The theoretical answer is quite simple, because it involves a doubled interpolation step, which reduces resolution and introduces artefacts. The context of the question was given by the Leica M11, which uses a Bayer encoded reduced raw format.

This is in contrast to the approach used by Canon and Leica, which uses a format related to JPEG YCbCr encoding.

This method keeps a full resolution camera native green channel (as in, the pixel count of

the reduced array), and quarter resolution channels that give the difference of the blue and red channels from the green channel.

This format does not require a demosaicing interpolation over an already interpolated pseudo-Bayer array, and should result in better detail and fewer artefacts.

However, the theory is not always borne out in practice, so an experiment is warranted in order to provide a better answer.

The images shown below are crops from the same 36MP raw file, processed down to 20.4MP using four different approaches.

Approach (i) processes the raw to a full 36MP, which is then downsampled in ‘post’, i.e., the normal workflow in the absence of a reduced-size raw option.

Approach (ii) follows the Canon model. The file is demosaiced to give a red, green and blue value at each pixel location. The green channel is downsampled to the required pixel dimensions and the other channels are downsampled to one-quarter-size and subtracted from the green channel. To process, those channels are expanded again, resulting in an RGB file for onward processing.

Approaches (iii) and (iv) are different possible ways of produced a reduced Bayer file, according to the Leica model. In (iii) Andy’s suggestion is followed, and the four sensor colour channels being individually downsampled and reassembled into a Bayer array. For (iv) the full size file is demosaiced, then downsampled, and then this RGB file is used to construct the pseudo Bayer array. For both these approaches the resultant file is demosaiced and processed as a normal raw file.

For all of the above, the process after demosaicing consisted of application of white balance, gamma correction, and adjustments for saturation and contrasts. No sharpening, smoothing or denoising, which may have confused the outcomes, were used. The code was written in Python using the LibRaw library to load the raw file.

Which final image is best?

You decide.

As to why Leica chose the approach that they did, it is most probably down to their use of the DNG raw format. This does not appear to readily lend itself to the Canon style of reduced sized Can you identify the results from the four approaches given in the article? ‘raw’, at least, the way I read the specification.

A

C

B

D

Answer A-(ii), B-(iii), C-(i), D-(iv)

Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer 84

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05/01/2022 13:10

Buying Guide

109

cameras listed & rated

Our comprehensive listing of key camera specifications Controls

Cameras Cameras come in three types: DSLRs with optical viewfinders, mirrorless models with electronic viewing, and compact cameras with non-interchangeable lenses

Handgrip

DSLRs traditionally have relatively large handgrips, while many mirrorless models have much smaller grips to keep size down.

However, some can accept accessory grips to improve handling with larger lenses.

Lens mount

Each camera brand uses its own lens mount, and mirrorless cameras use different lenses to DSLRs even from the same brand.

However, mirrorless models can often use DSLR lenses via a mount adapter.

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Entry-level cameras tend to have simple, easy-to-understand controls, while more expensive models add lots of buttons and dials to give quick access to settings.

Viewfinder

The biggest difference between DSLRs and mirrorless cameras is that the latter use electronic, rather than optical viewfinders.

Some advanced compact cameras also have built-in electronic viewfinders to complement their rear LCD screens.

ALMOST all serious photographers prefer to use cameras with interchangeable lenses, as this gives the greatest degree of creative flexibility. At one time, this meant digital single-lens-reflex (DSLR) cameras, but these have now been joined by mirrorless cameras that use electronic viewfinders. The latest models are true alternatives to DSLRs, offering the same image quality and creative options. Camera

Compact cameras These range from small, pocketable models to large bridge-type cameras with long zoom lenses and SLR-style designs.

In this guide, we’re only including those with relatively large sensors for high image quality, raw format recording and manual controls.

manufacturers offer a range of options, from simple, relatively inexpensive beginner-friendly designs, to sophisticated professional models. In the middle of the range you’ll find enthusiast cameras with more-advanced control layouts. Meanwhile the term ‘compact’ refers to cameras with built-in lenses, regardless of their size. Many offer excellent image quality and full manual control.

Park Cameras was established in 1971 in Burgess Hill, West Sussex. For over 50 years they have forged a reputation across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of all photographers, from enthusiasts through to professionals, through the very highest level of customer service.

87

08/03/2022 17:53

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

NEW

SUMMARY

SHOOTING

SCREEN

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

BURST MODE (FPS)

MIC INPUT

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

SENSOR SIZE

Mirrorless cameras

RESOLUTION (MP)

BUYING GUIDE

DIMENSIONS

NAME & MODEL

RRP SCORE

Canon EOS M200

£499

Basic entry-level viewfinderless model gains 4K video recording

APS-C 24.1 Canon M 25,600 3840 143 6.1

•

•

3

•

•

315 108.2 67.1 35.1 299

Canon EOS M50 Mark II

£699

4★

Likeable, easy-to-use entry-level APS-C model with viewfinder

APS-C 24.2 Canon M 51,200 3840

• 143 10 •

•

•

3

•

•

250 116.3 88.1 58.7 387

Canon EOS M6 Mark II

£869

4★

Sports 32.5MP sensor and 14fps shooting, uses removable viewfinder

APS-C 32.5 Canon M 51,200 3840

• 143 14

•

•

3

•

•

305 119.6 70

49.2 398

Canon EOS RP

£1400 4★

Compact and affordable but over-simplified full-frame camera ever

FF

26.2 Canon RF 102,400 3840

• 4779 5

•

•

3

•

•

250 132.5 85

70

Canon EOS R

£2350 4★

Canon’s first full-frame mirrorless uses the EOS 5D Mark IV’s sensor

FF

30.3 Canon RF 102,400 3840

• 5655 8

•

•

3.2

•

•

350 135.8 98.3 84.4 660

Canon EOS R3

£5880

High-speed, pro-spec flagship model that’s packed full of clever technology

FF

24.1 Canon RF 204,800 6000

• 4779 30 •

•

3.2

•

•

860 150 142.6 87.2 1015

Canon EOS R5

£4200 4.5★ Remarkable 45MP powerhouse capable of internal 8K video recording

FF

45

Canon RF 102,400 4096

• 5940 12 •

•

3.2

•

•

320 135.8 97.5

Canon EOS R6

£2500 5★

Superb all-rounder with in-body stabilisation and dual card slots

FF

20.1 Canon RF 204,800 3840

• 6072 12 •

•

3

•

•

380 138.4 97.5 88.4 680

Fujifilm X-A7

£699

3★

Sports large fully articulated LCD, but frustrating controls

APS-C 24.2

Fuji X

51,200 3840

• 425 6

•

3.5

•

•

270 119

Fujifilm X-E4

£799

4★

Sharply-styled, compact mirrorless model with a tilt-up selfie screen

APS-C 26.1

Fuji X

51,200 3840

• 425 20 •

•

3

•

•

460 121.3 72.9 32.7 364

Fujifilm X-Pro3

£1799 4★

Employs unusual hidden rear LCD design that polarises opinions

APS-C 26.1

Fuji X

51,200 4096

• 425 20 •

•

3

•

•

370 140.5 82.8 46.1 497

Fujifilm X-S10

£949

5★

Fine SLR-styled model with in-body image stabilisation and large handgrip

APS-C 26.1

Fuji X

51,200 3840

• 425 20 •

•

•

3

•

•

325 126

85.1 65.4 465

Fujifilm X-T200

£749

3.5★ Fine handling and great image quality, but slow and buggy in use

APS-C 24.2

Fuji X

51,200 3840

• 425 8

•

•

•

3.5

•

•

270 121

83.7 55.1 370

Fujifilm X-T30

£849

5★

Superb mid-range model that borrows much of its tech from the X-T3

APS-C 26.1

Fuji X

51,200 3840

• 425 8

•

•

•

3

•

•

380 118.4 82.8 46.8 383

Fujifilm X-T30 II

£769

5★

Gains higher-resolution screen and numerous small updates over X-T30

APS-C 26.1

Fuji X

51,200 4096

• 425 8

•

•

•

3

•

•

390 118.4 82.8 46.8 378

Fujifilm X-T3

£1349 5★

New sensor and improved autofocus make it the best APS-C camera yet

APS-C 26.1

Fuji X

51,200 4096

• 425 20 •

•

3

•

•

390 132.5 92.8 58.8 539

Fujifilm X-T4

£1549 5★

Exciting update with in-body stabilisation and fully articulated screen

APS-C 26.1

Fuji X

51,200 4096

• 425 20 •

•

3

•

•

500 134.6 92.8 63.8 607

Leica CL

£2250 4.5★ Gorgeous APS-C mirrorless model with viewfinder and touchscreen

APS-C 24.2 Leica L 50,000 3840 49 10 •

•

3 •

220 131

78

45

403

Leica TL2

£1700 4★

Update to the TL with 24MP sensor and much faster operation

APS-C 24

•

3.7 •

250 134

69

33

399

Leica SL2

£5300 4★

Sports 47.3MP full-frame sensor, in-body stabilisation and 5K video

FF

47.3 Leica L 50,000 5120

• 225 20 •

•

3.2 •

370 147 107

83

916

Leica SL2-S

£3975 4★

More affordable 24MP version of the SL2 with pro video features

FF

24.6 Leica L 100,000 4096

• 225 25 •

•

3.2 •

510 146 107

83

931

Nikon Z 5

£1719 4★

Simplified version of the Z 6, comes with compact 24-50mm f/4-6.3 zoom

FF

24.3 Nikon Z 102,400 3840

• 273 4.5 •

•

3.2

•

•

470 134 100.5 69.5 675

Nikon Z 6

£2099 5★

Full-frame mirrorless all-rounder with 24MP sensor and 12fps shooting

FF

24.5 Nikon Z 204,800 3840

• 273 12 •

•

3.2

•

•

330 134 100.5 67.5 675

Nikon Z 6II

£1999 4.5★ Second-generation full-frame mirrorless model with useful updates

FF

24.5 Nikon Z 204,800 3840

• 273 14 •

•

3.2

•

•

410 134 100.5 69.5 705

Nikon Z 7

£3399 5★

FF

45.7 Nikon Z 102,400 3840

• 493 9

•

•

3.2

•

•

330 134 100.5 67.5 675

Nikon Z 7II

£2999 4.5★ Gains dual card slots, faster shooting, 4K 60p video and vertical grip option

FF

45.7 Nikon Z 102,400 3840

• 493 10 •

•

3.2

•

•

420 134 100.5 69.5 705

Nikon Z 9

£5299

High-speed, high-resolution flagship with pro build and connectivity

FF

45.7 Nikon Z 102,400 7680

• 493 20 •

•

3.2

•

•

700 149 149.5 90.5 1340

Nikon Z 50

£849

5★

Well-specified APS-C mirrorless model boasts excellent handling

DX

20.9 Nikon Z 204,800 3840

• 209 11 •

•

3.2

•

•

320 126.5 93.5

Nikon Z fc

£899

4★

Lovely-looking retro-styled model with fully articulated touchscreen

DX

20.9 Nikon Z 204,800 3840

• 209 11 •

•

3

•

•

300 134.5 93.5 43.5 445

•

88

485

NEW

738

67.7 41.1 320

NEW

High-resolution full-frame mirrorless with in-body stabilisation

Leica L 50,000 3840 49 20

•

60

450

We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will inevitably have crept in along the way: if you spot one, please let us know by emailing ap.ed@kelsey.co.uk. Unfortunately we don’t have space to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

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OM System OM-1

Speak to a member of our expert team for free impartial advice to help you find the perfect camera for your needs.

Available from

£1,999.00

Keep up to date with us on:

Stock expected March / April 2022.

See website for latest information.

www.amateurphotographer.co.uk We offer a wide range of used cameras, lenses & accessories all thoroughly quality checked, tested & cleaned, including a full sensor clean on all cameras.

08/03/2022 Visit our Burgess Hill or Central London stores for the range of used items, or for over 1,500 products, head to www.parkcameras.com/used.

17:53

NEW

NEW

meras at competitive low store or online.

eam for free impartial camera for your needs.

Keep up to date with us on:

cameras, lenses & y checked, tested & lean on all cameras.

tral London stores , or for over 1,500 cameras.com/used.

WEIGHT (G)

DEPTH (MM)

Olympus PEN E-P7

£749

4★

Viewfinderless model with 20MP sensor and creative processing controls

4/3

20.3 Mic4/3 25,600 3840 121 15

•

•

3

•

•

360 118.3 68.5 38.1 337

Olympus OM-D E-M10 IV

£699

4.5★ Compact, lightweight, enjoyable to use and takes great-looking pictures

4/3

20.2 Mic4/3 25,600 3840 121 15 •

•

•

3

•

•

360 121.7 84.4

Olympus OM-D E-M5 III

£1100 5★

Very capable camera with a small, lightweight, weather-sealed body

4/3

20.4 Mic4/3 25,600 4096

• 121 10 •

•

3

•

•

310 125.3 85.2 49.7 414

Olympus OM-D E-M1 III

£1600 5★

Super-fast, incredible IS and packed full of advanced features

4/3

20.4 Mic4/3 25,600 4096

• 121 60 •

•

3

•

•

420 134.1 90.9 68.9 580

Olympus OM-D E-M1X

£2800 4.5★ Pro-spec high-speed model with built-in vertical grip

4/3 20.4 Mic4/3 25,600 4096

• 121 60 •

•

3

•

• 2580 144.4 146.8 75.4 997

OM System OM-1

£2000 5★

4/3

20.4 Mic4/3 102,400 4096

• 1053 120 •

•

3

•

•

520 134.8 91.6 72.7 599

Panasonic Lumix G9

£1499 4.5★ High-speed, rugged photo-centric flagship camera with in-body IS

4/3

20.3 Mic4/3 25,600 3840

• 225 9

•

3

•

•

890 136.9 97.3 91.6 658

Panasonic Lumix G100

£590

Small SLR-shaped camera specifically designed for vloggers

4/3

20.3 Mic4/3 25,600 3840

• 49 10 •

•

•

3

•

•

270 115.6 82.5 54.2 345

Panasonic Lumix GX880

£400

Tiny easy-to-use pocket camera with tilting screen and 4K video

4/3

16

Mic4/3 25,600 3840 49 5.8

•

•

3

•

•

210 106.5 64.6 33.3 270

Panasonic Lumix GX9

£699

Compact body with tilting screen and viewfinder, and 5-axis stabilisation

4/3

20.3 Mic4/3 25,600 3840 49 9

•

•

3

•

•

900 124

Panasonic Lumix GH5 II

£1499 4.5★ Video-focused high-end model with in-body stabilisation and 4K video

4/3

20.2 Mic4/3 25,600 4096

• 225 12 •

•

3

•

•

410 138.5 98.1 87.4 727

Panasonic Lumix GH5S

£2199

Professional video version of GH5 with 10.2MP multi-aspect sensor

4/3

10.2 Mic4/3 204,800 4096

• 225 11 •

•

3.2

•

•

410 138.5 98.1 87.4 660

Panasonic Lumix GH6

£1999

Hefty high-end video model with new 25MP sensor and 5.7K recording

4/3

25.2 Mic4/3 25,600 5728

• 14 •

•

3

•

•

330 138.4 100.3 99.6 823

Panasonic Lumix S1

£2199 4.5★ 24MP full-frame mirrorless with exceptional viewfinder

FF

24.2 Leica L 204,800 3840

• 225 9

•

•

3.2

•

•

380 148.9 110

Panasonic Lumix S1H

£3600

FF

24.2 Leica L 204,800 4096

• 225 9

•

•

3.2

•

•

380 151 114.2 110.4 1164

Panasonic Lumix S1R

£3399 4.5★ High-resolution full-frame mirrorless with in-body stabilisation

FF

47.3 Leica L 51,200 3840

• 229 9

•

•

3.2

•

•

360 148.9 110

Panasonic Lumix S5

£1800 4.5★ Compact-bodied, enthusiast-focused model designed for both stills and video

FF

24.2 Leica L 204,800 3840

• 225 7

•

•

3

•

•

440 132.6 97.1 81.9 714

Sigma fp

£1999 4★

Smallest full-frame mirrorless, but compromised features and handling

FF

24.6 Leica L 102,400 3840

• 49 18

3.2 •

280 112.6 69.9 45.3 422

Sigma fp L

£1999 4★

High-resolution version of the fp with 61MP full-frame sensor

FF

61.0 Leica L 102,400 3840

• 49 10

3.2 •

240 112.6 69.9 45.3 427

Sony Alpha 6000

£670

Sony Alpha 6100

£830

Update to the A6000 with Sony’s latest AF technology and 4K video

APS-C 24.2 Sony E 51,200 3840

Sony Alpha 6400

£1000 4★

Extraordinary new autofocus system, but in an outdated body design

Sony Alpha 6600

£1450 4★

In-body stabilistion and impressive autofocus, but frustrating body design

Sony Alpha 1

£6500 5★

Flagship model with an unprecedented combination of resolution and speed

FF

Sony Alpha 7 II

£1498 5★

The full-frame Alpha 7 II includes in-body image stabilisation

Sony Alpha 7 III

£1999 5★

Sony Alpha 7 IV

£2400 5★

Sony Alpha 7C

4★

Specialist full-frame mirrorless model designed for pro-level video

4.5★ A fine camera for its time, but now very much showing its age

•

Sony E 25,600 1080 179 11 •

DIMENSIONS

49

383

72.1 46.8 450

96.7 899

96.7 898

•

•

3

• 310 120

67

• 425 11 •

•

•

3

•

•

380 120

66.9 59.4 396

APS-C 24.2 Sony E 102,400 3840

• 425 11 •

•

•

3

•

•

360 120

66.9 49.9 403

APS-C 24.2 Sony E 102,400 3840

• 425 11 •

•

•

3

•

•

720 120

66.9

50.1 Sony E 102,400 7680

• 759 30 •

•

3

•

•

530 128.9 96.9 80.8 737

FF

24.3 Sony E 25,600 1080

• 117 5

•

•

3

• 350 126.9 95.7 59.7 556

Fine camera with 10fps shooting and 4K video recording

FF

24.2 Sony E 204,800 3840

• 693 10 •

•

3

•

•

610 126.9 95.6 73.7 650

Excellent all-rounder with 33MP sensor and fully articulated screen

FF

33.0 Sony E 204,800 3840

• 759 10 •

•

3

•

•

610 131

96.4 79.8 658

£1900 3.5★ Compact full-frame design let down by poor handling and tiny EVF

FF

24.2 Sony E 204,800 3840

• 693 10 •

•

3

•

•

680 124

71.1 59.7 509

Sony Alpha 7R III

£3200 5★

Impressive image quality and handling, but starting to look a little dated

FF

42.4 Sony E 102,400 3840

• 399 10 •

•

3

•

•

650 126.9 95.6 73.7 657

Sony Alpha 7R IV

£3500 5★

Superb high-resolution, full-frame mirrorless with new 61MP sensor

FF

61.0 Sony E 102,400 3840

• 567 10 •

•

3

•

•

670 128.9 96.4 77.5 665

Sony Alpha 7S III

£3800 4.5★ Huge update gains fully articulated screen and new touch interface

FF

12.1 Sony E 409,600 3840

• 759 10 •

•

3

•

•

600 128.9 96.9 80.8 600

Sony Alpha 9 II

£4800

A9 gains professional connectivity options and an improved body design

FF

24.2 Sony E 204,800 3840

• 693 20 •

•

3

•

•

500 128.9 96.4 77.5 678

Sony ZV-E10

£680

Designed for vlogging, with high-end microphone and fully articulated screen APS-C 24.2

•

440 113

4★

APS-C 24

•

SCREEN

HEIGHT (MM)

WIDTH (MM)

RRP SCORE

Boasts 120fps continuous shooting and subject-detection AF

SHOOTING

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

BURST MODE (FPS)

MIC INPUT

NAME & MODEL

4★

SUMMARY

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

RESOLUTION (MP)

Mirrorless cameras

SENSOR SIZE

SPONSORED BY

Sony E

51,200 3840

• 425 11

• 3

NEW & COMING SOON!

NEW & COMING SOON!

Available from

Available from

OM System OM-1

£1,999

.00

Stock expected March / April 2022.

See website for latest information.

www.amateurphotographer.co.uk

87-91 BuyingGuideCameras Mar15 AW.indd 89

•

45

59

344

503

64.2 44.7 343

Panasonic LUMIX GH6

£1,999.00

Pre-order and receive a FREE 128GB CFexpress card worth £199 and additional 2 year warranty!

89

08/03/2022 17:53

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

NAME & MODEL

RRP SCORE

SUMMARY

SHOOTING

SCREEN

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

SCREEN SIZE (IN)

BUILT-IN WI-FI FLASH

VF COVERAGE (%)

AF POINTS BURST MODE (FPS)

MIC INPUT

VIDEO

MAX ISO

LENS MOUNT

SENSOR SIZE

DSLR cameras

RESOLUTION (MP)

BUYING GUIDE

DIMENSIONS

Canon EOS 2000D

£469

3★

Canon EOS 250D

£530

4★

Very compact entry-level DSLR with fully articulated screen and 4K video

APS-C 24.1 Canon EF 51,200 3840

•

9 5 95

•

•

3

•

•

1070 122.4 92.6 69.8 449

Canon EOS 850D

£820

4★

Fully featured upper entry-level DSLR includes 4K video recording

APS-C 24.1 Canon EF 51,200 3840

• 45 7 95

•

•

3

•

•

800 131

Canon EOS 90D

£1210 4★

Mid-range DSLR boasts 32.5MP sensor, 10fps shooting and 4K video

APS-C 32.5 Canon EF 51,200 3840

• 45 10 100 •

•

3

•

•

1300 140.7 104.8 76.8 701

Canon EOS 6D Mark II

£1999 4.5★ Includes 26.2MP full-frame sensor and fully articulated screen

FF

26.2 Canon EF 102,400 1080

• 45 6.5 98

• 3

•

• 1,200 144

110.5 74.8 765

Canon EOS 5D Mark IV

£3599 4.5★ Hugely accomplished workhorse model, but pricey

FF

30.4 Canon EF 102,400 3840

• 61 7 7 100 • 3.2

•

116

Canon EOS-1D X Mark III

£6499

Super-fast pro model for sports and action photographers

FF

20.1 Canon EF 819,200 5496

• 191 16 100 • 3.2

• 2,850 158

Nikon D3500

£499

4★

Easy-to-use entry-level DSLR with Bluetooth connectivity

DX

24.2

Nikon F

25,600 1080 11 5 95

•

3 1,550 124

97

69.5 415

Nikon D5600

£800

4.5★ Excellent image quality and handling, plus Bluetooth connectivity

DX

24.1

Nikon F

25,600 1080

•

•

3.2 •

•

970 124

97

78

Nikon D7500

£1299 4.5★ Places the excellent sensor from the D500 into a smaller body

DX

20.9

Nikon F 1,640,000 3840

• 51 8 100 •

•

3.2 •

•

950 135.5 104

Nikon D500

£1729 5★

Probably the best DX-format DSLR ever, with remarkable autofocus

DX

20.9

Nikon F 1,640,000 3840

• 153 10 100 • 3.2 •

• 1,240 147

81

860

Nikon D780

£2199 5★

Superb all-rounder blends the best of DSLR and mirrorless technology

FX

24.5

Nikon F 204,800 3840

• 51 7 100 • 3.2 •

• 2,060 143.5 115.5 76

840

Nikon D850

£3499 5★

High speed and superb image quality make this the best DSLR yet

FX

45.7

Nikon F 102,400 3840

• 153 7 100 • 3.2 •

• 1,840 146

124

Nikon D5

£5199

Nikon’s top-end sports and action model for professionals

FX

20.8

Nikon F 3,280,000 3840

• 153 14 100 3.2 •

• 3,780 160

158.5 92

1405

Nikon D6

£6299

Latest pro-level high-speed sports camera boasts new AF system

FX

20.8

Nikon F 3,280,000 3840

• 105 14 100 • 3.2

• 3,580 160

163

92

1450

Pentax K-70

£600

Pentax KP

£1099 4★

Pentax K-3 III

£1899 4★

Pentax K-1 II

£1799 4.5★ Well-featured full-frame DSLR that’s excellent value for money

Minor update to EOS 1300D gains 24.1MP sensor

APS-C 24.1 Canon EF 12,800 1080 9 3 95

•

•

3

500 129

4.5★ Solid performer with fully articulated screen and in-body stabilisation

• 39 5 95

900 151

101.3 77.6 475

102.6 76.2 515

76

890

167.6 82.6 1440

115

465

72.5 720

78.5 1005

APS-C 24.2 Pentax K 102,400 1080 11 6 100 •

•

3

•

410 125.5 93

74

688

Compact but well-specified DSLR with interchangeable hand-grips

APS-C 24.3 Pentax K 819,200 1080

• 27 7 100 •

•

3

•

390 131.5 101

76

703

Highly specified but pricey APS-C DSLR that boasts a large viewfinder

APS-C 25.7 Pentax K 1,600,000 3840

• 101 12 100 • 3.2

www.parkcameras.com/used 01444 23 70 60 90

87-91 BuyingGuideCameras Mar15 AW.indd 90

FF

36

Pentax K 819,200 1080

•

• 33 4.4 100 • 3.2 •

800 134.5 103.5 73.5 820

670 136.5 110

85.5 1010

We offer a wide range of used cameras, lenses & accessories all thoroughly quality checked, tested & cleaned, including a full sensor check on all cameras.

Treat yourself to a n We o

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08/03/2022 17:53

ras, uality ga

NAME & MODEL

RRP SCORE

Canon G1 X Mark III

£1149 5★

Canon G3 X

£799

Canon G5 X Mark II

Rewrites the rule book by fitting an APS-C sensor in a compact body

SHOOTING APS-C

24.2

24-72

3.5★ Long zoom range, but let down by slow shooting and no built-in EVF

1in

20.2

24-600

12,800 1080

£849

4★

1in

20.2

Canon G7 X Mark II

£549

4.5★ Pocketable body that handles well, with really useful zoom range

1in

Canon G7 X Mark III

£699

4★

Lovely pocket camera that includes 4K video and YouTube live streaming

Canon G9 X Mark II

£449

4★

Slim, stylish, pocketable camera gives great image quality

Fujifilm X100V

£1299 5★ Classic rangefinder-like camera with tilting screen and weather-sealing

Leica C-Lux

£875

Customised, re-badged version of the Panasonic TZ200

1in

20.1

Leica D-Lux 7

£1075

Customised, re-badged version of the Panasonic LX100 II

4/3

Leica V-Lux 5

£1049

Customised, re-badged version of the Panasonic FZ1000 II

Leica Q2

£4250

Leica Q2 Monochrom

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

•

3in

•

•

200 115

• 5.9

•

•

3.2in •

•

300 123.3 76.5 105.3 733

24-120

25,600 3840 30 •

•

•

3in

•

•

230 110.9 60.9

46

340

20.1

24-100

12,800 1080

8

•

•

3in

•

•

265 105.5 60.9

42

319

1in

20.1

24-100

25,600

30 •

•

3in

•

•

265 105.5 60.9

41.4 304

1in

20.2

28-84

12,800 1080 8.2

•

•

3in •

235

98

57.9 30.8 206

51,200 3840

20 •

•

•

3in

•

420 128

74.8 53.3 478

24-360

25,000 3840 10 •

•

•

3in •

370 113

67

46

340

17

24-75

25,000 3840 11 •

•

3in •

340 118

66

64

392

1in

20.1

25-400

25,000 3840

•

3in

440 136.7 97.2 131.5 812

Update to the Q with high-resolution sensor and weather-sealed body

FF

47.3

28

50,000 4096 20 •

•

3in •

350 130

80

91.9 718

£4995 5★

Variant of the Q2 with a modified sensor that only shoots in black & white

FF

47.3

28

100,000 4096 20 •

•

3in •

350 130

80

91.9 734

Panasonic FZ1000 II

£700

4★

Updates FZ1000 with higher-resolution, touch-sensitive screen

1in

20.1

25-400

25,600 3840

•

12 •

•

•

3in

•

•

440 136.2 97.2 131.5 810

Panasonic FZ2000

£600

4.5★ Sophisticated bridge camera with strong focus on 4K video

1in

20.1

24-480

25,600 3840

•

12 •

•

•

3in

•

•

350 137.6 101.9 134.7 966

Panasonic LX15

£370

4.5★ Likeable advanced compact with ultra-fast f/1.4-2.8 zoom lens

1in

20.1

24-72

25,600 3840 10

•

•

3in

•

•

260 105.5 60

Panasonic LX100 II

£600

4.5★ Fine camera with Four Thirds sensor, fast lens and analogue controls

4/3

17

24-75

25,600 3840 11 •

•

3in •

340 115

Panasonic TZ100

£350

4.5★ Long zoom lens in pocket-sized body makes for a fine travel camera

1in

20.1

25-250

25,600 3840 10 •

•

•

3in •

300 110.5 64.5 44.3 312

Panasonic TZ200

£500

4.5★ Huge zoom range for a pocket camera, but telephoto images lack detail

1in

20.1

24-360

25,600 3840 10 •

•

•

3in •

370 111.2 66.4 45.2 340

Ricoh GR III

£799

4★

Ricoh GR IIIx

35

3840

•

•

•

9

DIMENSIONS

•

APS-C 26.1

1080

SCREEN

•

Handles well and gives great image quality, but sluggish AF in low light

25,600

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

MIC INPUT

SUMMARY

BURST MODE (FPS)

VIDEO

MAX ISO

LENS RANGE (MM EQUIV)

SENSOR SIZE

Compact cameras

RESOLUTION (MP)

SPONSORED BY

12 •

•

•

•

•

77.9

51.4 399

42

310

66.2 64.2 392

Slimline, lightweight advanced compact with in-body image stabilisation

APS-C 24.2

28

102,400 1920

4

•

3in •

200 109.4 61.9 33.2 257

£899

Variant of the GR III with new 40mm-equivalent f/2.8 lens

APS-C 24.2

40

102,400 1920

4

•

3in •

200 109.4 61.9 35.2 262

Sony RX0 II

£730

Tough wateproof camera with tilting screen and internal 4K video recording

1in

15.3

24

12,800 3840

•

16

•

1.5in • 240

Sony RX10 IV

£1800 5★

Update to RX10 III with vastly improved shooting speed and autofocus

1in

20.1

24-600

12,800 3840

•

24 •

•

•

3in

•

Sony RX100 III

£810

5★

Features fast f/1.8-2.8 zoom lens and pop-up electronic viewfinder

1in

20.1

24-70

12,800 1920 10 •

•

•

3in

• 320 101.6 58.1

41

290

Sony RX100 V

£900

4.5★ Includes super-fast 24fps shooting and slow-motion video up to 960fps

1in

20.1

24-70

12,800 3840 24 •

•

•

3in

• 220 101.6 58.1

41

299

Sony RX100 VI

£980

4.5★ Fantastic pocket travel camera with 24-200mm equivalent f/2.8-4 lens

1in

20.1

24-200

12,800 3840 24 •

•

•

3in

•

•

240 101.6 58.1 42.8 301

Sony RX100 VII

£1200 4.5★ Gains Sony’s latest AI-based autofocus tech, including real-time eye AF

1in

20.1

24-200

12,800 3840

•

20 •

•

•

3in

•

•

260 101.6 58.1 42.8 302

Sony ZV-1

£700

Designed for vloggers, with high-spec mic and fully articulated screen

1in

20.1

25-70

12,800 3840

•

24

•

3in

•

•

260 105.5 60

43.5 294

Zeiss ZX1

£5400 3★

Unique camera with built-in Lightroom Mobile, but awkward touch interface

FF

27.4

35

3

•

4.3in •

TBC 142

94

4★

51,200 3840

•

•

59

40.5

400 132.5 94

93

35

132

144 1095

837

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91

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AP_2022_03-15_Camera World Ltd_DPS_FP.indd 1

07/03/2022 13:56

AP_2022_03-15_Camera World Ltd_DPS_FP.indd 2

07/03/2022 13:56

Mifsuds Photographic Ltd Est. 1954.

Family Run Pro Dealership With Friendly, Knowledgeable Staff.

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

www.mifsuds.com

01803 852400

info@mifsuds.com

Current opening times: - Tuesday - Friday 10am~4pm. Saturday10am~2pm.

GO ON, YOU KNOW YOU WANT TO...

Canon New Stock EOS R3 Body

Canon New Stock EOS R5 Body EOS R6 Body

Canon New Stock MIFSUDS EXCLUSIVE

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Sony A7R MKIV Body

Mint Boxed

Boxed

£2699

Olympus OMD E-M5 MKIII body

£2499

Sony RX10 MKIV

Boxed

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£799

Nikon 300mm F2.8 AFS VRII

£1199

Nikon 500mm F4 AFS E FL Latest Boxed

NOT MIRRORLESS

£3799

NOT MIRRORLESS

£6999/ £7997

UPGRADE NOW - PART EXCHANGE ALWAYS WELCOME

CALL MATT 0736 828 8126

8am till 8pm daily

Sensor cleaning and Pro equipment hire available

ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 04/03/2022. E&OE. AP_2022_03-15_Mifsuds Photographic Ltd_DPS.indd 1

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The best stocked dealer in the West Country

QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.

CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED RF 70-200mm 7D MKII 500mm F4 IS F4 IS body 100-400mm 300mm F2.8 R5 body RF 24-105mm 1DX MKIII 1DX MKII 5D MKIV USM LII box box F4.5/5.6 LII box IS USM LII Mint- box F4 L IS body body body

Used Canon

£5499 £2699 £1699/2297£499/849 £3699

CANON R DIGITAL AF USED R5 body Mint- box ........................£3699 RF 24-105 F4 L IS............................£1099 RF 24-105 F4/7.1 IS STM................ £349 RF 70-200 F4 IS box ......................£1499 CANON DIGITAL AF USED 1DX MKIII body Mint box ...........£5499 1DX MKII body box .......................£2699 7D MKII body box............................ £849 7D body...£199 6D body box ..... £499 5D MKIV body box ............ £1699/2297 5D MKIII body box.................. £599/999 80D body Mint box......................... £699 1300D body....................................... £199 BG-E20 grip box............................... £199 BG-E16 grip........................................ £179 BG-E13 grip.........£99 BG-E11 grip £99 BG-E9 grip box..£89 BG-E6 grip ...£79

BG-E4 grip.......£79 BG-E2 grip .......£39 CANON AF LENSES USED 10-18 F4.5/5.6 IS STM..................... £219 10-22 F3.5/4.5 USM EFS ................ £349 15 F2.8 fisheye.................................. £399 15-85 F3.5/5.6 EFS........................... £299 16-35 F4 USM IS L............................ £799 17-40 F4 L USM ................................ £399 17-55 F2.8 EFS IS USM ................... £649 18-55 F3.5/5.6 IS STM........................£99 18-135 F3.5/5.6 USM Nano .......... £399 18-135 F3.5/5.6 IS EFS.................... £199 18-200 F3.5/5.6 EFS ........................ £299 24 F2.8 STM ....................................... £129 24 F3.5 TSE LII box.........................£1199 24-70 F4 IS USM L............................ £699 24-105 F4 IS USM L ......................... £549 35 F1.4 USM LII box ......................£1299

Used Canon

Used Canon

£1099

50 F1.2 L USM box........................... £997 50 F1.4 USM....................................... £299 50 F1.8 STM box..................................£99 55-250 F4/5.6 IS EFS ....................... £199 60 F2.8 EFS macro ........................... £299 65 F2.8 MPE macro ......................... £799 70-200 F2.8 IS USM LIII box........£1699 70-200 F2.8 IS USM LII ................... £997 70-200 F4 IS USM box.................... £599 70-200 F4 L USM.............................. £399 70-300 F4.5/5.6 U L IS box............ £799 70-300 F4/5.6 IS USM II.................. £499 70-300 F4.5/5.6 USM ...................... £299 85 F1.2 L USM MKII .......................£1299 85 F1.4 IS USM L.............................£1249 85 F1.8 USM....................................... £249 100 F2.8 IS USM L macro .............. £749 100 F2.8 USM macro ...................... £399

£1499 £1499

100-400 F4.5/5.6 LII box..............£1499 100-400 F4.5/5.6 L.................. £599/899 135 F2 USM L box............................ £649 180 F3.5 L USM macro................... £899 200 F2.8 USM LII .............................. £499 200-400 F4 IS USM L box............£5999 300 F2.8 IS USM LII........................£3799 300 F4 IS USM L................................ £749 400 F5.6 USM L................................. £799 500 F4 IS USM LII ...........................£5999 1.4x extender MKIII ......................... £349 2x extender MKIII............................. £349 12mm ext tube II ................................£69 25mm ext tube II ............................. £129 SIGMA CAF USED 8-16 F4.5/5.6 HSM DC box ........... £299 10 F2.8 EX DC HSM ......................... £399 10-20 F3.5 EX DC HSM................... £279

£3799

12-24 F4.5/5.6 II HSM ..................... £499 17-70 F2.8/4 DC OS HSM .............. £249 24 F1.4 DG HSM Art........................ £579 35 F1.4 DG HSM Art........................ £579 50 F1.4 DG HSM Art........................ £549 50-500 F4.5/6.3 HSM OS ............... £699 70-200 F2.8 EX DG OS HSM ......... £599 85 F1.4 EX DG box........................... £399 105 F2.8 EX DG HSM OS box....... £329 150 F2.8 EX DG OS HSM box....... £599 150-500 F5/6.3 APO DG OS ......... £499 150-600 F5/6.3 DG OS sport......£1197 150-600 F5/6.3 contemporary.... £749 300 F2.8 EX DG HSM ....................£1399 TC1401 extender ............................. £179 OTHER CAF USED SAMYANG 24 F3.5 tilt/shift box.. £499 TAM 10-24 F3.5/4.5 Di II ................ £199

£5999

TAM 15-30 F2.8 Di VC USD G2 box£699 TAM 16-300 F3.5/6.3 II VC............. £399 TAM 28-300 F3.5/6.3 VC PZD....... £499 TAM 180 F3.5 Di macro ................. £349 TAM 150-600 F5/6.3 VC USD G2. £999 TOK 12-24 F4 ATX Pro II DX box. £299 TOK 12-24 F4 ATX Pro box ........... £249 Kenko ext tubes box .........................£99 FLASH/ACCESSORIES USED MR-14EX ringflash box .................. £349 430EX MKIII RT box......................... £229 430EX II................................................ £149 580EX II................................................ £169 580EX ................................................... £129 600EX RT............................................. £299 SB-E2 transmitter................................£79 ST-E3 Speedlight transmitter ...... £239 Angle finder C................................... £149

NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED NIKON Z DIGITAL AF USED Z7 MKII body box ..........................£2699 Z7 body box ....................................£1399 24-50 F4/6.3....................................... £299 24-70 F4 S Mint box........................ £599 FTZ adapter box............................... £249 NIKON DIGITAL AF USED D3 body box....................................... £799 D2X body box................................... £349 D850 body box...............................£2199 D810 body box................................. £997 D780 body Mint box ........ £1499/1599 D750 body box........................ £699/899 D600 body.......................................... £599 D500 body box................... £1099/1299 D300 body box...£299 D200 body£199 D7500 body....................................... £699 D7200 body....................................... £649 D7100 body....................................... £449 D5600 bod.......£399 D5200 body . £199 D3400 body....................................... £299 D3200 body...£199 D3000 body ..£99 D90 body............................................ £199

MBD-16 (D750)................................. £149 MBD-15 (D7100/7200) .................. £129 MBD-14 (D610/600) ..........................£99 MBD-12 grip (D810)........................ £199 MBD-11 grip (D7000) ..................... £149 MBD-10 grip (D300)...........................£99 MBD-200 or MBD-80 grip each .....£99 NIKON AF LENSES USED 10.5 F2.8 fisheye box...................... £349 10-20 F4.5/5.6 AF-P DX VR ........... £219 10-24 F3.5/4.5 AFS box.................. £579 12-24 F4 DX AFS .............................. £299 14-24 F2.8 AFS.................................. £899 16 F2.8 AFD fisheye box................ £399 16-35 F4 AFS VR box ...................... £599 16-80 F2.8/4 VR DX ......................... £599 18-35 F3.5/4.5 AFS M- box ........... £549 18-35 F3.5/4.5 AFD ......................... £199 18-55 F3.5/5.6 AF VR .........................£99 18-105 F3.5/5.6 VR DX AFS........... £199 18-140 F3.5/5.6 AFS VR DX........... £249 18-200 F3.5/5.6 VRII box ............... £349 18-200 F3.5/5.6 VR box.................. £199

18-300 F3.5/5.6 VR DX ................... £599 20 F1.8 AFS box................................ £579 24 F1.4 G AFS Mint.......................... £997 24 F1.8 AFS box................................ £549 24 F2.8 AFD........................................ £299 24-70 F2.8 AFS VR M- box ..........£1499 24-70 F2.8 AFS box ......................... £897 24-85 F3.5/4.5 AFS VR .................... £299 24-120 F4 AFS VR box.................... £499 28-300 F3.5/5.6 VR box.................. £599 35 F1.4 G AFS M- box..................... £997 35 F1.8 AFS DX ................................. £149 40 F2.8 AFS DX macro box........... £249 50 F1.4 AFS G box ........................... £299 50 F1.8 AFS box................................ £169 50 F1.8 AFD box............................... £129 55-200 F4.5/5.6 VRII box ............... £149 58 F1.4 AFS G box ........................... £899 60 F2.8 AFS.....£449 60 F2.8 AFD£299 70-200 F2.8 E FL AFS box ...........£1699 70-200 F2.8 AFS VRII M- box....... £899 70-200 F4 VR box............................. £699 70-300 F4.5/5.6 AFS VR box......... £349

80-400 F4.5/5.6 AFS VR box..£799/1499 85 F1.4 AFS box................................ £997 85 F1.8 AFS box................................ £299 85 F1.8 AFD Mint box .................... £249 105 F2.8 AFS VR................................ £499 180 F2.8 ED........................................ £299 200 F4 AFD macro box................£1399 200-400 F4 AFS VR II.....................£3499 200-500 F5.6 VR AFS box.............. £999 300 F2.8 AFS VRII ...........................£3799 300 F4 AFS E PF ED VR box ........£1199 500 F4 AFS VR E FL box ... £6999/7997 500 F4 AFS VR serviced ...............£4499 500 F5.6 E PF VR AFS box ...........£2997 600 F4 F4 E FL ED AF-S VR latest..£8997 TC14-EIII box...................................... £459 TC14-EII box....................................... £299 TC17-EII ............................................... £299 TC20-EIII box...................................... £349 TC-20EII ............................................... £199 SIGMA NAF USED 8 F3.5 EX DG fisheye....................... £399 8-16 F4.5/5.6 HSM DC box ........... £299

10-20 F3.5 DC box........................... £269 12-24 F4.5/5.6 II HSM ..................... £599 18-250 F3.5/6.3 DC OS................... £199 24 F1.4 DG HSM Art........................ £579 35 F1.4 DG HSM Art........................ £579 50 F1.4 DG HSM Art........................ £549 50-500 F4.5/6.3 HSM OS ............... £699 70-200 F2.8 EX DG OS HSM ......... £599 ALL 70-300 F4/5.6 each................. £139 100-400 F5.6/6.3 DG....................... £599 105 F2.8 EX DG HSM OS................ £329 150 F2.8 EX DG OS HSM box....... £599 150-500 F5/6.3 DG OS HSM......... £499 150-600 F5/6.3 DG OS sport......£1197 150-600 F5/6.3 contemporary.... £749 TC-1401 extender............................ £199 1.4x EX DG conv box ...................... £149 OTHER NAF USED SAMYANG 8 F3.5 Fisheye MF box.. £169 TAM 16-300 F3.5/6.3 II VC............. £399 TAM 24-70 F2.8 Di VC USD........... £499 TAM 28-300 F3.5/6.3 Di VC PZD . £499 TAM 150-600 F5/6.3 VC USD G2. £999

TOK 11-16 F2.8 ATX ProII .............. £349 TOK 11-16 F2.8 ATX Pro................. £299 TOK 12-24 F4 ATX Pro II................. £299 TOK 12-24 F4 ATX Pro .................... £249 TOK 16-50 F2.8 ATX DX box......... £299 Kenko ext tubes box .........................£99 FLASH / ACCESSORIES USED R1 macro ring flash inc SB-200... £299 SB-29 ringflash box......................... £199 SB-300.........£99 SB-400................. £119 SB-600.................................................. £119 SB-700.................................................. £219 SB-900.................................................. £249 SB-910 box......................................... £299 SU-800 commander ....................... £269 SB-8A batt pack...................................£69 Nissin i40 ...............................................£99 DR-6 abgle finder ............................ £169 DR-5 angle finder ............................ £169 DR-4 angle finder ............................ £149 DR-3 angle finder ...............................£89 MC-36A rem.....£89 MC-30A rem..£39 SC-17/SC-19/SC-28 cable each......£49

FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED FUJI DIGITAL USED X-T4 body Mint- box....................£1199 X-T10 body box ................................ £199 8-16 F2.8 XF WR box.....................£1299 10-24 F4 R OIS XF box.................... £599 14 F2.8 R box..£499 16 F1.4 XF box ..£599 16-80 F4 XF WR ................................ £599 18-55 F2.8/4 XF Mint- .................... £399 23 F1.4 XF M- box.£599 35 F2 XF . £319 50 F1.0 XF R WR box....................... £997 50-230 F4.5/6.7 OS XC MKII ......... £299 50-230 F4.5/6.7 OS XC MKI .......... £249 60 F2.4 XF box .................................. £449 90 F2 R LM WR XF box ................... £599 100-400 F4.5/5.6 XF LM OIS WR. £997 2x XF converter ................................ £339 X100 Limited Edition kit blk box £399 VG-XT3 vertical grip box............... £129

VPB-XT2 grip box................................£99 VG-XT1 grip ..........................................£49 SONY DIGITAL USED A7R MKIV body Mint box ...........£2499 A7 MKII body..£449 A7 body...... £399 RX10 MKIV box ...............................£1199 RX100 MKIII...£299 RX100............ £199 A100 body.............................................£99 SONY A MOUNT LENSES USED Sony A 16-50 F2.8 SSM DT ........... £299 Sony A 18-70 F3.5/5.6.......................£89 TAM 90 F2.8 SP ................................. £199 Teleplus 1.4x or 2x conv each........£79 Kenko 1.4x Pro 300DG................... £149 VG-C1EM grip ......................................£99 MINOLTA AF USED 28-80 F3.5/5.6.£49 28-85 F3.5/4.5...£99 35-70 F3.5/4.5 ......................................£29

35-105 F3.5/4.5 .....................................£99 70-210 F4.5/5.6....................................£79 75-300 F4.5/5.6....................................£79 80-200 F4.5/5.6....................................£49 100-300 F4.5/5.6 APO .................... £149 100-300 F4.5/5.6 .................................£99 3600HSD flash .....................................£49 SIGMA SONY A MOUNT AF USED SIG 12-24 F4.5/5.6 II HSM DG...... £499 SIG 18-300 F3.5/6.3......................... £299 SIG 50-500 F4.5/6.3 HSM OS ....... £699 SIG 70-200 F2.8 EX DG OS box .. £599 SIG 105 F2.8 EX DG OS .................. £329 SIG 150-500 F5/6.3 DG OS box... £499 SIG 1.4x EX converter........................£99 SIG 12x EX DG converter .............. £149 SONY NEX FE MOUNT AF USED FE 16-35 F4 ZA OSS ........................ £899

FE 24-70 F4 ZA OSS ........................ £699 FE 24-240 F3.5/6.3 OSS box......... £599 FE 28-70 F3.5/5.6 OSS.................... £199 FE 35 F1.4 ZA OSS box................... £699 FE 35 F2.8 ZA box............................ £499 FE 70-200 F2.8 GM OSS box ......£1499 FE 70-200 F4 G OSS box................ £997 FE 100 F2.8 GM OSS box............... £997 SONY NEX E MOUNT AF USED E 16-70 F4 ZA OSS box.................. £499 E 50 F1.8 OSS box............................ £189 E 55-210 F4.5/6.3 ............................. £219 OLYMPUS MICRO 4/3 USED OMD-EM1 body black.................... £399 OMD-EM5 MKIII body box............ £799 OMD-EM5 MKII body box............. £499 OMD-EM5 body box....................... £199 OMD-EM10 MKII body................... £249

Pen E-P5.............................................. £199 12-40 F2.8 Pro box .......................... £599 12-100 F4 IS Pro box....................... £799 12-200 F3.5/6.3 box........................ £599 14-150 F4.5/5.6 MKII....................... £429 17 F1.2 ED Pro box.......................... £699 25 F1.2 Pro M- box .......................... £699 40-150 F2.8 Pro box........................ £929 40-150 F4/5.6 ED ............................. £149 45 F1.8 silv....£149 60 F2.8 macro . £349 75 F1.8 box ........................................ £499 75-300 F4.8/6.7 MKII Mint box.... £369 SAMYANG 12 F2 Mint box MF .... £239 HL-D7 grip for EM1 ............................£69 HL-D6 grip for EM5 ............................£69 FL-900AR flash .................................. £349 PANASONIC DIGITAL USED G9 body.......£649 G2 body .......... £129

7-14 F4 box........................................ £499 8 F3.5 fisheye box............................ £499 14-42 F3.5/5.6 ......................................£99 14-45 F4/5.6....................................... £149 14-140 F3.5/5.6................................. £299 25 F1.7 ................................................. £119 45-200 F4.5/5.6................................. £199 100-300 F4/5.6 II box...................... £449 PENTAX DIGITAL USED 16-45 F4 ED DA box........................ £199 18-55 F3.5/5.6 AL................................£69 18-250 F3.5/6.3 DA ......................... £249 35 F2.4 DA AL.......................................£99 35-80 F4/5.6....£49 50 F1.8 DA ... £119 55-300 F4/5.8 ED WR...................... £299 D-BG4 grip for K5 box.......................£79 OTHER PENTAX AF USED SIG 70-300 F4/5.6 DG macro....... £139

BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED BRONICA 645 USED ETRSi + 75 PE + WLF + 120 back £749 ETRS + AEII prism + 75 PE + speed grip ...................................... £699 ETRSi body box ................................ £299 40 F4 PE............£449 40 F4 E........ £299 45-90 F4/5.6....£449 150 F3.5 E .. £149 200 F4.5 PE......................................... £299 ETRSi 120 back RWC late .............. £119 Polaroid back box...............................£29 AEIII prism....£349 AEII prism...... £169 Waist Level Finder ........................... £169 Rotary prism E box.......................... £199 Plain prism E box............................. £169

Speed grip E .........................................£99 Lenshoods various.............................£40 BRONICA 6x6 USED SQAi body .......................................... £499 SQA body.........£299 SQB body... £299 40 F4 PS........£499 50 F3.5 PS box . £349 150 F4 PS ............................................ £299 2x converter PS ................................ £199 2x converter S................................... £149 SQAi 120 back late .......................... £199 SQA 120 back early......................... £149 Polaroid back......£29 WLF............ £199 SQA speed grip ................................ £149 Lenshoods various...................... £20/50

HASSELBLAD 6x6 USED 150 F4 CF............................................ £699 150 F4 Black T* ................................. £499 A12 black latest box ....................... £499 WLF chrome late.............................. £299 Polaroid back .......................................£79 Lenshood various...............................£49 MAMIYA 645 MF USED Qick shoe AQ701 box .................... £149 Teleplus 2x converter........................£39 120 insert...............................................£29 Ext tube 1, 2 or 3 each......................£29 MAMIYA 7 RF USED 43 F4.5 L + V/F box ......................... £997

Viewfinder for 150 F4.5 ................. £199 MAMIYA RB USED 55 F4.5 ................................................. £299 Ext tube 1 or ext tube 2 each ........£59 MAMIYA RZ USED 100-200 F5.2 W................................. £299 180 F4.5 W.......................................... £299 Plain prism ......................................... £349 PENTAX 645 AF USED 55-110 F5.6 FA .................................. £599 80-160 F4.5 FA .................................. £399 150-300 F5.6 FA................................ £599 200 F4 FA ............................................ £399 300 F4 FA ............................................ £799

PENTAX 645 MF USED 45 F2.8.........£349 80-160 F4.5..... £499 120 F4 macro .................................... £399 135 F4 leaf...£399 200 F4 ............ £199 300 F4 ED IF green T*..................... £599 Auto ext tube set............................. £169 Helicoid ext tube ............................. £199 REF converter angle finder box.. £179 PENTAX 6x7 USED 45 F4 late.......£599 55 F4 .............. £399 55-100 F4.5 ........................................ £699 75 F4.5 late......................................... £399 90-180 F5.6 ........................................ £499 100 F4 + macro adapter box....... £699

105 F2.4 late ...................................... £699 120 F3.5 soft focus .......................... £399 200 F4 late.......................................... £399 300 F4 latest ...................................... £349 Helicoid ext tube ............................. £199 1.4x converter................................... £199 2x rear converter grey ................... £199 Waist level finder ............................. £199 REF converter angle finder .......... £199 Chimney.............................................. £299 Polaroid back MPC box ....................£69 Wooden grip ..................................... £299 YASHICA 6x6 TLR USED 124G ..................................................... £399

35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED CANON AF FILM BODIES USED EOS 3 body.......£449 EOS 5 body .£99 EOS 600 / 650 body each ................£69 EOS 500/300/50E/30 body each...£39 CANON FD USED A1 World Cup 1982 body box..... £249 A1 body............................................... £169 AE1P silver body .............................. £199 T90 body..........£199 T70 body.......£99 50 F1.4 ................................................. £149 50 F1.8...............£69 50 F2.................£69 70-210 F4.........£99 135 F3.5 ...........£69 2x extender B.......................................£49 FD bellows ......................................... £149 CONTAX USED CZ 180 F2.8 AE.................................. £299 CZ 300 F4 AE ..................................... £299 LIGHTMETERS USED Minolta Auto Meter IVF box ........ £249

Minolta Flashmeter IVF ................. £199 Sekonic L308s ................................... £169 Sekonic L308x................................... £199 Sekonic L358..................................... £239 MINOLTA AF USED 7Xi body.................................................£69 Dynax 4 body.......................................£39 500Si Super/505Si Super body ea...£39 VC700 grip fits Dynax 700Si ...........£49 MINOLTA MD USED X700 body.......................................... £199 X300s body black ...............................£99 X300 body blk/chrome ....................£99 35-70 F3.5/4.5 ......................................£69 50 F1.7............£79 50 F3.5 macro£149 70-210 F4...............................................£99 75-200 F4.5 ...........................................£99 100-300 F5.6...................................... £149 100-300 F5.6/6.7 .................................£99

Kenko Teleplus macro conv............£69 Auto bellows III................................. £149 Bellows IV box................................... £149 Macro ext tube for 50 F3.5..............£49 Auto ext tube set................................£89 NIKON AF FILM BODIES USED F5 body box....................................... £699 F4s body.........£499 F801 body......£99 NIKON MF USED Nikon F Photomic FTn Apollo chrome body..................................... £699 Nikon F Photomic plain prism Apollo chrome body..................................... £699 F3HP body + ERC............................. £799 F3 body ............................................... £499 CF22 / CF20 case for F3 each .........£39 F2 Photomic + DP-1 chrome....... £499 FM2n body Black ............................. £499 FM2n body Chrome........................ £499

F301 body .............................................£99 35Ti compact .................................... £899 24 F2.8 AI.......£299 28 F2 AI box £299 28 F3.5 AI.......£169 28 F4 shift.... £399 28-85 F3.5/4.5 AIS............................ £199 35 F2 AI ............................................... £299 35-70 F3.5 AIS ......................................£99 35-105 F3.5/4.5 AIS......................... £149 50 F1.4 AIS....£329 50 F1.4 AI...... £249 50 F1.8 AIS....£149 50 F2 AI ............£99 55 F2.8 AIS micro............................. £199 80-200 F4 AIS .................................... £249 85 F2 AI box....................................... £299 100-300 F5.6 AIS .............................. £149 105 F2.5 AI ......................................... £299 135 F2.8 AI ......................................... £199 300 F2.8 ED AIS + case .................. £699 300 F4.5 IF ED AIS............................ £399 300 F4.5 AIS ....................................... £199

TC14B conv.....£99 TC300 conv .. £149 DG-2 Eyepiece magnifier.................£59 DR-4 angle finder ............................ £149 DW-4 finder for F3........................... £149 PB-6 bellows...................................... £299 OLYMPUS OM USED OM-2N body chrome..................... £299 OM-2 body chrome box................ £299 OM-1N body chrome..................... £299 OM-10 chrome body.........................£79 28 F2.8.........£99 35-70 F4 ................£99 35-105 F3.5/4.5................................. £149 50 F1.4 ................................................. £149 50 F1.8 ....................................................£99 80 F4 macro box .............................. £239 135 F3.5..................................................£99 100 F2.8.......£199 200 F4............. £129 7/14/25 ext tube each ......................£20 14/25 auto ext tube each................£29

Converter 2x A.....................................£99 Auto bellows box ............................ £149 PENTAX AF USED SFXN body ............................................£39 PENTAX MF USED LX body............................................... £499 17 F4 PK .............................................. £399 50 F1.4 PK......£149 50 F1.7 PK.......£99 50 F2 PK .................................................£69 80-200 F4.5 PK.....................................£69 135 F3.5 PK ...........................................£79 300 F4 PK box ................................... £399 400 F5.6 PK ............................... £299/499 Bellows M + slide copier PK......... £199 PENTAX M42 USED 50 F1.4 ................................................. £149 105 F2.8............................................... £199 300 F4 .................................................. £299 Honeywell Pentax auto bellows £149

ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL EMAIL YOU WHEN WE CAN HELP. CORRECT 04/03/2022.

Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.

AP_2022_03-15_Mifsuds Photographic Ltd_DPS.indd 2

04/03/2022 15:40

01954 252352

Digital Photography

LEICA 90mm f4 ELMAR BLACK SCREW ......................................................EXC++ - £145.00 LEICA 135mm f2.8 ELMARIT M WITH SPECS........................................... EXC+++ - £299.00

CANON EOS 40D COMPLETE WITH ALL ACCESSORIES ..................... MINT-BOXED - £125.00

LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT ...........................................EXC++ - £99.00

FUJI X10 ,WITH CASE AND HOOD......................................................MINT-BOXED - £199.00

LEICA 135mmf4.5 HEKTOR IN KEEPER .................................................... EXC+++ - £199.00

FUJI X100 12.3 MP ...........................................................................EXC++BOXED - £295.00

LEICA 135mm f4.5 HEKTOR + HOOD SCREW................................................EXC++ - £99.00

FUJI TCL-X100 TELECONVERTER FOR X100/100S etc.......................MINT BOXED - £195.00

LEICA SF20 FLASH FOR M6 etc..............................................................MINT BOXED - £9.00

OLYMPUS OMD BODY ........................................................................MINT-BOXED - £195.00

LEICA 14472 GRIP FOR M8/M9 etc ....................................................MINT BOXED - £125.00

OLYMPUS OMD MK III BODY ..............................................................MINT BOXED - £325.00

LEICA FONOR BLACK RANGEFINDER ................................................ MINT-CASED - £175.00

NIKON MB-D18 BATTERY GRIP for D850 + BL5 COVER ....................MINT BOXED - £295.00 NIKON D3000 WITH BATT AND CHARGER ......................................................MINT - £125.00 NIKON D200 BODY WITH BATTERY,CHARGER+MB-D200 ..............................MINT - £225.00 NIKON SB900 SPEEDLITE ..................................................................MINT-BOXED - £145.00 NIKON ML-3 REMOTE CONTROL SET ..............................................MINT - BOXED - £145.00 NEEWER SPEEDLITE 750 MK II FOR NIKON..........................................MINT BOXED - £55.00

Canon Autofocus, Digital Lenses, Canon FD CANON 50mm f1.8 MK II ..................................................................................MINT - £65.00 CANON 17 - 40mm f4 USM “L” .........................................................MINT-BOXED - £385.00 CANON 24 - 105mm f4 “L” USM IMAGE STABILIZER.........................MINT CASED - £395.00 CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER.........................MINT CASED - £599.00 CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER.........................MINT BOXED - £645.00 CANON 10 - 22mm f3.5/4.5 USM ................................................................EXC++ - £295.00 CANON 17 - 55mm f2.8 EFS IS USM WITH HOOD ..........................................MINT - £445.00 CANON 18 - 55mm f3.3/5.6 STM VIBRATION REDUCTION.............................MINT - £149.00 CANON 28 - 135mm f3.5/5.6 USM IMAGE STAB..............................MINT + HOOD - £165.00 CANON 70 - 300mm f4.5/5.6 USM IMAGE STABILIZER .....................MINT BOXED - £225.00 KENCO DG CANON FIT TUBE SET 12,20,36MM ....................................MINT BOXED - £99.00 CANON 580EX MK II SPEEDLITE........................................................ MINT-CASED - £169.00 CANON 580 EX SPEEDLITE .................................................................EXC++CASED - £99.00 CANON 580 EX SPEEDLITE ................................................................ MINT-CASED - £149.00 CANON 550 EX SPEEDLITE ..................................................................MINT-BOXED - £89.00 CANON 550 EX SPEEDLITE .................................................................EXC++CASED - £65.00

LEICA R7 CHROME BODY ...............................................................................MINT - £365.00 LEICAFLEX BODY CHROME.............................................................................MINT - £195.00 LEICA CURTAGON 35mm f4...............................................................MINT-BOXED - £395.00

YASHICA ML CONTAX FIT 28mm f2.8 ..............................................................MINT - £99.00 CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS ..................MINT BOXED - £275.00 CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS ..............................MINT - £255.00

NIKON 300mm f4E PF ED VR AF-S LENS LATEST ...........................MINT BOXED - £1,195.00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S ...........................................MINT BOXED - £395.00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S .......................................... MINT-CASED - £365.00 NIKON 16 - 35mm f4 “G” AF-S ED VR LATEST VERSION ...................MINT BOXED - £675.00

NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL ....................MINT CASED - £499.00

LEICA 560mm f6.8 TELYT LENS WITH CASE AND .................................... EXC+++ - £399.00

NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL ....................MINT BOXED - £595.00

Binoculars SWAROVSKI 10x40 SL HABICHT+STRAP AND COVERS.................................MINT - £465.00

Medium & Large Format BRONICA ETRSi 120 BACK ...............................................................................MINT - £95.00 HASSELBLAD 28mm f4 HC FOR H SYSTEM ....................................MINT BOXED - £1,075.00 HASSELBLAD 120mm f4 MACRO HC FOR H SYSTEM ..............................EXC++ - £1,095.00 HASSELBLAD 150mm f4 SONNAR T* BLACK ..............................................EXC++ - £195.00 HASSELBLAD 150mm f4 SONNAR CF ...............................................MINT-BOXED - £395.00

NIKON 35 - 70mm f3.3/4.5 A/F LENS............................................................EXC++ - £49.00 NIKON 70-200mm f2.8E AF-S FL ED VR LATEST.............................MINT BOXED - £1,399.00 NIKON AF-S TELECONVERTER TC-14E III .......................................................MINT - £395.00 SIGMA 1.4x TC-1401 TELECONVERTER..............................................MINT CASED - £189.00 NIKON TC-17E II TELECONVERTER .....................................................MINT BOXED - £175.00 NIKON TC20E II 2X AF-S TELECONVERTER .......................................MINT-BOXED - £175.00

Nikon Manual Focus NIKON F3 HP “PRESS” + MD4 REALLY RARE MODEL....................................MINT - £895.00 NIKON F2AS BLACK BODY REALLY NICE........................................................MINT - £495.00 NIKON FM BODY .............................................................................................MINT - £165.00 NIKON FM2n BLACK BODY ....................................................................... EXC+++ - £275.00 NIKON FM2 CHROME BODY .........................................................................EXC++ - £199.00

BRONICA PLAIN PRISM FOR ETRS/ETRSI .....................................................EXC++ - £59.00

NIKON FE CHROME BODY ............................................................................EXC++ - £125.00

BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC ................................MINT - £75.00

NIKON FE CHROME BODY ...............................................................................MINT - £145.00

BRONICA MOTOR WINDER E ........................................................................ EXC+++ - £9.00

NIKON FM BLACK WITH MF-16 BACK ...................................................... EXC+++ - £169.00

BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi .............................................MINT - £179.00 BRONICA 50mm f2.8 PE FOR ETRS/ETRSi .....................................................MINT - £199.00 BRONICA SPEED GRIP FOR ETRSW/ETRSi .......................................................MINT - £49.00 BRONICA 150mm F3.5 ZENZANON S ...............................................................MINT - £65.00 BRONICA PLAIN PRISM FOR SQAi/SQA ...........................................................MINT - £99.00 BRONICA 65mm F4 ZENZANON PS FOR SQ ...................................... MINT-CASED - £145.00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ ....................... MINT-CASED - £365.00 BRONICA 150mm F4 PS ZENZANON FOR SQ .................................... MINT-CASED - £145.00

NIKON FM BLACK ........................................................................................EXC++ - £145.00

CONTAX TLA 360 FLASH...................................................................... MINT-CASED - £65.00 CONTAX GD1 DATABACK FOR CONTAX T3 .......................................... MINT-BOXED - £69.00

MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC ................................... MINT-CASED - £365.00 MAMIYA 80mm f1.9 SEKOR C FOR 645 etc ...................................................MINT - £299.00 MAMIYA 150mm f3.5 SEKOR C FOR 645 SUPER etc .....................................MINT - £145.00 MAMIYA 180mm F4.5 SEKOR Z W FOR RZ.....................................................MINT - £199.00

LEICA TRI ELMAR 28-35-50 f4 ASPHERICAL ................................. MINT-BOXED - £1,995.00

MAMIYA 210mm F4 SEKOR C FOR 645..............................................MINT CASED - £195.00 MAMIYA 180mm F4.5 SEKOR FOR RB ...........................................................MINT - £169.00

LEICA 50mm f2 SUMMICRON RIGID SER No 15933XX ..................................MINT - £975.00

MAMIYA 220 BACK FOR RZ 67 .........................................................................MINT - £95.00

LEICA 90mm f2 SUMMICRON PRE ASP SER No35234XX ..............................MINT - £945.00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M..........................................MINT - £275.00 LEICA 90mm f4 ELMAR M MOUNT.................................................................MINT - £165.00 LEICA 135mm f2.8 ELMARIT M 11829 WITH CASE............................MINT BOXED - £375.00 LEICA 135mm f4.5 HEKTOR ............................................................................ EXC+ - £75.00

PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ............................MINT - £199.00 PENTAX 55mm F4 SMC FOR 6X7 ...................................................................MINT - £175.00 PENTAX 55mm F2.8 FOR PENTAX 645 ...............................................MINT BOXED - £199.00 ROLLEIFLEX SCHNEIDER 150MM F4.6 MAKRO FOR 6008 .............................MINT - £575.00 YASHICA 124G TELEPHOTO AUX LENS SET......................................................MINT - £69.00

Nikon A/F & Digital, Lenses Accessories

LEICA 90mm FINDER........................................................................................MINT - £99.00

NIKON D3X BODY ONLY 10,392 ACTUATIONS ................................... MINT-BOXED - £875.00

VOIGTLANDER BESSA T WINDER .......................................................MINT BOXED - £149.00

NIKON D500 BODY ONLY 7252 ACTUATIONS...................................MINT BOXED - £1,075.00

LEICA 5cm f2 SUMMAR SCREW.....................................................................MINT - £175.00

NIKON F5 BODY REALLY NICE EXAMPLE .......................................................MINT - £499.00

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NIKON TC-14 B 1.4X TELECONVERTER...........................................................MINT - £125.00 NIKON TC-301 2X TELECONVERTER ...............................................................MINT - £125.00 NIKON BP-3 SB FINDER..................................................................................MINT - £175.00

Olympus Manual

OLYMPUS 50mm f1.8 ZUIKO LENS .....................................................................MINT - 65.00 OLYMPUS 80mm f4 ZUIKO MACRO LENS............................................ MINT-CASED - 175.00 OLYMPUS 135mm f3.5 ZUIKO LENS ...................................................... MINT-CASED - 69.00 OLYMPUS 200mm f4 ZUIKO LENS ......................................................................MINT - 75.00 OLYMPUS 2x TELECONVERTER.............................................................. MINT-CASED - 35.00 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE ...................................................MINT - £95.00 OLYMPUS VARI-MAGNIFINDER...............................................................MINT CASED - 49.00 OLYMPUS T32 FLASH UNIT...................................................................MINT CASED - £35.00 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST ...............OR MACRO, FLASH PHONE PLEASE RING FOR DETAILS AND PRICES ..........ALL IN MINT OR CLOSE CONDITION PHONE

Pentax Cameras and Lenses PENTAX 20mm f4 M SMC & FILTER ................................................EXC++ CASED - £225.00 PENTAX 24mm f2.8 A SMC & FILTER ................................................ MINT-CASED - £175.00

PENTAX 50mm f1.4 M SMC................................................................. MINT-CASED - £95.00

NIKON F2 PHOTOMIC BODY CHROME ........................................................... EXC+ - £199.00

PENTAX 85mm f2 M SMC & FILTER .................................................. MINT-CASED - £185.00

NIKKORMAT FT CHROME............................................................................ EXC+++ - £75.00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ...............................EXC++ CASED - £165.00 NIKON 24mm F2.8 AIS SUPERB SHARP LENS................................................MINT - £199.00 NIKON 28mm f2.8 AI ......................................................................................MINT - £165.00 NIKON 45mm F2.8 GN NIKKOR.......................................................................MINT - £199.00 NIKON 50mm f1.2 AIS ....................................................................................MINT - £395.00

PENTAX 100mm f4 A SMC MACRO & FILTER .................................... MINT-CASED - £139.00 PENTAX 135mm f3.5 M SMC & FILTER ............................................... MINT-CASED - £75.00 PENTAX 200mm f4 A SMC & FFILTER ................................................. MINT-CASED - £89.00 PENTAX 300mm f4 A SMC ED GREEN STAR & FILTER .....................EXC++CASED - £165.00 PENTAX 35 - 70mm f2.8/3.5 M SMC & FILTER ................................... MINT-CASED - £89.00 PENTAX 45 - 125mm f4/4.5 SMC & FILTER ........................................ MINT-CASED - £69.00 PENTAX 75 - 150mm f4 M SMC & FILTER........................................... MINT-CASED - £49.00 PENTAX REFLEX ZOOM 400 - 600mm f8/12 + ALL FILTERS............. MINT-CASED - £345.00

MAMIYA 250mm F4.5 LENS FOR RZ ..............................................................MINT - £195.00

LEICA MR METER ..............................................................................MINT-BOXED - £175.00

LEICA 5cm f3.5 COLLAPSIBLE ELMAR...........................................................MINT - £225.00

NIKON SB 16 FLASH FOR F3..........................................................................EXC++ - £65.00

MAMIYA 150mm F4.5 “G” WITH HOOD FOR MAMIYA 6.................................MINT - £295.00

Leica “M” , “R” & Rangefinder & Screw

LEICA 90mm f2.8 TELE ELMAR + HOOD ........................................................MINT - £395.00

NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2 ................................ MINT-CASED - £115.00

PENTAX 50mm f1.7 A SMC & FILTER .................................................. MINT-CASED - £39.00

YASHICA 135mm f2.8 CONTAX FIT ..................................................................MINT - £95.00

CONTAX TLA 280 FLASH UNIT ..............................................................MINT BOXED - £75.00

NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3..............................MINT - £145.00

NIKON F2 PHOTOMIC BODY CHROME .........................................................EXC++ - £275.00

NIKKORMAT FT CHROME WITH 35mm f2.8 S LENS ........................EXC++ CASED - £145.00

MAMIYA M645J COMPLETE WITH 80mm f2.8 ...............................................MINT - £299.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP .................................................. EXC+++ - £99.00

PENTAX 40mm f2.8 M SMC PANCAKE LENS & FILTER ..................... MINT-CASED - £105.00

NIKKORMAT FTN BODY ..................................................................................MINT - £145.00

CONTAX TLA 280 FLASH...................................................................................MINT - £59.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP ..........................................MINT BOXED - £165.00

NIKON F2 BODY FULLY WORKING.................................................................. EXC+ - £169.00

BRONICA FILMBACK SQ-i220 FOR SQA/SQAi ......................................MINT BOXED - £79.00

MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ..............................MINT - £365.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP ......................................................MINT - £145.00

PENTAX 35mm f2 M SMC & FILTER .................................................. MINT-CASED - £169.00

BRONICA SPEED GRIP FOR SQA/SQAI .............................................................MINT - £69.00

CONTAX TLA 30 WITH DIFFUSSER........................................................MINT CASED - £69.00

NIKON 80 - 200mm f4 AIS ZOOM + HOOD .....................................................MINT - £175.00

NIKON F2 A BODY FULLY WORKING............................................................... EXC+ - £199.00

CONTAX 135mm f2.8 SONNAR WITH FILTER..................................................MINT - £175.00

CONTAX MAGNIFIER F2 ........................................................................MINT BOXED - £49.00

NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO.........................................EXC++ - £119.00

PENTAX 28mm f2.8 A SMC & FILTER .................................................. MINT-CASED - £95.00

NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS ....................................EXC++ - £250.00

METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA ...........................MINT BOXED - £150.00

NIKON 35 - 70mm F3.3/4.5 ZOOM NIKKOR MACRO AIS ................................MINT - £169.00

NIKON F2 A BLACK BODY ......................................................................... EXC+++ - £245.00

BRONICA 180mm f4.5 PS LENS & CASE ...........................................MINT-BOXED - £199.00

YASHICA 200mm f4 CONTAX FIT .....................................................................MINT - £90.00

NIKON 28 - 85mm f3.5/4.5 AIS MACRO .........................................................MINT - £135.00

NIKON FE2 BLACK BODY .................................................................EXC++ BOXED - £225.00

CONTAX 50mm f1.7 AE LENS ...........................................................................MINT - £95.00

BRONICA SPORTS/ACTION FINDER VINTAGE ...................................................MINT - £79.00

NIKON 300mm f4.5 AIS IF ED .........................................................................MINT - £399.00

OLYMPUS 50mm f1.8 ZUIKO LENS .....................................................................MINT - 55.00

TOKINA 35mm f2.8 ATX PRO DX MACRO 1:1 LATEST........................MINT BOXED - £245.00

HASSELBLAD A12 BACK CHROME .................................................................MINT - £129.00

NIKON 135mm f2.8 AIS ..................................................................................MINT - £195.00

OLYMPUS 38mm f2.8 ZUIKO MACRO LENS......................................... MINT-CASED - 299.00

HASSELBLAD HTS 1.5X TILT AND SHIFT ADAPTOR.........................MINT BOXED - £1,995.00

HASSELBLAD VFC-6 METERED PRISM ..............................................MINT BOXED - £175.00

NIKON 135mm f2.8 AI LENS SHORT TELEPHOTO ...........................................MINT - £175.00

SIGMA 300 - 800mm f5.6 EX APO HSM ........................................EXC++CASED - £2,499.00 TOKINA 11 - 16mm f 2.8 AT-X PRO DX WITH HOOD............................MINT-HOOD - £245.00

HASSELBLAD PME3 METERED PRISM FINDER..............................................MINT - £275.00

NIKON 50mm f1.8 AI LENS ...............................................................................MINT - £85.00

KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS .........................................MINT - £75.00

HASSELBLAD 250mm f5.6 SONNAR SILVER ................................................. EXC+ - £179.00

HASSELBLAD PM90 PRISM FINDER...............................................................MINT - £275.00

NIKON 50mm f1.8 AIS SHARP LENS ................................................................MINT - £89.00

OLYMPUS 28mm f2.8 ZUIKO.............................................................................MINT - £75.00

SIGMA 300 - 800mm f5.6 EX DG APO HSM ................................... MINT-CASED - £2,999.00

HASSELBLAD GIL GPS UNIT FOR H SYSTEM......................................MINT BOXED - £399.00

NIKON 50mm f1.4 Ai.......................................................................................MINT - £195.00

NIKON DR4 RIGHT ANGLE FINDER........................................................MINT BOXED - £89.00

HASSELBLAD 150mm f4 SONNAR SILVER ..................................................EXC++ - £175.00

BRONICA PLAIN PRISM FOR ETRS/ETRSI ........................................................MINT - £75.00

CONTAX TLA 140 FLASH FOR G1/G2 ....................................................MINT CASED - £65.00

NIKON 85mm f1.8 A/F D..............................................................................EXC++ - £215.00

LEICA 90mm f2.8 ELMARIT 2 CAM ................................................................MINT - £299.00

CANON EF 1.4x EXTENDER.................................................................MINT BOXED - £215.00

Contax ‘G’ Compacts & SLR & Ricoh

Nikon 60mm F2.8 a/f D MACRO LENS ...............................................MINT BOXED - £295.00

LEICA 50mm f2 SUMMICRON 2 CAM ....................................................... EXC+++ - £299.00

BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ...............................MINT BOXED - £59.00

TOKINA 12 - 24mm F4 IF DX ASPH AT-X PRO + HOOD ....................MINT BOXED - £299.000

NIKON 50mm f1.8 A/F “D” ...............................................................................MINT - £89.00

NIKON 24 - 85mm f2.8/4 A/F “D” WITH HOOD...............................................MINT - £225.00

KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER ........................MINT CASED - £99.00

TAMRON 70 - 300mm f4/5.6 SP Di VC ULTRASONIC .........................MINT+HOOD - £225.00

NIKON 50mm f1.4 A/F “D” .................................................................MINT BOXED - £195.00

NIKON 24 - 70mm f2.8 “G” ED NANO AF-S........................................MINT BOXED - £695.00

BRONICA AUTO EXTENTION TUBE E-14................................................MINT BOXED - £45.00

SIGMA 14mm f2.8 EX HSM ASPHERIC ...............................................MINT CASED - £365.00

NIKON 35mm f2 A/F “D” ....................................................................MINT BOXED - £245.00

LEICA 28 - 70mm f3.5/4.5 VARIO ELMAR R ROM ..........................................MINT - £475.00

KENCO DG CANON FIT TUBE SET 12,20,36MM ................................................MINT - £99.00

SIGMA EX 1.4 TELECONVERTER .......................................................................MINT - £75.00

NIKON 28mm f2.8 A/F “D” .................................................................MINT BOXED - £225.00

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01/02/2022 15:22:33 04/02/2022 11:34 08/03/2022 12:10

Photo Critique

Final Analysis Zelda Cheatle considers...

‘Planetary Utilisation Testbed’ by Mónica Alcázar-Duarte

M

ónica AlcázarDuarte lives in London but is a fiercely proud Mexican artist photographer who uses multi-disciplinary techniques to make artwork with a serious message. Her work acknowledges her indigenous heritage – as she herself has said of this recent work, ‘Who has ever heard of a Mexican astronaut, never mind a female astronaut?’

When researching the Google view of Mexican women, she was appalled.

While exploring and researching, Mónica’s work has become involved with migration and acts of survival.

She is committed to spreading the word and altering notions and perceptions of representation, and her projects encompass thoughts on social, political, and cultural issues.

A driving force to activate, share and inform those around her has resulted in some magnificent work. As a photographer/artist she invites you to join her, understand the work and be welcomed into her community.

The photograph here was part of an exhibition at the Grange Museum and Art Gallery in Rottingdean, for Hundred Heroines. This marked not only an exhibition of work donated to the Hundred Heroines charity but also the start of the Collection and Archive 2021.

The photograph was shown alongside a mountain of vermiculite – a mineral used in gardening but also in artificial

‘It is not expected for a Latin-American woman of colour to make work about space exploration’ habitats to train robots. On top of the little mount was a pair of silver boots. Mónica created this set at the openings of exhibitions of space exploration sculptures. These range from her first show at Central Saint Martins’ Lethaby Gallery to Les Rencontres d’Arles for the New Discovery award, and Getxo Festival in Spain. In her words, ‘During these openings I learned how it is not expected

for a Latin-American woman of colour to make work about space exploration. The idea behind using the boots has been to position myself outside of what is expected of a Latinx artist. I want to be part of conversations that involve ecology, and that expand current perceptions of progress with a perspective outside the norm. Conversations around science and technology are still

predominantly male and Western, and we are in deep need for different perspectives and approaches. We are at a time in which we need all hands on deck.’

Mónica is currently a nominator for the Joop Swart Masterclass, and has been on the jury panels of the Royal Photographic Society and the BarTur Award. She has recently completed a residency for Photoworks, exhibited a solo show in Finland, is a member of Women Photograph and a Hundred Heroines. I am including Mónica’s work in the inaugural Jeddah Photo in Saudi Arabia, which is on until April 2022.

Zelda Cheatle is a well-known curator and editor of photography. After some years taking photographs, she began a gallery career at The Photographer’s Gallery in London before setting up and running her own eponymous gallery from 1989 to 2005. Recently she received the Outstanding Contribution to Photography Award from the RPS. See zeldacheatle.com 98

98 FinalAnalysis Mar15_AM AD.indd 98

www.amateurphotographer.co.uk

08/03/2022 17:43

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