Amateur Photographer 16th Oct 2021 by KELSEY Media

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Saturday 16 October 2021

TESTED

Is this new compact en rivals? mightier than its mirrorless

Passionate about photography since 1884

Autumn location guide The best places to capture this magical time of year

Charlie Phillips

Documenting post-war Britain from a different perspective

EXCLUSIVE INTERVIEW

Art Wolfe

On shooting after dark for his new book Night on Earth media PLUSKELSEY Exclusive reader offer! FEBRUARY 2020

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KELSEY media – the engineer who designed and built his own unique cameras Mike Rignall KELSEYmedia

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04/10/2021 14:31

‘Best Photo Lab Worldwide’ Awarded by the Editors of 26 International Photography Magazines TIPA World Award 2013, 2017, 2020 and 2021

Erik Chmil WhiteWall Ambassador WhiteWall Ambassadors are among the most respected, talented, and influential professional photographers in the world, and they rely on WhiteWall‘s gallery quality services for their exceptional artworks. Discover unique photo products, made in-house at our facility in Germany, such as the original photo print under acrylic glass with floater frame from our in-house manufacture. WhiteWall.com Berlin, London, Paris, New York

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22/09/2021 16:35

COVER PICTURES © ROBIN WHALLEY/GETTY IMAGES / © ART WOLFE

7days There is no finer time of the year for getting out into the British landscape than the next few weeks, but where to go? This week we ask some of our most accomplished photographers to list the best places in the UK to capture the colours of autumn. We also talk to the legend that is Art Wolfe about his latest epic project, which was shot entirely between the hours of dusk and dawn. The

This week’s cover image

Robin Whalley took this lovely autumnal picture of Wyming Brook, one of the places featured in our autumn location guide

In this issue

social history of Britain over the past 50 years has been recorded by many photographers, and widely featured in AP over the years, but few have focused on the West Indian immigrant community, which makes Charlie Phillips’s recently rediscovered archive all the more important. Charlie tells us his story this week. We also take a look back at the unique creations of camera builder extraordinaire Mike Rignall, and test the latest offering from Olympus. Enjoy! Nigel Atherton, Editor

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This week in 1968

TREASURES FROM THE HULTON ARCHIVE

3 7 days 14 Autumn location guide 22 Inbox 26 Join the club 28 From dusk till dawn 34 Revealing the full picture 40 Olympus PEN E-P7 46 Film stars 50 Accessories 51 Tech talk 53 Buying Guide: Cameras 66 Final analysis

Smith and Carlos by Douglas Miller

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Tommie Smith (right) of the USA wins the men’s 200 metres final at the Olympic Games in Mexico City, 16 October 1968. Bronze medallist John Carlos, also of the USA, is on the left. Smith and Carlos later caused controversy when they gave the Black Power salute on the medal podium

while the American national anthem was played. After the protest, the International Olympic Committee (IOC) ordered the pair to be suspended from the US team and banned from the Olympic village – but they were not forced to give up their medals.

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.

05/10/2021 16:40

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

AP picture of the week Welsh Renaissance by Ashley Gillam Rolleiflex SL35, Rollei Planar 1.8 50mm lens, Kodak Ektar 100, ISO 100 ‘I started getting into film photography during the first lockdown in 2020. I was always using my Nikon D3400 but I love the manual aspect of using a film SLR,’ says Ashley. ‘I’ve found I don’t take as many images as I would on digital. This appealed to me because I didn’t enjoy sorting through and editing lots of images afterwards. The feeling of also waiting for your film to be developed and seeing the final image is also exciting.’ Ashley adds, ‘I took this photograph in Portmeirion whilst on a camping trip around Wales. The village was designed and built in an Italian style. I like this shot as it captures the colourful village whilst highlighting the statue on a clear and sunny day.’ Ashley is on Instagram at @bazinga_one.

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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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We also liked... Autumn Colours by Alan Irons

Canon EOS-1DX Mark II, Tamron 15-30 at 15mm, 1/80sec at f/8, ISO 100 Alan says, ‘I pass Normanby Hall Country Park nearly every day, where the image was taken, I love to watch the year unfold from first bud through to snow on the branches. The best time is autumn and the wonderful colours, some years are better than others, so when the weather and colours came together I had no choice but to go for it. I was really happy the way it turned out.’ Alan is on Instagram at @alanirons.

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Traaa Laaa! by Jane Haslam Canon EOS 5D Mark IV – EF300mm f2.8L IS II USM + 2x III converter at 600mm, 1/320sec at f/5.6, ISO 3200 Jane says, ‘I was looking for butterflies on my buddleia when I realised that I was not alone, I was able to take several images as the juvenile robin was intently listening to the click of the shutter.’ You can see more of Jane’s photos on Flickr at www.flickr.com/ photos/131061715@N08. www.amateurphotographer.co.uk

04/10/2021 15:56

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Visit shop.kelsey.co.uk/AP1021 Call us on 01959 543 747 and quote AP1021 *Offer available to new UK based subscribers paying by Quarterly Direct Debit including print and digital editions, available until October 31, 2021. You will pay £13 for your fi rst 13 issues, then continue to pay £24.99 every 13 issues thereafter – still saving 62% off the usual shop price. 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/amateurphotographer. 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.

17/09/2021 10:33

New Tamron zoom lenses announced Nik Collection update

DXO HAS announced an update for the Nik Collection suite, which includes the popular Silver Efex Pro black & white editing tool. Version 4.2 can be used with Adobe Photoshop CC in native mode on Macs with an M1 processor (version 22.3 and above). Up until now, they had to use the Rosetta emulator to run the software. In addition, the Control Points in Silver Efex Pro, which enable detailed local edits, have also been tweaked to make them faster and more responsive. For further details, and to download a trial version, see nikcollection.dxo.com/download.

TAMRON has officially announced the new 28-75mm F/2.8 Di III VXD G2, priced at £849, along with the 35-150mm F/2-2.8 Di III VXD, priced at £1,599. Both lenses are now available for pre-order from retailers. The 28-75mm F/2.8 Di III VXD G2 is the update to the first 28-75mm F/2.8 Di III VXD lens, and offers improved optics, faster autofocus, an updated design and support for USB customisation and updates. The lens uses a 67mm filter, and is designed for full-frame E-mount cameras. Key features include 17 elements in 15 groups, nine aperture blades with circular diaphragm, a 0.18m minimum focus and 0.37x maximum magnification. The 35-150mm F/2.0-2.8 Di III VXD is an all-new lens and the fastest E-mount zoom with a bright F2.0 aperture at 35mm. Designed for full-frame cameras, it can

also be used on APS-C E-mount cameras. The lens uses an 82mm filter thread. In addition, Tamron has officially announced the Fujifilm X-mount version of the 18-300mm F/3.5-6.3 DI III-A VC VXD. This lens is now available for pre-order, priced at £679 inc VAT. The Sony E-mount version was announced at the end of August. It’s an optically stabilised 16.6x superzoom that will offer a 27-450mm equivalent range. Tamron’s Voice-coil eXtreme-torque Drive (VXD) linear motor promises rapid and quiet autofocus, while the minimum focus distance of a mere 15cm at wideangle translates to half life-size magnification. The company is promising a dust- and moistureresistant design, and a zoom lock switch stops the lens extending under its own weight when pointed downwards. The 28-75mm F/2.8 Di III VXD for full-frame E-mount is one of the new Tamron optics

Wildlife POTY waives entry fees for 50 countries Luke O’Brien’s image is one of the finalists

Comedy pet photo finalists THE COMEDY Pet Photography Awards has announced the finalists for its latest contest, which seeks to celebrate the important role that pets play in our well-being while also raising awareness of animal-welfare issues. This year, the organisers have partnered with Animal Friends Insurance to donate £10,000 to Animal Support Angels which provides food, shelter, and veterinary support to pets and pet owners in need. The winners of the latest contest will be announced in November, wth the overall victor walking away with £2,000. For the full list of finalists see www.comedypetphoto.com. 8

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AHEAD of a call for entries for the latest Wildlife Photographer of the Year competition, the organisers have revealed the jury panel and announced that entry fees will be waived for 50 countries ‘to further encourage submissions from global regions that are currently under-represented’. As in previous years, the jury chair is Rosamund Kidman Cox OBE. Another jury member, Dr Natalie Cooper, researcher at the Natural History Museum, added, ‘I want to see images that showcase the incredible diversity and beauty of life on Earth. I’m hoping these images can inspire us to learn more about the world around us and encourage us to fight to preserve it.’ The 2022 competiton opens for entries this month, on 18 October, closing at 11.30am GMT on 9 December 2021. Entrants to the adult competition may enter up to 25 images for a £30 fee, which increases to £35 in the final week of the entry period. Entrants aged

One of the highly commended images by Laurent Ballesta

17 and under may enter up to ten images for free. For full details, including the list of fee-exempt countries and Highly Commended images, see www.nhm.ac.uk/wpy. www.amateurphotographer.co.uk

04/10/2021 17:15

Photography and videography can change us. They change the way we feel. Our understanding. They change our hearts and minds. They change the rules. Testing the limits of our comfort zones. Changing the way others see the world. See themselves. Together let’s change the way we do things. Change the narrative. Change the bigger picture. Open up opportunity. Give more people a voice. Put camera kit in more hands. Create a more sustainable future. A future with more people included in it. Here’s to the stories to come. MPB

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11:24 30/09/2021 16:41

Books & exhibitions

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

Curator and tireless campaigner Betty Yao next to the plaque

Plaque honours Victorian travel pioneer A PLAQUE to commemorate the eminent Victorian travel photographer, John Thomson, has been placed on his childhood home in Edinburgh. The centenary this year of Thomson’s death in 1921 was the catalyst for the commemoration, which follows the restoration of Thomson’s grave in Streatham Cemetery in 2019. Representatives from the Scottish Society for the History of Photography, the RPS, Historic Environment Scotland, curators and photo-historians were present for the plaque unveiling. An exhibition of 94 of Thomson’s

images, curated by leading supporter/ campaigner Betty Yao, is at Heriot Watt University until 25 March 2022. He is best known for his publications of his travels in Asia and Street Life in London and for the work he undertook for Royal Geographic Society in training explorers in the use of photography. He was one of the first photographers to capture Angkor Wat in Cambodia – a trip that nearly killed him – and had unique access to the court of the King of Siam (modernday Thailand) and officials of China’s Qing dynasty. Ordinary people feature heavily in Thomson’s travel work too.

Fast 30mm lens for Nikon, Canon, Pentax IRIX has released a 30mm f/1.4 prime lens for Nikon F, Canon EF and Pentax K mounts, based on its existing cine-camera optic. The photographic version of the lens has a different housing while retaining the optical properties of the cine model. These include three low dispersion glass elements, two high refractive index glass elements and one aspherical lens. It has 13 elements in 11 groups, and Irix claims that the 11blade aperture with rounded edges ensures ‘pleasant and very vivid’ bokeh. The optic employs the same ‘Dragonfly’ external design as its 45mm f/1.4 and 150mm f/2.8 Macro stablemates. As such, it’s said to have a scratchresistant finish complemented by an anti-slip focusing ring. Weather-sealed, it features a characteristic Irix focuslock function. Pricing is to be confirmed. www.amateurphotographer.co.uk

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Wild World: Photographing Iconic Wildlife by Richard Barrett £30, Merlin Unwin Books, hardback, 272 pages, ISBN: 9781913159276

Charting some extraordinary journeys to photograph tigers, jaguars, polar bears, grizzlies, orcas and other rare animals, Richard Barrett has traversed the four corners of the globe. This collection of stunning photos tells the stories behind the shots – the circumstances, the weather, the discomfort and patience of waiting for the opportune moment. Formerly a structural engineer, after early retirement Barrett took the opportunity to develop his passion. Many of his travels have been in the company of some of the world’s most esteemed wildlife photographers, such as Danny Green and Mark Carwardine, the latter of which has written the foreword. Highly recommended for those with a love not only for wildlife, but also the techniques behind capturing it.

Captivate! Fashion Photography from the ’90s by Claudia Schiffer £49.99, Prestel, hardback, 216 pages, ISBN: 9783791378497

With over 150 images, including unseen images from Schiffer’s own archive, this book accompanies an exhibition curated by the fashion icon in Düsseldorf, where she was first discovered. Bringing together legendary fashion photographers including Ellen Von Unwerth and Richard Avedon, with supermodels including Cindy Crawford, Naomi Campbell, Linda Evangelista, Kate Moss and of course Schiffer herself, the book looks at an exciting time in fashion. Arguably the last wave of the pre-digital era, you see everything from fine art prints, Polaroids and contact sheets to campaigns and model cards. It’s well worth a look, especially for anyone with fond memories of the decade. 11

05/10/2021 16:26

From the archive

Nigel Atherton looks back at past AP issues

Wallace Heaton’s message to the nation

AP’s competition to shoot life in wartime

18 October 1939 SIX WEEKS after Britain declared war on Hitler, AP published one of its most striking covers. Editor FJ Mortimer explained: ‘Many amateur photographers… appear to have gained the mistaken idea that since war was declared photography has been “banned” altogether. We would like to make it quite clear… that this is not the case. On the contrary, except in certain areas, where naval, military, air-force or other war activities are being carried on, there are not only just as many pictorial subjects available as ever, but the camera can be used for depicting them without restrictions, and this is in addition to the vast amount of photography that can be done at home.’ To encourage readers, AP launched a snappily titled photo competition, ‘How I carried on with my photography during the first three months of the war,’ with 25 guineas (£1,800) in prizes. The ‘no ban on photography’ message was repeated by advertisers like Wallace Heaton, which also published its own statement – essentially an appeal to keep calm and take up photography: ‘German judgement of British psychology has never been noted for its success – and at no time in history has it been less successful than in the past few months and weeks. Having been forced into a war which we didn’t want we shall go doggedly and stoically on and see it through. But the most stoical, the most dogged, must let up sometimes. It is essential that each one of us has some peace even if we are at war. It is noticeable how the peaceful pursuits have come into their own since the war…. and photography is being enjoyed by an increasing number of people.’ 12

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‘Out of the evil’ creativity will flourish, was the message of this wheel-based feature

Might and Majesty, by B Dalal from India

Selo film was still available – for now www.amateurphotographer.co.uk

05/10/2021 14:51

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29/09/2021 12:16 10:39 05/10/2021

Technique

AUTUMNAL LANDSCAPES

Autumn location guide

Ross Hoddinott

Ross is one of the UK’s best-known professional landscape photographers, and the author of several best-selling landscape photography books, including The Art of Landscape Photography. He co-runs Dawn 2 Dusk Photography, which specialises in landscape photography workshops. Visit www.rosshoddinott.co.uk.

Golitha Falls, Bodmin Moor, Cornwall Golitha Falls is a steep-sided wooded valley and a National Nature Reserve. It is located a short drive from the village of Minions with access to the reserve via minor roads from the A38, A30 and B3254. The car park is just north of Draynes Bridge and you can grab a drink or something to eat at nearby Inkie’s Smokehouse. Once parked, follow the path along the River Fowey and you will discover various viewpoints of the river as it flows and cascades through the valley. The woodland is mostly beech and looks spectacular in late October and early November when autumnal colour is typically at its best. A bright, but overcast day is best for shooting woodland interiors. Attach a polarising filter to reduce glare and reflections from shiny foliage. An exposure of roughly a second is a nice length for rivers and waterfalls – being long enough to create motion, while retaining texture and interest in the water. This is also a good spot for fungi, so take a close focusing lens and study the woodland floor for subjects. 14

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05/10/2021 15:23

ation guide

We speak to four landscape photographers for their tips and recommendations on where to capture the best autumnal scenes in the UK

Derwent Water, The Lake District, Cumbria The Lake District is one of the most photogenic areas in Europe and is arguably at its best during autumn. Located close to Keswick (a great place to stay while exploring the area), Derwent Water is one of the area’s photographic highlights. The east shore in particular is full of picture potential and is easily accessible. Park in the large Lakeside pay and display car park, walk past the Theatre By The Lake and explore the boat landings – a ‘classic’ Lake District scene. There are photogenic wooden launches that you can use as foreground interest in your scenes, and attractive rowing boats grounded on the shore (during high season). Cat Bells Mountain makes an impressive backdrop in wideangle views and during autumn the trees and mountainous backdrop are a blend of warm yellow and orange hues. A short walk away at Crow Park, is a wooden gate and fence that provides good subject matter when partly submerged by high water. Walk to Friars Crag too and explore the views south to the jaws of Borrowdale. It is best to visit on a cool, misty autumnal morning, when mirror-like reflections provide added interest and symmetry… and there are also fewer people about getting in the way!

Bowerman’s Nose, Dartmoor National Park, Devon

Bolderwood, New Forest, Hampshire From late October until early November, leaves turn to gold and a wonderful array of fungi emerge on decaying tree stumps and fallen branches. Therefore, it’s worth carrying a versatile range of focal lengths, including a macro or close-up attachment. One of my favourite spots is Bolderwood Arboretum Ornamental Drive, which leads from the A35 (Lyndhurst to Christchurch Road) past the Knightwood Oak to Bolderwood Deer Sanctuary, where there is a large car park and facilities. Dotted along this drive are other car parks. Look for shapely, gnarled, and interesting-looking ancient trees that you can use to harness your composition. Early morning and late evening will often provide the most dramatic and warm light. www.amateurphotographer.co.uk

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A short distance from the B3387 that leads from Bovey Tracey to Widecombe-in-the-Moor is Bowerman’s Nose – one of Dartmoor’s most distinctive and photogenic outcrops. There are a few parking places along the minor road that runs from Houndtor to Langstone Cross in Manaton, close to the tor. However, the road is narrow and rough in places. Instead, I suggest you park at Houndtor car park and walk to Bowerman’s Nose, which will take you approximately 30 minutes. This location works well in autumn, when the bracken carpeting the surrounding moorland is golden brown. Warm, evening light is best at this time of year, together with a dramatic sky. A 24-70mm wideangle zoom is a great focal range for this location and a Cloudy white balance will help exaggerate those beautiful autumnal hues. Don’t forget your tripod! 15

05/10/2021 15:23

Technique

AUTUMNAL LANDSCAPES

Jeremy Walker

Jeremy is one of the UK’s most respected landscape photographers and is known for his eye-catching panoramas, moody black & white landscapes and dark, dramatic images of castles and ruins. He is the author of Landscape, his highly acclaimed first book, and is in great demand as a speaker, writer, and workshop leader. www.jeremywalker.co.uk.

Birks of Aberfeldy, Scotland The small town of Aberfeldy sits on the banks of the River Tay, about 30 miles northwest of Perth. Just to the south of the town and within walking distance is the Birks of Aberfeldy, a steep gorge with a fast-flowing river surrounded by birch, ash, and oak trees. The golden hues and tones are perhaps best seen in late autumn, although this is of course dependent on Mother Nature. There is a car park at the site, just off the A826 although there are no facilities, and a well-marked circular path follows the river. Caution should be taken in the autumn as fallen leaves can make the footpath slippery. The Falls of Moness can be glimpsed through the undergrowth and you’ll find a bridge crosses over the top of the falls. Possibly not the easiest waterfall to shoot, with better views of the river available nearer to the car park.

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Savernake Forest, Wiltshire Savernake Forest is approximately 4,000 acres of mixed woodland dominated by broad leaf trees, perfect for autumnal colours. Situated south-east of Marlborough in Wiltshire, it is easily accessible by car with plenty of room for parking, especially along the Grand Avenue. Public footpaths and bridleways criss-cross the Grand Avenue allowing for numerous routes of exploration and is an ideal starting point as there are views along the road (more of a gravel track really) as well as the paths and tracks running in all directions. There are also some mature oaks, a few of which are over 1,000 years old. Because the forest contains a variety of species of tree it is good for autumnal colour right the way through the season, but the oaks will be some of the last trees to lose their colour. Misty mornings are the classic time to visit but late afternoon with the setting sun filtering through the canopy can also be a delight.

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05/10/2021 15:23

Coed-y-Brenin, North Wales Five miles north of the town of Dolgellau lies the forest of Coed-y-Brenin, covering some 9,000 acres and encompassing the rivers Mawddach, Eden, Gain and Wen. There is a visitor centre where there is a charge for parking; but free parking with toilet facilities, some exceptionally large fir trees and access to the boulder-strewn river can be had if you turn off the A470 at Ty’n y Groes towards the river – parking is just over the bridge. Although fir trees dominate the area there is plenty of colour with broad leaf trees scattered throughout the area and numerous paths lead into the woods. A mile east of Dolgellau there is a short walk called ‘The Torrent Walk’ and although not really part of the Coed-y-Brenin forest, is well worth a visit. Waterfalls flow through deciduous woodland with a footpath on both sides of the valley, the south side giving better access to the river. Your best bet is to park in the layby on the B4416 just 100 yards south of the junior school. This whole area is best visited in mid-autumn before the trees become too bare.

Wareham Forest, Dorset Wareham Forest consists of over 1,000 acres of heathland, marsh and forest. Although mostly consisting of pine woodland there are pockets of broad leaf trees scattered throughout the area but don’t let this lack of deciduous trees put you off. On a frosty or damp morning mist can hang around in the sheltered heathland and forest for a considerable time. Beams of golden light filtering through at sunrise is a Wareham Forest classic. The main areas to visit are Bloxworth Heath, Decoy Heath and Gore Heath, all with ample parking. Miles of public paths, forestry tracks and bridleways give easy access to the woods which are at their best in the early morning, veiled in a layer of mist or fog. Pine forests can be shot at any time of year, but autumn brings with it the added bonus of bracken, glowing gold in the morning light. www.amateurphotographer.co.uk

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05/10/2021 15:23

Technique Justin Minns

Justin is a professional landscape photographer best known for his atmospheric images of East Anglia. He runs landscape photography workshops both in East Anglia and around the UK. Author of the best-selling location guidebook Photographing East Anglia, Justin is currently working on a new guidebook, Photographing Essex. www.justinminns.co.uk.

Lynford Stag, Thetford Forest, Norfolk Thetford Forest is the largest man-made lowland forest in the UK and although it is predominantly Corsican pine, there are some beautiful areas of broadleafed woodland scattered through the forest such as this one opposite Lynford Stag. A 70-200mm lens (or similar) works well in the forest. The longer focal length serves to both compress the distance between trees, creating a wall of colour, but also makes it easier to avoid distracting bright areas of sky in the composition. It is all about the autumn colour here so try and visit when the colours are at their peak. The timing varies but usually early November in the mild climate here. Lynford Stag is a parking area on the A134, 5 miles northwest of Thetford (postcode IP26 5DE). Cross the road at the northern end of the car park and wander into the beech trees just north of the track.

‘A circular polariser filter is invaluable here for reducing glare from the wet rocks and leaves’ Wyming Brook, Peak District Tumbling through a wooded gorge in a series of cascades, Wyming Brook is a great autumnal location, particularly the first section which flows through deciduous woodland. A circular polariser filter is invaluable here for reducing glare from the wet rocks and leaves, resulting in richer colours. For silky-looking water, experiment with ND filters to slow the shutter speed, although with light levels low amongst the trees, the 1-2 stop reduction in light from the polariser may be all you need. With white water flowing amongst dark rocks, contrast can be a problem so overcast days when the light is even are best especially in mid-autumn when there are plenty of leaves still on the trees with a good coating of fallen leaves adding colour on the ground. Wyming Brook is 5 miles west of Sheffield. From the bottom of the car park on Redmires Road (postcode S10 4QX) go right down to the stream, cross using the stepping stones and head left alongside the stream. The path can be slippery so wear good boots.

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Flatford, Suffolk Flatford is a pretty hamlet by the River Stour, celebrated in the paintings of John Constable. But photogenic as this cluster of thatched cottages is, it is the river we are interested in here. Winding its way through cattle-grazed meadows, the river is dotted with old, twisted willows and oaks. Isolating one or a group of these trees and building a composition around it can be effective, using reflections if it is calm or perhaps the receding curves of the river to add depth. Dawn is the best time to visit when the river and meadows are often shrouded by mist. It is these conditions as much as the changing colours of the trees that make this a great autumn location. Flatford is 10 miles southwest of Ipswich. From the National Trust pay and display car park (postcode CO7 6UL), walk down the hill to the village, cross the bridge and turn right through the gate into the field and follow the path along the river.

Loughton Camp, Epping Forest, Essex Loughton Camp is a tiny but attractive part of Epping Forest’s 6,000 acres of woodland. There are many interesting viewpoints among the slopes and embankments which are the remains of a 2,500-year-old Iron Age fort now populated with beech trees. Use foreground trees to frame the view or shoot a panorama to take advantage of the compression effect of a longer focal length while capturing the full width of the scene. Beech trees are slow to turn so mid to late autumn is best, either an early misty morning or on a bright overcast day. Epping Forest is just off junction 26 of the M25. From the Mount Pleasant car park on Epping New Road (IG10 1JD) follow the main path on the right for 650m then turn right at the yellow-arrowed marker post. The path isn’t clear but head west through the trees and after 100m you’ll arrive in an open area of beech trees. www.amateurphotographer.co.uk

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Technique

AUTUMNAL LANDSCAPES Mourne Mountains

The Mourne Mountains sit 30 miles south of Belfast. This range of granite mountains contains the highest peak in Northern Ireland. There are many trails and tracks year-round that provide unlimited photographic opportunity. For those not wishing to put on hiking boots, there’s still scope for picture taking and often spectacular sunrises can be enjoyed from Tyrella beach around the bay or closer by from Murlough Nature Reserve. Access is easy and facilities are never very far away. The area has that ‘away from it all’ sensation no matter what season and in autumn the heather and russet tones of the undergrowth can be very attractive.

David Nixon

David took up photography in his teens, teaching himself the dark arts of developing and printing in the chemical era. He specialises in landscape photography in Northern Ireland and is keen to promote the variety of stunning views in such a small area. See more of his work at www.davidnixonphotography.com.

Tollymore Forest, Northern Ireland Glens of Antrim Shaped by glaciers during the Ice Age, the nine glens are best reached by taking the spectacular Antrim Coast Road. Glenariff sits above Waterfoot. Within the 2,500 acres of the forest park lie several waterfalls which are at their best in autumn when the foliage turns golden. Ess na Crub sits at the lower end of the park. Follow the riverside wooden walkway up along the gorge, pausing at the top to take in the view of the cascading Ess na Larach.

Tollymore was the first state forest park in Northern Ireland. Covering 1,600 acres it lies at the foot of the Mourne Mountains just outside Newcastle, a seaside town 30 miles south of Belfast. There’s plenty of space for camping, hiking, horse riding as well as photography. Over the recent years this area has become popular as a film location, notably featuring in episodes of Game of Thrones. But for photographers the forest comes alive in autumn. Down along the Shimna River which runs through the centre of the park, particular highlights include the Hermitage, a stone-built room set high above the river; the stepping stones, a great spot when the river is in full flow and a number of stone bridges, some more than 200 years old. Being so densely wooded you can shoot all day, but ideally when overcast to reduce contrast.

Ards Peninsula and Strangford Lough Viewed from Scrabo Tower, sitting on a volcanic plug at the head of the lough there are uninterrupted views to Scotland, the Isle of Man and the Mourne Mountains. Autumn brings increased chances of low-lying morning mist covering the peninsula and compensates for the energetic short walk from the car park. A driving loop from Scrabo down the peninsula takes you past Greyabbey and its ruined 12th-century abbey, the National Trust’s Mount Stewart, on to Portaferry and a short ferry crossing to Strangford with Castle Ward set high up above the village. 20

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YOUR LETTERS

Inbox

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Editorial

Group Editor Nigel Atherton Deputy Editor Geoff Harris Technical Editor Andy Westlake Features Editor Amy Davies Technique Editor Hollie Latham Hucker Online Editor Joshua Waller Online Editorial Assistant Jessica Miller Production Editor Jacqueline Porter Art Editor Sarah Foster Photo-Science Consultant Professor Robert Newman Special thanks to The moderators of the AP website: Andrew Robertson, lisadb, Nick Roberts, The Fat Controller

Write to the Editor at ap.ed@kelsey.co.uk and include your full postal address. Please don’t send letters in the post as there is no one in the office to receive them. Thanks for your understanding.

LETTER OF THE WEEK

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Optical poetry

Management

Chief Executive Steve Wright Chief Operating Officer Phil Weeden Managing Director Kevin McCormick Subscription Marketing Director Gill Lambert Liz Reid Publisher Retail Director Steve Brown Brand Marketing Manager Rochelle Gyer-Smith Print Production Manager Georgina Harris Print Production Controller Hayley Brown

Your issue on Lenses reminded me of this poem I wrote and published in my collection The Book Club for Bitter Hearts. It’s strange the passions we develop in childhood that stay with us for the rest of our lives. Gordon Wright

Subscriptions

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Telephone 0906 802 0279 Premium rate line, operated by Kelsey Publishing Ltd. Calls cost 65p per minute from a BT landline; other networks and mobiles may vary. Lines open Monday-Friday, 10am-4pm Email ads@kelseyclassifieds.co.uk Kelsey Classifieds, Kelsey Media, The Granary, Downs Court, Yalding Hill, Yalding, Maidstone, Kent ME18 6AL Distribution in Great Britain Marketforce (UK) Ltd, 3rd Floor, 161 Marsh Wall, London, E14 9AP Telephone 0330 390 6555 Distribution in Northern Ireland and the Republic Of Ireland Newspread. Tel: +353 23 886 3850 Printed by William Gibbons Kelsey Media 2021 © all rights reserved. Kelsey Media is a trading name of Kelsey Publishing Ltd. Reproduction in whole or in part is forbidden except with permission in writing from the publishers. Note to contributors: articles submitted for consideration by the editor must be the original work of the author and not previously published. Where photographs are included, which are not the property of the contributor, permission to reproduce them must have been obtained from the owner of the copyright. The editor cannot guarantee a personal response to all letters and emails received. The views expressed in the magazine are not necessarily those of the Editor or the Publisher. Kelsey Publishing Ltd accepts no liability for products and services offered by third parties. Kelsey Media takes your personal data very seriously. For more information of our privacy policy, please visit www. kelsey.co.uk/privacy-policy. If at any point you have any queries regarding Kelsey’s data policy you can email our Data Protection Officer at dpo@kelsey.co.uk.

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Lenses Grandad’s big magnifying glass, Helped his one eye to read the newspaper. It also helped me to examine spiders, Flowers, and hairs on the back of my hand. A lens from an old pair of specs, Bound for the dust bin, Became my own personal treasure. I carried it everywhere. LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

51 issues of Amateur Photographer are published per annum. UK annual subscription price: £152.49 Europe annual subscription price: €199 USA annual subscription price: $199 Rest of World annual subscription price: £225 UK subscription and back issue orderline 01959 543 747 Overseas subscription orderline 0044 (0) 1959 543 747 Toll free USA subscription orderline 1-888-777-0275 UK customer service team 01959 543 747 Customer service email cs@kelsey.co.uk Customer service and subscription postal address Amateur Photographer Customer Service Team, Kelsey Publishing Ltd, Kelsey Media, The Granary, Downs Court, Yalding Hill, Yalding, Maidstone, Kent ME18 6AL Find current subscription offers on our website shop.kelsey.co.uk/AMP Already a subscriber? Manage your subscription online at shop.kelsey.co.uk/site/loginForm

A small Pathescope projector with one film, Was my heart’s desire and became A reluctant Christmas present from my parents. ‘Money down the drain,’ said my mother. The neighbours’ kids sat in awe, As I cranked the handle And we saw the monkey peeling the banana On the white bedsheet, pinned to the wall.

The men at the outdoor rifle club, Had powerful telescopes. I sat on the wall and watched them fire, Then squint through the long tubes. One fellow sensed my interest. ‘I bet you’d like a rifle when you grow up!’ He said, smiling. ‘No,’ I replied, ‘I want a telescope.’ My fourteenth birthday present was A Comet Flashmaster camera. Twenty-two shillings and sixpence Worth of lens and plastic. No one was safe from my eagle eye. Soon I was locked in my bedroom, Processing my own films, Making a few shillings here and there. As I look back in my seventy-eighth year, I can barely remember All the cameras, binoculars, telescopes Enlargers and projectors I’ve owned. Now I have thirty-five thousand pictures On computer hard drives. My life’s journey, so far, Through a lens of some sort.

Win!

A Samsung 64GB EVO Plus microSDXC with SD adapter Class 10 UHS-1 Grade U3 memory card supports 4K UHD. Offering R/W speeds of up to 100MB/s /20MB/s and a 10-year limited warranty. www.samsung.com/uk/memory-cards.

The cartels

Robin Derbyshire’s letter about camera clubs, and the ‘powerful cartel of pompous, opinionated old men with dated, narrow, old fashioned tastes’ (21 August) was spot-on. I could not have put it

better, myself. What Robin described can be true, although I feel the problem is not with camera clubs per se, but people in general. One could copy and paste Robin’s letter, replacing the words ‘camera club’

with ‘book club’ or ‘philatelic society’. I have come across the attitude described at various book club meetings prior to the pandemic; and a friend who collects stamps told me she faces the same uphill battle with philatelic

societies, online or in person. I believe the term ‘gatekeeper’ is also used about such people. It’s sad that it has come to this, whether we’re talking camera clubs or other societies. It was ever thus, though. As a forty-something guy, let me end by endorsing Robin’s views on encouraging a younger and more diverse membership, whatever kind of club we’re talking about. That is how we learn, and a more diverse membership of any kind of club is, in my view, an opportunity to broaden one’s horizons and learn more about our preferred subject matter. That could never be a bad thing. Stephen Parry

Camera club judges

I was very interested to read John Vahgatsi’s recent Viewpoint article about camera clubs. I am nearly the same age as John. I was influenced by the amazing photo essays in National Geographic as a youngster and I became an avid reader of Amateur Photographer (I still am). Like John, I joined a local club later on in my photographic journey. In my case it was Visions Photographic Club in Aberdeen in 2012 and, as with John, I have gained a huge amount from this experience. I have made good friends and have received lots of practical advice. At Visions there are a large number of internal competitions in which members cast their votes for their favourite shots. One of the club members will give a friendly critique of all the entries. My club also enters external competitions and this is where I have experienced the kind of judging which John describes in his article. A www.amateurphotographer.co.uk

04/10/2021 17:34

YOUR LETTERS

In next week’s issue © GETTY IMAGES

Graeme Youngson’s image of a runner in Aberdeen, with purposely emphasised highlights

A few years ago I wrote to AP to say how the then advances in postprocessing noise control and sharpening had rejuvenated my cameras. www.amateurphotographer.co.uk

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Since I bought a copy of ON1 NoNoise AI, I have been reprocessing some of my old raw files. Neither Lightroom or Photo Raw could adequately denoise those images, and the images had been unusable. But the new technology in ON1’s No Noise AI surpassed my expectations. It really as if some clever little elf has raided my camera bag, and installed a set of superior sensors. In the meantime I urge any of you who are using any of the older and/or more noisy types of cameras to try the current crop of AI driven noise reduction software. I am looking forward to seeing some tests in AP of the newer software. David Price

Close-up special Tracy Calder shows you how to overcome 30 common close-up challenges

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At high magnifications, precise focusing is vital. Pros share their tips

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

Making less noise

I am now overjoyed to be able to say that it has happened again. There are currently three excellent new products from ON1, DxO, and Topaz. At least two of them have free trial offers, so readers can try before they buy. No doubt, at this very moment, other software houses are scrabbling to catch up. My Lumix DMC G1 is over ten years old, and when reviewed by AP, it was rightly heavily criticised for the chroma and luminance noise. A few years after it launched, and both Lightroom and Photo Raw were able to clean up the chroma noise in my DMC G1 images. But the luminance noise continued to be a serious problem.

lot of external judges, in my opinion, tend to emphasise the technical aspects of the photograph at the expense of the mood or feeling or story which the photographer might be trying to convey. We hear of some judges who automatically take points off if an image has blocked shadows or burnt out highlights. Whilst acknowledging that these aspects can sometimes spoil photographs there must surely be a place for artistic licence as well. It almost feels that some of these judges are turning their role into a kind of pseudo science whilst forgetting that photography can be artful and a means of self expression. I have attached a photograph I took of a runner in Aberdeen (above) where I have deliberately exposed the image to emphasise the highlights and let the shadows take care of themselves (ie little or no detail). The purpose of this approach was to emphasise the solitariness of the runner and I like the way the shadow at the left is almost pointing at the runner. Graeme Youngson

Share the wonder

Entrants to Close-up POTY tell us the techniques behind their pictures

Lenses and accessories

Ace your close-ups – the best lenses to use plus 20 great accessories

On sale every Tuesday 23

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2 1 Two Feet Away by Natalie Wright This slightly surreal image leaves you wondering about the mostly unseen subject of the shot

Join

Club the

This friendly club is celebrating its 50-year anniversary 26

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5 Blyth British Sidecar Champions by Bob Finlay Captured at an exciting moment, this action shot shows off the thrills of the sport

2 Sir Mo Farah by Colin Livingstone Talk about the decisive moment. A well-timed action photo that shows off a moment expertly

6 Tham Phraya Nakhon by Derek Parker An atmospheric travel image that really works with the subtle light well When was the club founded? The group was founded in October 1971, when the first ever Cramlington Camera Club meeting was held at the Phoenix Lounge at Cramlington Community High School. The 14 original members had met at adult education classes at the school and at Cramlington Adult Association, and so Cramlington Photographic Society was formed. What does your club offer new members? From 1973 the group moved to Cramlington Community Centre and took part in inter-club competitions. To try to make the image of the group less formal and intimidating to new members, the name changed to Cramlington Camera Club in 2004. A few years ago, we acquired lighting equipment, allowing members to participate in model photo shoots. Members bring their

own cameras, and can use the lights in the church as a studio. Describe a typical club meeting When we met in person (pre Covid), most evenings would start with a cuppa, and biscuits! We’d have a chance to chat before the evening started. Some nights would be practical sessions, where a local model would be hired and members could learn lighting and composition skills, plus how to work with a model in general. Other evenings would involve studying still life, where one could choose from a selection of objects and set up a scene to photograph. We also have display and competition nights, where we could browse members’ photos, and watch critique from expert judges, who came to oversee and judge the competitions. www.amateurphotographer.co.uk

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YOUR PICTURES IN PRINT

3 Twin Peaks by Jim & Sue Converting this shot to black & white has worked well with the dramatic sky

7 Hareshaw Linn by Brian Vandemast A beautiful scene which demonstrates a slow shutter speed technique very well

4 Purple Haze by John Ridley This creative shot is extremely vibrant and eye-catching, and also shows off a good level of unusual detail

Club essentials

Cramlington Camera Club Doxford Place Methodist Church, Doxford Place, Cramlington, Northumberland NE23 6DY Meets Every Thursday 7.30pm to 9pm Membership £28 per annum (plus £1 at each weekly meet) Contact www.cramcams.org.uk/contact.html Website www.cramcams.org.uk Do you invite guest speakers? Yes. This could be anything from a photographer’s holiday or safari adventure, to how an amateur photographer became a professional. Many subjects are covered, such as travel photography, aviation, wildlife safaris, plus technical talks like flying drones, or learning editing in Lightroom. Do members compete in competitions? Yes we do, and the club competes with other local camera clubs too. Some are print only, but the past 18 months has forced all competitions to be digital. How many members do you have? We have more than 30 members, but we are currently looking to expand and attract younger photographers too. But of course, all are welcome. www.amateurphotographer.co.uk

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Are any trips or outings planned? Several trips happened for the first time this year, one was to the local nature reserve and we are hoping to plan more, including some street photography walks. What are the club’s goals for the future? The pandemic restrictions changed the club a lot and we had to meet virtually, using Zoom calls. There was a bonus in that member interaction improved, and we were able to have photography discussions. Presentations were done online using Powerpoint and we embraced the online digital age very quickly. Now that we can meet again, we have the opportunity to meet back at the church. However we are working with the local council and have access to the Cramlington Hub, which houses the local library and is a community centre for the modern age. We

have run several workshops there, introducing beginners to photography, and hope to use this to attract new members. It’s an open and welcoming space, in the heart of Cramlington. We should also be able to have galleries of the club’s photos on display at the Hub for special events. This ties in with a project we have embarked on with Northumberland County Council, to look at creating ways of preserving digital photography, so that future generations can see and enjoy it. Video and drone photography are growing areas, and video is an area to grow into. It’s important we keep our finger on the pulse in the ever-changing world of photography. With mobile phones and action cameras becoming ever more popular, we want to encourage new members to join so they can develop their photography in a friendly and welcoming environment. 27

05/10/2021 16:33

ART WOLFE

dusk dawn From till

Art Wolfe has been photographing after dark for decades. What attracts him to the nocturnal world and why is he enjoying shooting it more than ever? He reveals all to David Clark

‘I

’m battling raccoons right now,’ says Art Wolfe over a Zoom call from his home in Seattle, USA. ‘I’ve got koi carp in a pond in my garden and the raccoons come up out of the ravine below my house to get them. I was up until about 1am last night, chasing raccoons away. They’re a pain in the ass. They’re cute, but they love to eat fish. I’m at war with nature,’ he laughs.

It’s not the expected start to an interview with one of the world’s most famous nature photographers. Art may have just passed his 70th birthday, but he’s as energetic, unpredictable and candid as ever. Art has been photographing wildlife, landscapes and people for over 45 years and during a highly successful career has shot over two million images. He has maintained a packed travel schedule throughout

Left: A dramatic shot of the Milky Way over a row of moai on Easter Island (Rapa Nui), in the southeastern Pacific Ocean

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his working life, barely arriving home from one far-flung trip before setting off on another. Before coronavirus arrived, he regularly travelled for more than nine months every year. Even the Covid-19 situation hasn’t stemmed the flow of restless energy that drives him. ‘The pandemic has not slowed me down,’ he says. ‘All last year I created 27 lectures (each lecture 90-minutes long) on Pathways to Creativity that we put on Vimeo. As long as my life is busy and my brain is active, I’m a happy camper whether I’m in Africa or North America. I’m still finding great things to do and great new subjects to shoot.’ Earlier this year Art went on safari www.amateurphotographer.co.uk

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to Kenya and for the past two months has taught back-to-back workshops in North America. He’s just come back from snorkelling with whale sharks and giant manta rays off the coast of Mexico. He’s currently trying to run tours to Africa, Mongolia and Madagascar, but keeps having to delay them because of the pandemic’s travel restrictions, although he’s fully vaccinated and requires the same from his participants. Art’s keen to resume these tours. ‘My entire life has been about managing risk,’ he continues. ‘I started off as a kid that was always rummaging around in the forest and jumping off trees and crossing www.amateurphotographer.co.uk

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Above: This shot of a leopard in an ancient thorn tree in Chobe National Park, Botswana, Africa is one of Art’s favourites in Night on Earth. ‘I love shots where the animal is just part of the overall landscape,’ he says

rivers. I was formally trained in mountaineering, went on an Everest expedition, went up to K2 and went into Pakistan even after the first Gulf War. ‘I always have been empowered to travel the world, to go into any city on Earth and walk the back streets and not feel like a victim or fearful of other humans. My parents always taught me to be self-reliant and confident, and that was the best thing they ever instilled in me.’ Over the years, Art has maintained a steady flow of books and has so far produced more than 120, including Migrations: Wildlife in Motion (1994), Vanishing Act (2006), which explored camouflage in nature, and his epic

‘mid-career retrospective’ Earth is My Witness (2014). He currently has seven more books at different stages of completion.

Night on Earth

His latest book, Night on Earth, is a wide-ranging collection of travel images made in the hours between dusk and dawn. Taken in a variety of locations worldwide including Alaska, Namibia, Malaysia, India and the Galapagos Islands, it features landscapes, starscapes, wildlife, natural phenomena such as volcanoes and waterfalls, indigenous peoples, cities and more. So why has Art chosen to focus on night photography for 29

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Above left: This northern saw-whet owl was photographed while preparing to leave its nesting cavity in a tree in Washington, USA Left: A spectacular shot of the Milky Way over Mount Baker in Mount Baker Wilderness, Washington, USA

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this book? What is it that intrigues him about it and what special photographic opportunities does it offer? ‘Whenever I shoot, first and foremost, I’m trying to affect the emotions of the audience,’ Art explains. ‘In the past, when giving a talk, I could wow my audience with amazing shots of things like the Patagonian Massifs, but today people start to yawn because they’ve already seen 10,000 of those images. It’s getting harder to wow anybody with a more traditional landscape. So, part of the motivation was to include the element of darkness and to capture the landscape in a slightly different way.’ Part of the attraction for Art was the sense of mystery that the night brings. ‘If you can capture, for www.amateurphotographer.co.uk

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instance, a mountain lion at dusk, starting to stalk an animal, that already implies some people’s worst fears,’ he says. ‘It’s already affecting people’s emotions. The subject has this inherent interest already ingrained. I love that sense of going into the dark and coming away with an image that isn’t just silhouetted darkness. That, for me, was the challenge.’ For most of his books, Art usually goes through the same process when compiling them. After initially coming up with the concept, he and his staff search through his vast archive to see if there are enough core images to draw from. All the travel that’s involved in covering a wide range of subjects and locations means it’s not financially viable to shoot all new images for books. www.amateurphotographer.co.uk

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Above: Shooting between dusk and dawn gives images a unique atmosphere. Here, an African lion is shown in the muted light of evening in Masai Mara National Reserve in Kenya

‘Then, once a base is established, I work like hell for the next three or four years and usually end up replacing most of the images that we initially thought would be good,’ he reveals. ‘I don’t want a book to come out that looks like a lot of old photos. For the most part I’m shooting new work and using the abilities of the latest cameras to take in what we could never have shot before.’ Although a small number of the images in the book were shot on film SLR cameras and have stood the test of time, many of them were taken on the latest digital kit including the Canon EOS R5, which is currently his main camera. ‘I love it,’ he enthuses. ‘The whole technology of the mirrorless camera permits much smaller lenses.

‘For instance, when I was in Kenya earlier this year, I was handholding an RF 100-500mm f/4.5-7.1 lens and very easily capturing animals. Then I could add a 1.4x extender and suddenly I have a 700mm lens that’s very easy to hold. I’m not a gym queen, so handholding and shooting animals without a tripod really makes capturing the ephemeral moment so much easier.’ One way he has taken advantage of the greatly improved high ISO performance of today’s cameras has been to shoot starscapes in a way that was not previously possible. ‘Historically, if I’d wanted to shoot a night-time shot that includes the stars, they would all be star trails,’ confirms Art. ‘With film, you could never take a fast enough shutter speed to show the stars were 31

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ART WOLFE

Above left: Dawn breaks over a landscape dotted with hay barns in the Dolomites, South Tyrol, Italy Left: A lava flow glows vividly in this night-time shot of an eruption of Bárðarbunga, a subglacial stratovolcano in Vatnajökull National Park, Iceland

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just pinpoints of light. Those star trail images can be spectacular but can get a little shallow in terms of the depth of the image. ‘Today, with high ISOs, I have been able to shoot amazingly detailed images of the Milky Way as part of night-time landscapes. Higher-ISO cameras are enabling us to photograph landscapes and the heavens like never before. I think that’s a great advancement and I only see it getting more and more that way.’ Almost all Art’s dusk-to-dawn images have been shot using only ambient light, including those of traditional ceremonies in countries including India, Botswana and Ethiopia. He prefers to increase his ISO and use traditional oil lamps, candle light and fire light to illuminate these scenes. ‘The ones I’m really proud of are the cultural shots lit with candle light or fire light. They’re so much more intimate and romantic, and in keeping with nature and the landscape, than they would be if shot using flash. Most of the time in these situations flash is too harsh and invasive.’ www.amateurphotographer.co.uk

05/10/2021 10:39

Art Wolfe’s low-light tips Based on his experience, Art shares the advice he would give others for shooting in low light

1 Think out of the box

‘Most people, whether taking low-light shots or otherwise, are literally putting their tripods in the holes made by the previous person to shoot that place. Look for new ways and new angles to approach the subject.’

in the latest 2 Invest equipment

‘If it’s within your price range, the high ISO capability of the latest camera bodies, such as the Canon EOS R5, makes a big difference when shooting in low light, allowing you to capture subjects that were not previously possible.’

animal 3 Understand behaviour Light pollution

Part of Night on Earth’s purpose, as is made clear in the text, is to highlight the issue of light pollution and how it’s affecting both wildlife and people as well as wasting resources. As Ruskin Hartley of the International Dark-Sky Association writes in the foreword, ‘Light pollution is destroying natural darkness with severe consequences: It is linked to a global insect decline, the death of millions of migrating birds, increased carbon emissions and increased disease in humans.’ The last photographs Art made for the book show the spectacular, star-filled night sky at the Natural Bridges National Monument in Utah, USA, which, in 2007, became the first of the country’s International Dark Sky Parks, which are specifically protected from light pollution. At a time of climate emergency, Art says he’s often asked why his photographs focus on the beauty of nature and don’t show degraded environments, decimated species, or evidence of pollution. ‘The answer is I want to make a beautiful book to lure people in to where the www.amateurphotographer.co.uk

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Above: In the warm evening light, fishermen cast their nets on the Irrawaddy River in Mandalay, Myanmar

Night on Earth: Photographs by Art Wolfe is published by Earth Aware Editions, price £35. See www. artwolfe.com. Amateur Photographer readers can also enjoy a 25% discount off ‘Pathways to Creativity’. See events.artwolfe.com/ pathways and use the code AP25.

organisations with which we align can tell their story,’ he explains. ‘It’s my honour to produce books in a way that brings people in and then we deliver the message, as opposed to books that show nothing but carnage. Very few people really are going to buy books on something that’s depressing, because we have enough issues that stress people out already.’ As for his future work, there’s no chance that entering his eighth decade is going to slow Art down. ‘My friends recently brought up the fact that I’m turning 70,’ he says. ‘We’re all within a year of each other. People say, “Oh my god, it’s a big birthday, it really makes you think”. But I live in denial and I’m not going to give it a thought. Birthdays are almost irrelevant to me. ‘My belief is, don’t look in the mirror, just look outward, think about the next project. Life is moving fast for all of us, but I don’t want to start thinking about how much time I have left and all that. People ask me when I’m going to slow down and retire, but artists don’t retire. I just want to drop wherever I am.’

‘When photographing wildlife on the margins at dusk, it’s essential that you familiarise yourself with the behaviour of the subject that you want to go after. For example, you locate some predators by listening to the calls of their prey.’

be afraid to 4 Don’t include motion blur

‘As long as there’s an element in the frame that’s sharp for the eye to depart from, shots that include motion blur can often be the most effective and creative.’

5 Noise isn’t a big issue

‘For me, a little noise in low-light shots is not a bad thing, so long as you’ve got the image. Noise can be akin to grain, which often creates something artistic.’

for noise-free 6 But images…

‘If I’m trying to get the clearest, sharpest image without noise, I will use the latest cameras and typically will shoot starscapes, for example, somewhere around ISO 1600 with an aperture of f/1.4 or sometimes f/2.8 for around 10-20 seconds. Then I use Topaz noise-reduction software in post.’ 33

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CHARLIE PHILLIPS

Revealing the full

picture Long overlooked in the UK, Charlie Phillips’s pioneering documentary work is now enjoying the attention it deserves. Jon Devo talks to him

hen Charlie left his home in Jamaica and arrived in London as a boy, he came with a strong sense of Britishness, instilled in him by his parents and his school education. This was true of many African and Caribbean people whose families answered the call from the ‘Mother Country’ to travel to Britain and help rebuild the country in the wake of the Second World War. ‘I arrived on 18 August 1956 at Paddington Station. And my father

came to meet me. Before I came he told me that an English suit was a Burton suit, Bata shoes and a Poplin shirt.’ Charlie and I met at The Tabernacle, a local cultural centre, just a few roads away from the place he first lived when he came to London. I know The Tabernacle well; I’ve been going there since I was young as I grew up in the same area. The Tabernacle is a Grade II listed building that became a community arts centre in the ’70s. As you walk in, photographs of local people throughout the past six decades adorn almost every wall. Charlie’s photography is among the collection and when he walks in, he’s greeted by a stream of people. He no longer lives in west London, but he’s still clearly a local celebrity and a much-loved figure. ‘We lived at number 9 Blenheim Crescent, and we had to share a room with two strangers, in what they called a double room. It was a refuge point for a lot of people who came here and didn’t have anywhere to stay at first,’ he explains. ‘Many others settled in Birmingham, Wolverhampton and Reading. I’m trying to get a blue plaque put up at number 9, because as far as I’m concerned it is part of our history and part of this area,

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www.amateurphotographer.co.uk

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ALL PICTURES © CHARLIE PHILLIPS/WWW.NICKYAKEHURST.COM

which has now been forgotten about. But I documented it, so I’m glad that after 60 years, those images have come to use [as evidence].’ Charlie believes that the current generation of young British people seem more keen than ever to learn more about the full picture of British history. This is partly why he feels that his work is getting more acknowledgement today than it ever has in England before. ‘We’re coming up to the seventh generation of African-Caribbean British people living in the UK. When I was a child, you couldn’t ask your parents anything about those times. And in the ’50s/60s there’s a gap in our history, because our parents didn’t talk to us directly about what was happening. Much of www.amateurphotographer.co.uk

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Above: Man on Westbourne Park Tube Station, 1967

Left: Jimi Hendrix, Isle of Wight Festival, 1970

our history is otherwise orally shared, because not so much was written down then. This is where I came in. When I first started taking photographs I planned to put them in an album and share them back home. Our family only intended to stay five years.’ Today, Charlie is enjoying the newfound interest in his work. ‘I’m grateful to see that 50 years later I’ve got volunteers and others around me who are saying: “Uncle Charlie, we’ve got to tell your story because we still haven’t been given a proper platform.” Our history is part of British history, whether some people like it or not, from the moment we were colonised. It’s about time the institutions see us from a new perspective. We do have history

here, we do have culture, we do have a story, but until recently, a lot of that story has been left out.’ Charlie never wanted to be a photographer. He had a passion for all things maritime and set his sights on a career in ship design and construction. Back in Jamaica, Charlie would spend time at the docks, watching the ships arriving and departing for England. His second passion was for opera music. ‘I remember my employment officer at school asking me what I wanted to do when I was older. When I told them I wanted to be an opera singer, he told me I was having a f***ing laugh and suggested I aim for a job in transport or the health service. We were never expected to do what we aspired to do.’ 35

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CHARLIE PHILLIPS

Throughout Charlie’s career, he’s experienced varying degrees of disbelief from galleries, publications and agencies. Some were sceptical that he, a black man, could be the person behind his brilliant photos. Others outright refused to believe the provenance of his work until he produced the negatives. Even then, he felt some grudgingly acknowledged his ability. Despite his work being displayed around the world, Charlie has only gained recognition as a key figure in British photography recently. Charlie says he found the most acceptance and recognition when living and working in Europe.

A journey into photography

You could say that photography found Charlie. His eye for imagery was often sparked by artists outside of the photographic field. One of his favourite early images was Norman Rockwell’s classic painting ‘The Runaway’, which he discovered while flicking through a copy of Esquire. Fashion and art magazines were often left at his home by American GIs that his father befriended. Charlie took up photography as a hobby using a box camera that could take eight 6x9 pictures on a roll of 120 film. He taught himself how to capture and develop his own photos, and saved money from his paper round to buy the magazine Do It Yourself Photography for 3 shillings and sixpence (roughly £15 today). One day, one of his father’s GI friends was too inebriated to return

Outside the Piss House Pub, 1968 36

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home after one of the family’s famed house parties, so he had to stay over. In the morning, he had no money to get back to base, so Charlie’s father loaned him some money and he left his Kodak Retinette 35mm film camera as insurance. When the gentleman never returned to collect it, Charlie inherited it and put it to good use – documenting everything from his local community to student protests in Paris, 1968, to anti-war and anti-apartheid protests throughout the ’60s and ’70s. He eventually acquired a Petri camera, which he bought secondhand for £25.99. Then when he began travelling into Europe, he upgraded to the Nikkormat FT, the more affordable cousin of the Nikon F series that accepted the same lenses. He settled on the Leica IIIc while living in Rome, where he lived on and off for eight years, working as a mild-mannered paparazzo. Sharing his thoughts on his favourite lenses and film types, Charlie says affordability was one of the main reasons that much of his work is in black & white. ‘I went through different periods. My favourite film was an Ilford FP4 or HP5. Sometimes I would also use the Kodak Tri-X or Plus-X, but I was really an Ilford fan. It was the softness of them. I also used to like the AgfaPhoto APX 35mm film. As for lenses, the 50mm was standard, but I liked an 85mm too. When I used a Leica, I liked the Carl Zeiss Jena Tessar 50mm f/2.8. Sadly, when I came back to England, I had to pawn my Leica for £35.’

Muhammad Ali, Zurich, 1971

Silchester Road before and after demolition of the area, 1967 www.amateurphotographer.co.uk

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CHARLIE PHILLIPS

Charlie photographed the first ever Notting Hill Carnival in 1966. He was working in his darkroom on Portobello Road and set off into the streets with his camera when he heard the commotion and music. His pictures of the inaugural west London carnival have become iconic as younger generations have come to cherish evidence of these significant cultural events.

Exploring Europe

Notting Hill Couple, 1967 www.amateurphotographer.co.uk

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After reading Jack Kerouac’s On The Road, Charlie became a beatnik, living in squats and hitchhiking around Europe. ‘As a young man, I travelled to France during my “revolutionary” stage. There was a big student uprising. We went there to show solidarity.’ The unrest that Charlie was referring to took place in May 1968, as students staged occupation protests against capitalism, consumerism and imperialism. Arriving at Gare Du Nord, Charlie was greeted by a young man whose head was pouring with blood following clashes with police. Haunted by the experience, he left Paris and hitchhiked down through France, stopping off in Marseille, Monte Carlo and Avignon. Eventually, he wound up in Rome. ‘I was staying in a hostel. One morning I saw all these crowds. It was Elizabeth Taylor and Richard Burton [there]. They were promoting Cleopatra and I thought to myself, “I could join in with this”.’ That moment inspired him to become a paparazzo. ‘I was the only black photographer, but they found me curious. I met a lot of people. And it was during the era of the Spaghetti Western, so I started photographing a lot of the B-list American actors and actresses who needed headshots to get more jobs. People like Robert Woods, Henry Silva and Marcello Mastroianni.’ His time in Italy was arguably the height of his photographic career. Charlie was landing work with a number of publications, including Italian Vogue, and wound up being cast as an extra in Federico Fellini’s 1969 film Satyricon. He also developed a network of influential friends including Donyale Luna, widely regarded as the first black supermodel, and the legendary Henri Cartier-Bresson. ‘We met at my first major exhibition in Milan. People there used to call 37

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CHARLIE PHILLIPS

me the black Cartier-Bresson, he was a nice guy. Sadly, I lost the photographs I had with me and him. Nobody believed me when I came back to England.’ By chance, Charlie also found himself working as the personal photographer for Muhammad Ali. ‘After he lost his title and lost his boxing licence because he didn’t want to go to Vietnam, he had to come to Europe. He was fighting a European champion called Jürgen Blin and I was living in Milan so I travelled up to Switzerland to meet him and photograph him. He was so glad to see me, because I was another brother. I took these series of photographs and I thought I’d make a name for myself with one. At the time, Charlie had been regularly submitting work to Life magazine’s editor in Milan. ‘Life magazine always showed me a lot of respect. Every time I took my stuff in, they’d give you a roll of film and say “thank you for coming”. That’s why they’ve got one of the biggest

Mr Watson was a member of the West Indian Ex-Servicemen and Women’s Association. Here his coffin is draped in a Union Jack to reflect his time serving in the British military

archives. I captured an iconic photograph of Muhammad Ali and I thought “Yeah that’s my ticket”.’ The image Charlie refers to shows a buoyant Ali looking into the camera, his mouth blurred from the motion (see previous page). It was an image that said ‘I’m back!’, Charlie tells me and he hoped it would make the cover of Life. ‘Unfortunately, the editor told me they wanted a colour photograph.’ Eventually Charlie returned to London, drawn back to the community of his boyhood. ‘This area’s always been fantastic for diversity and culture. Because you’ve had the Irish, the AfroCaribbeans, the Africans, Eastern Europeans. When you bring people together, you get something fantastic. That’s how you end up with something like Notting Hill Carnival.’

Renewed exposure

Isle of Wight Festival, 1970 38

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‘I haven’t taken a photograph commercially since 1975. My archive was under my bed and in my loft for 40 years. It was only ten years ago they discovered who I was. I have this archive telling our side of the story that’s been overlooked. The exposure I get has always been at a grassroots level.’

Despite the hiatus, Charlie’s work continues to be published. His work has recently been featured in a landmark book celebrating the history of Notting Hill Carnival. His work documenting 50 years of African and Caribbean funerals in London has also been published in the book How Great Thou Art. ‘The beauty about Afro-Caribbean funerals is that celebration of someone’s life. Fashion plays a big part. It used to be the case that people would wear all black, but now it’s common for people to wear the favourite colours of the person who died. The whole point is to celebrate life. It’s part of our culture and history as well. ‘Early on, the main song that would be sung at a service was the hymn How Great Thou Art,’ Charlie says, before treating me to a quick rendition of the chorus. He tells me that the musical choices have since evolved to include pop classics like Tina Turner’s (Simply) The Best and Sinatra’s My Way. Charlie explained that this unique collection of images wasn’t curated by a picture editor or art director, but rather by ordinary people. Before the work was first exhibited, Charlie’s team conducted surveys with his local community to gauge which www.amateurphotographer.co.uk

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CHARLIE PHILLIPS

type of photographs they’d love to see published. Charlie is keen to appeal to younger generations, which informed his decision to open up the selection process to the people he wanted his art to engage with, rather than so-called ‘experts’. The book’s cover features the funeral car of a west London mechanic, whose coffin was placed on the back of a Land Rover. Looking over his work, I was surprised to learn that the name Charlie Phillips was not highly regarded within the British art and photography worlds decades ago. Particularly so because I grew up in the same area that Charlie settled in when he came to the UK. Notting Hill is now a famous location, popularised by movies such as Bedknobs and Broomsticks, the Paddington Bear movie franchise, and Notting Hill. But when Charlie arrived in the late ’50s, it was effectively a slum. Few photographers have documentary evidence of the cultural melting pot that was Notting Hill, long before it became home to celebrities and millionaires. The lack of recognition for Charlie’s pioneering photography prompts a couple of key questions: Why would such culturally www.amateurphotographer.co.uk

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important work go largely unnoticed for so long? And what has changed? ‘It’s by public opinion, my friend! Because the institutions have suppressed my work. I wouldn’t be recognised if I never put on events in this place [The Tabernacle] or in my annual pop-up cinema exhibitions. I’m also grateful for all the barbershops, garages and hairdressers that gave me wall space. I even put my work up on railings… it’s by public demand that my work is getting the attention that it is today.’ A team of supporters have encouraged Charlie to keep sharing his work. ‘They say they’ve got to keep my legacy alive because I’ve documented a story that hasn’t been given enough of a platform. As I said, we’ve got to tell our side of the story. Although it’s there, I feel there could be a broader scope.’ With his work and career enjoying renewed attention, Charlie is using his platform to tell his story unapologetically. As has been the case throughout his life, Charlie refuses to be confined by any narrow definitions and he continues to forge his own path. ‘Our story hasn’t been properly told or properly documented. You hear everything from the cultural elites, but I’m doing things on a

Clinton at Cassidy’s funeral, Kensal Rise, 1972. Cassidy was a mechanic and he loved Land Rover cars. His dying wish was that he go to his funeral in a Land Rover rather than the traditional hearse

Charlie Phillips’s photo book How Great Thou Art will be available to purchase online soon and Lottery Funding has allowed for a group of his supporters to collect and display his work in an online archive: charliephillipsarchive. com.

grassroots level,’ Charlie explains. During his talk recently at this year’s The Photography Show at the Birmingham NEC, he shared some never-before-seen images of Muhammad Ali. Sadly, due to travelling a lot over the years and film stock not being returned, Charlie has lost a significant portion of his images. But he is still managing to track down images archived by publications that have printed his photographs in the past. The work featured in his TPS presentation also included one of the earliest photographs he saved, captured during a Jamaican Independence Day celebration in London, on 6 August 1962. When he first picked up a camera in 1958, Charlie couldn’t have known the future cultural significance of the images he was to capture. But we could all learn a lesson from his life’s work and delayed fame. He never took a picture for ‘likes’ or to follow a trend. He didn’t persist as a photographer because it gained him notoriety. When I asked him what he was looking for each time he raised a camera to his eye, Charlie told me that he was simply searching for something real. He’s looking for honesty. 39

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Testbench

CAMERA TEST

At a glance

£729 body only £819 with 14-42mm lens

Olympus PEN E-P7

● 20.3MP Four Thirds Live MOS Sensor ● ISO 100-25,600 (extended) ● Up to 15fps with electronic shutter ● 3in 1,037k-dot, tilting touchscreen ● 4K UHD 30, 25, 24fps video recording ● 5-axis in-body stabilisation

Olympus’s PEN E-P7 is the first Micro Four Thirds camera from OM Digital Solutions. Joshua Waller puts it to the test For and against Great JPEG results straight from camera, with pleasing colours Dual dials, good for those who want to use manual controls New monochrome/colour image profiles Live composite/bulb remain impressive features 8.7fps – 15fps continuous shooting (mech/electronic) Price is high compared to E-M10 Mark IV ALL PRICES ARE APPROXIMATE STREET PRICES

Plastic build quality doesn’t match previous PEN models Micro-USB socket only (rather than Type-C) Small buttons and rear 4-way controller

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Data file 20.3MP Live MOS, 17.3x13.0mm 5184x3888 2x Micro Four Thirds 60s - 1/4000s (mechanical) 60s - 1/16000s (electronic) Sensitivity ISO 200 - 6400 (standard), ISO 100 - 25,600 (extended) Exposure modes Auto, PASM, Bulb, Video, Art, Advanced Photo Mode, Scene Metering Spot, centre weighted, Highlight, Shadow, Pattern Exposure comp +/- 5 Continuous 8.7fps (mechanical shutter) shooting 15fps (electronic shutter) Screen 3-in 1.04m-dot tilting touchscreen AF points 121 Video 4K up to 30fps, Full HD up to 60fps External mic No, Internal stereo microphones Memory card SD/SDHC/SDXC Power BLS-50 Li-Ion (360 shots) Dimensions 118.3x68.5x38.1mm Weight 337g with battery and memory card Sensor Output size Focal length mag Lens mount Shutter speeds

lympus fans have been waiting to see what OM Digital Solutions would do after the imaging division of Olympus was sold and renamed in January 2021. The Olympus PEN E-P7 is the first Micro Four Thirds camera to come from the new company. The Olympus PEN E-P7 may not be the update to the PEN-F people have been waiting for, but it does inherit the colour control dial from this model, and offers many new features that could make it a good step up from the Olympus PEN ‘Lite’ series, the most recent being the E-PL10. The E-P7 offers a 20MP Four Thirds sensor, 4K video recording, a wealth of manual and advanced shooting modes, a tilting 3in touchscreen that can also be used as a selfie screen, plus a

new colour/monochrome profile switch on the front. All in a compact and relatively lightweight camera, weighing in at just 337g body only.

Features

The Olympus PEN E-P7 features a 20.3MP Four Thirds ‘Live MOS’ sensor, as found in the more premium but sadly now discontinued Olympus PEN-F, and the SLR-like OM-D E-M10 Mark IV which boasts a built-in electronic viewfinder. The camera offers an ISO range from ISO 100 (Low) up to ISO 25,600. Like other Olympus cameras, in-body image stabilisation (IBIS) comes as standard, a feature that moves the sensor along 5-axis to combat camera shake at slow shutter speeds, giving up to 4.5 stops of compensation. This means you can get a sharp www.amateurphotographer.co.uk

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Olympus’s signature colour reproduction gives great results straight from camera

Olympus PEN E-P7, 12-60mm, 1/320sec at f/6.3, ISO 200

shot in low light, while previously you’d have to boost your ISO speed, or use a brighter lens. This also works for all lenses attached to the camera, even legacy or manual-focus lenses. Using the Micro Four Thirds lens mount, which has been around since 2008, there is the widest choice of lenses available for any mirrorless system, with lenses available from Olympus, Panasonic, Sigma, Tamron, Samyang, and many more. If you want to use a lens with a different mount, then you’ll find a vast array of adapters available. If you’re a beginner then you’ll find the Olympus PEN E-P7 easy to use, as you can simply leave the camera in the Auto modes, letting you use it as a point and shoot, with easy-to-use on-screen controls. If you venture beyond this you’ll find that the camera www.amateurphotographer.co.uk

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features full manual controls, as well as a variety of advanced shooting modes that you won’t find on many other cameras. The Advanced Photo Mode is where you’ll find a range of useful features, along with an introduction letting you know what each mode does, making it easier to use. Of these the Live Composite and Live Bulb modes remain impressive, letting you see long exposures develop in real time on the screen as you take the photograph. Fans of light-painting will find the Olympus Live composite features simply game-changing if never experienced before. Despite this being almost an ‘entry-level’ model in the Olympus range, you can create exposures of up to 30 minutes. You’ll also find HDR, multiple exposure, Keystone correction, AE and

Focus bracketing available. The camera offers 8.7fps continuous shooting when using the mechanical shutter, and up to 15fps when using the electronic shutter with fixed focus, at the full 20MP resolution. This drops down to 5fps when using the camera’s image-stabilisation system, or when using continuous AF. The maximum shutter speed available using the mechanical shutter is 1/4000sec, but switch on the silent shooting mode shown with a tiny heart symbol next to the drive mode, and you can shoot at shutter speeds up to 1/16,000sec. This is great for when you want to shoot with a bright lens in sunny conditions, or want to work discreetly. As you would expect with any new camera, the E-P7 has built-in Wi-Fi and Bluetooth, letting you

connect it to your smartphone or tablet, and remotely control it as well as transfer images. The Olympus OI Share app works well and connecting is made easier with first time setup using ‘Easy setup’ and scanning a QR code displayed on the camera’s screen. You’ll also find quick links to the camera’s manual should you need it. Olympus Art filters are available with 16 different filters to choose from. Each one has additional presets and options that can be customised, including a range of effects that can be applied on top including soft focus, pin hole, white vignette, frames, blur, and shade. One of the newer Art Filters is an Instant Film filter, and there are other film effects including Grainy Film I and II. You’ll find that the monochrome 41

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Face and eye-detection AF works extremely well. Model: Lucy Woodroffe

Olympus PEN E-P7, 45mm f/1.8, 1/80sec at f/2.0, ISO 800

art filters let you add a Yellow, Orange, Red or Green filter, like you would when shooting with a black & white film camera. In addition to this you’ll find a new front colour/ monochrome profile switch, giving you access to four monochrome profiles, as well as four colour profiles. The monochrome profiles let you customise the colour filter with greater control than the Art Filters, as well as adjust the vignette with both dark and bright shading options (and every step in between), as well as the highlight, midtone, and shadow tone (+/-7 steps). You can adjust the Highlight and Shadow control in other shooting modes, however these profiles give you slightly quicker access to the settings, and with four different profiles available you can customise each to your own personal tastes. Outside of the main filter settings, if you go into the super control panel you can find two additional settings available when in this Mono filter, with options to add a Film Grain effect (Off, Low, Medium and High), as well as 42

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you can see the bottom around the battery compartment flex. So I’d probably recommend you avoid squeezing it. However, one area that does feel very good to the hand is the top controls, dials and switches. The metal mode dial feels reassuringly solid, and it’s unlikely that you’ll accidentally turn it. There are two command dials, which makes changing the shutter and aperture speeds easy should you be in manual mode, and the on/off switch is also solid, neatly placed where your thumb can easily reach it, with a quality feel when used. Whilst the camera does give front and rear command dials, giving great control over camera settings, the buttons on the back Build and handling can seem a little small at times. If you’ve been using an Olympus The four-way controller can also PEN or OM-D camera with a metal take a while to get used to, and body such as the E-P5, PEN-F, I found I accidentally hit the E-M5 II, or E-M1 series, then wrong button at times. when you come to pick up the Other areas of the camera are E-P7 you may find yourself also made of metal where disappointed, as the camera needed, for example the hinge body is mostly made of plastic. mechanism for the tilting screen, Build quality could be better. the pop-up flash, the lens mount, For example, if you squeeze the and the tripod socket, which is camera a little too hard then also a good distance from the there is a noticeable creak, and battery compartment. tone options including Sepia, Blue/Purple/Green tone. The colour profile lets you customise the colour saturation for all or individual colours using an intuitive colour wheel. This can easily be adjusted using the front and rear command dials, or even the touchscreen if you’ve got small enough fingers. You’ll also find vignetting options, and highlight and shadow control, as per the monochrome mode. As with the Art Filters, you can shoot JPEG and raw, meaning that if you don’t like any of the effects created you can always go back to the raw file and reprocess the image to get back to the original.

Disappointingly there are areas where I’d like there to be more grip, with the thumb grip on the rear being made from a tough, hard plastic that’s also rather smooth. But there’s a faux leather covering on the camera on most surfaces that your hands Image stabilisation works well with the 14-42mm lens for handheld shooting

Olympus PEN E-P7, 14-42mm, 1/20sec at f/5.6, ISO 800

www.amateurphotographer.co.uk

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CAMERA TEST

Focal points The Olympus PEN E-P7 has a retro-inspired design and a compact body, but gives a good level of control

USB charging

Metal dials

Flash

Mono/Colour profile switch

Shortcut button

Custom buttons

The BLS-50 battery is shared with other Olympus cameras, rated for 360 shots per charge, and can be charged in camera.

The top dials are all made from knurled metal and with dual command dials you can easily change settings.

A tiny built-in flash pops up from the left, and has a rating of 7.6GN (at ISO 200).

68.5 mm

For example, I wanted to adjust the microphone settings to switch on a wind filter, and instead of this being an option that I could easily find (most cameras list this separately), this option was inside the mic options, which includes On, On with wind filter, and Off. The camera offers 4K UHD video recording at 30, 25, or 24fps, and Full HD video recording at up to 60fps. With 5-axis in-body image stabilisation (IBIS) the camera can help you create good looking video footage even when recording handheld. There are options for the microphone, and the mic level can be adjusted (+/- 10). The microphone level is displayed on screen when recording, but there is no microphone socket. Digital IS (Image Stabilisation) is on by default and part of the IS settings, so that you have options of M-IS 1 (IBIS and Digital), M-IS 2 (IBIS only), and IS Off. In 4K mode you can adjust the frame rate, but not the bit rate. In Full HD you can adjust both with options of Super Fine, Fine, and Normal. Video quality is very good, with plenty of detail, and a useful image-stabilisation system that produces steady video even when panning the camera handheld. The focus system is unlikely to match the best

The new front mono/colour profile switch gives you quick access to four mono profiles and four colour profiles that you can customise.

There’s a top shortcut button that brings up the onscreen menu tailored to each shooting mode.

You can customise the video recording button, and on the back the AEL/AFL button.

38.1 mm

meet, and a raised area on the front of the camera gives a good grip point for your fingertips. The BLS-50 Lithium-ion battery is charged in-camera, with the provided micro-USB cable and USB charger, or you can plug the USB cable into a computer. There is no dedicated battery charger, but these can be picked up relatively cheaply. Backwards compatibility is something worth mentioning, as the E-P7 accepts the same battery as the original Olympus PEN E-P1 from 2009. Some parts of the camera’s graphical user interface are extremely user-friendly. For example if you switch into the Advanced Photo, Art, Video, or Scene modes you’ll be presented with the different shooting options and what they do, and you can easily select from these using the touchscreen. Once you’re in the mode selected, you can then use the touchscreen to go back to the selection screen with an on-screen button that is found in the bottom left corner. In most modes there is also a Super Control Panel where you can quickly access camera settings by pressing the OK button, or top shortcut button. But if you must enter the camera’s menus, then you can easily get lost or struggle to find settings, as there is no colour coding to be found.

Testbench

118.3 mm

www.amateurphotographer.co.uk

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05/10/2021 12:53

Testbench cameras out there for video due to the lack of phase detection AF.

Viewfinder and screen

The 3-inch, 1.04m-dot tilting touchscreen looks good, with a gapless design and great colour reproduction. But the design isn’t as svelte or as flush to the camera body as some models, such as the Fujifilm X100V, or the older Olympus PEN E-P5. You’ll find plenty of detail available on the screen when shooting, including a dual-axis spirit level, and this can be toggled through using the INFO button. Whilst the screen can be tilted down through 180° to become a forward-facing ‘selfie’ screen, this isn’t particularly suited to vlogging as any tripod, monopod or selfie stick is going to block your view of the screen.

Autofocus

The camera has 121 AF points and uses a contrast-detection AF system. Focus is relatively quick and rapid, locking onto subjects quickly. You’ll also benefit from face and eye-detection AF, something that Olympus cameras have featured since the Olympus OM-D E-M5 released in 2012, so it’s no surprise that this works extremely well. Unfortunately, this hasn’t been updated to include animal face detection. Colour reproduction is great with pleasing results straight from JPEG images

Olympus PEN E-P7, 12-60mm, 1/640sec at f/9, ISO 200

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CAMERA TEST the Olympus OM-D E-M5 III and E-M1 III, which offer up to 6.5 and 7.5 EV steps respectively. It also doesn’t benefit from the High-res multi-shot modes that these cameras offer, so if you’re looking for higher-resolution results, then you won’t find it on the E-P7. Metering is extremely reliable, with little need for exposure compensation. You’ll also find the level of dynamic range Performance captured in JPEG images is With the 14-42mm pancake zoom generally good, only struggling at lens, you have to wait a little bit times when your scene has high longer for the camera to switch levels of contrast. on due to the lens extending from In the Advanced Photo Modes its collapsed position. However, you can find an HDR mode if you with a standard lens, the wish to capture additional switch-on time is quick, and the dynamic range, or you can also camera responds quickly to any use the raw files for processing changes you make to settings. in programs like Photoshop, You can use the touchscreen to or in-camera with the built-in set the focus point, or use it to raw editor. take photos as soon as you About raw editing, in most touch an area of the screen, or if circumstances you shouldn’t you prefer you can switch these need to edit raw images, as the features off. The focus point can camera produces excellent JPEG be set to a fairly wide area of the images straight from the camera, screen, but surprisingly the with both pleasing colour, and camera doesn’t let you set it to good levels of detail and the edges or corners of the sharpness, particularly when frame, despite using contrast using a prime lens. detection focus. Colour reproduction on the The camera has built-in 5-axis default ‘Natural’ setting is image stabilisation or IBIS pleasing with good levels of (in-body image stabilisation) saturation, without being which promises to give up to 4.5 overpowering. Depending on your EV steps of image stabilisation. own personal tastes you may Unfortunately, it doesn’t quite want to use the Vivid colour match the level of stabilisation as setting, or alternatively you can

There are options for Single AF, Continuous AF, Manual Focus, Single-AF with MF, as well as C-AF with AF tracking. You can enable an enlarged view, with up to 14x magnification available, as well as focus peaking to assist with manual focus. To use continuous AF when using continuous shooting, you’ll need to select the Low shooting speed option.

customise each Picture mode in the advanced menus, with options to adjust the sharpness, contrast, saturation, and gradation. Auto White Balance plays a big part in the camera producing good colour output, and can be trusted in most lighting conditions. You’ll even find the option to ‘Keep Warm Colour’ which gives pleasing portraits and warmer results, but for improved product shots on a white background you can switch this off. The built-in image stabilisation works very well, so much so that you barely need to think about it, letting you continue shooting even in lower light conditions that would normally require a tripod. This also gives you the benefit of being able to use lower ISOs. The Olympus 14-42mm f/3.5-5.6 EZ kit lens gives good results, and stopped down can give some very sharp images, although as expected sharpness does tend to drop off towards the corners of the frame. With the compact size of 23mm when collapsed, it makes the E-P7 a go-anywhere camera that easily fits into coat pockets. www.amateurphotographer.co.uk

05/10/2021 12:53

Verdict

Recommended

Stopped down to f/7.1 the 14-42mm lens gives high levels of detail

Olympus PEN E-P7, 14-42mm, 1.3sec at f/7.1, ISO 200

ISO and noise You’ll find a range of ISO 200 to ISO 25,600 available, with an additional LOW ISO speed of ISO 100 available, albeit with a reduced dynamic range when using the lowest setting. Noise options let you choose between Off, Low, Standard, and High, with the default being Standard. When shooting JPEG images, the default settings give good results, with usable images up to ISO 3200 or ISO 6400, however, there is quite strong noise reduction which reduces fine detail. For those The crops shown below are taken looking for a little more detail, then the Low option is a good setting to from the area outlined above in red use, albeit with a slight increase is noise visible in JPEG images. RAW ISO 200

RAW ISO 1600

RAW ISO 3200

RAW ISO 6400

RAW ISO 12,800

RAW ISO 25,600

AVAILABLE in silver and black, or silver and white, we found the white version not to our own personal tastes. Combined with the plastic build quality, the camera didn’t particularly live up to our expectations for an Olympus PEN E-P camera, with the older Olympus PEN F and Olympus PEN E-P5 both offering a much more solid and premium build quality. One of the nearest competitors to the E-P7 is the 26MP Fujifilm X-E4, available for £799 body only. This feels like a more premium model, with a built-in electronic viewfinder, a flush LCD screen on the back, as well as metal top and bottom plates. Not that the X-E4 is the perfect camera, lacking a rear control dial, and also lacking IBIS. But put the two cameras side by side, and you’ll find the X-E4 feels like a £700-800 camera, whereas the E-P7 doesn’t. Despite pleasing image quality, and good controls, the camera is let down by build quality that feels far more budget than premium, and when you can buy the Olympus OM-D E-M10 Mark IV (£649 body only or £749 with 14-42mm lens), with a built-in electronic viewfinder for less than the E-P7, we’re left wondering who would buy the E-P7 at its current price? If the price drops over time, or there’s a great offer available, then the Olympus PEN E-P7 could make a good entry into the Micro Four Thirds world, particularly for those that don’t need or want an EVF. If you do go for the E-P7, then you’ll be impressed by the features on offer. Combined with the 14-42mm EZ pancake lens, the E-P7 is a compact, go-anywhere camera, that produces some great looking images, but the price is hard to swallow.

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

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05/10/2021 12:54

Testbench

PANORAMIC CAMERAS

FILM STARS

The wide man of Gloucestershire

John Wade meets probably Britain’s last camera maker and takes us on a tour of some of his more unusual creations

then are still around and much sought after by enthusiast film photographers looking for new challenges.

The first cameras

Mike’s interest in photography began as a schoolboy when he found an old box camera in a cupboard. Later, he saved up his pocket money and bought two 100mm achromat lenses. And then he built his first 35mm camera. A wooden cotton reel provided the take-up spool because he discovered a half-turn of this drew about 36mm of film out of a 35mm cassette. The shutter used rubber bands to give two speeds which, when checked

COURTESY OF MIKE RIGNALL

wenty years ago, the British camera making industry was still alive and well – albeit in rather a small way – and happening in Gloucestershire. The man behind it was Mike Rignall: owner, designer, engineer, camera maker, marketing executive and salesman for the Horsley Camera Works. In other words, he was a one man band, turning out cameras in his workshop one at a time. They were nothing like that era’s electronic marvels, but they worked and fulfilled beautifully the sometimes offbeat purposes for which they were made. Although Mike, now 88, no longer builds cameras, those he did make back

Last of the British camera makers: Mike Rignall at work in his workshop

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www.amateurphotographer.co.uk

05/10/2021 13:02

A 120° panoramic picture taken with one of his Wideboy cameras

with his school physics lab’s oscilloscope, indicated 1/25sec and 1/100sec. Focusing was achieved using the screw top from a salt cellar, and a sliding strip of wood with holes in it behind the lens provided apertures. Entering the camera into his school’s annual hobbies exhibition, he won first prize. In 1951, Mike left school to begin an apprenticeship with Marconi where he learnt machine shop work, while furthering his education at a local college. He retired in 2002 and, after a professional life in electronics and a life-long love of photography, he set up a workshop to make cameras. He began by making pin-hole cameras, mostly simple designs for 120 roll film, though once his cameras began to get known, he received special requests. As a result, he made pin-hole cameras for 5x4-inch sheet film, one as a special order for 127 film, another with a shift lens – or rather a shift pin-hole – and a

The Wideboy

In 1900, Kodak produced a camera called the Panoram in which the film was fed around a curved film plane. As the shutter was released, the lens swung through an arc, projecting its view through a rear slit, to gradually build up a super-wide image on the film. That was the thinking behind the Wideboy. The first task was to find the nodal point of an old Paterson 50mm enlarging lens chosen for the job. A lens’s nodal point is the place inside the lens where light rays converge. Mike worked out where the nodal point of his lens lay with the help of a home-made optical bench. After that he measured the nodal to focal point distance, made a cylinder whose diameter equalled the focal length of the lens and

A selection of Mike’s pin-hole cameras. From left: 5x4in camera; shift pin-hole camera, paint can camera; mahogany 120 film camera and MDF-bodied 127 film camera

www.amateurphotographer.co.uk

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The Wideboy, a manually operated swing-lens panoramic camera

panoramic model based on a paint can with a sheet of printing paper curled around the inside. But his main claims to fame were two panoramic cameras.

With the base removed, showing the Wideboy’s curved film path

placed the lens in its centre, adding a 1mm slit in the cylinder behind the lens and a wider slot in front. The rotating cylinder was mounted in a body made of medium-density fibreboard (MDF) and a curved film plane was constructed to take 120 roll film. A viewfinder for the ultra-wide view was made from a maskeddown peep-hole lens of the type found in hotel room doors. The old Panoram used a spring-driven lens, but the Wideboy is manually operated

with a handle on top of the body to sweep the lens through its arc. With the lens aperture set at f/16 and focus set at the hyperfocal distance for that aperture, a 1-second sweep gives a 1/150sec shutter speed, a 3-second sweep gives 1/50sec and a 6-second sweep gives 1/25sec. Film numbers read through the camera’s rear red window are wound to: 1, 3, 5, 7, 9, 11 to give six 60x120mm images with a 120° angle of view. 47

05/10/2021 13:02

The first and last camera

PANORAMIC CAMERAS

Testbench

Taken with the rotational camera, but only over 270° since ugly railings took up the rest of the 360° view

WHILE writing this article, I ‘spoke’ by email many times with Mike Rignall. When he mentioned his schoolboy camera-building project of 70 years ago, I naturally asked if he still had the camera, or at least a picture of it. Unfortunately both had been lost. I’m not sure if it was his or my idea to build a replica, but once the notion was mooted, there was no stopping him. It took two weeks, during which time I received daily updates. The result is the camera you see below, a faithful reproduction of his schoolboy endeavours. The only thing that defeated Mike during his memory-driven research, was making a self-capping shutter. But, as he pointed out, ‘Even Oskar Barnack didn’t manage that when he built the first Leica. If it was good enough for Oskar, it’s good enough for me.’

Mike’s modern replica of his schoolboy-made camera

The 360° rotational camera

Film loaded inside a hand-operated version of the rotational camera

These quoted specifications apply to only one of Mike’s Wideboy cameras. If you find another, those specs might, or equally might not, apply, because every camera Mike made was subtly different from all the others.

360° rotational camera

Seventeen-year-old Mike with the cup he won for his 35mm camera 48

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The Kodak Cirkut (reviewed in AP May 29) involved a camera that revolved through 360° on its tripod while the film moved across a slit behind the lens to build up a panoramic picture on large format roll film. It was one of the inspirations behind Mike’s second panoramic camera. His version, once again made from his favourite MDF, was designed for 35mm film, for which he used a 28mm

wideangle lens arranged with a 1mm width slit behind it covering the full 24mm height of the film. After a bit of number crunching he discovered that the diameter of the take up spool and the amount of film needed for a 360° camera rotation were fairly obvious – well, to him, at least. The film length was 2 x pi x the focal length of the lens, wound onto a spool that was 2 x the focal length. That translated as 176mm of film on a 56mm diameter spool, to give eight 24x176mm images during a full 360° rotation. The camera is always used on a tripod and the rotation achieved by a small electric motor in a separate unit, connected to the camera by a belt and driven by batteries in a control box at the end of a 2-metre cable. The take-up spool is locked to the tripod mount so that the camera rotates around it, effectively winding the film as it rotates. A simple wooden frame viewfinder is fitted to the side which shows the vertical view of

the image though obviously not the 360° view. The camera takes 4 seconds to rotate a full 360 degrees, which equates to a shutter speed of approximately 1/60sec. Apertures and focusing are set on the lens in the normal way, the recommendation being to use a medium-to-small aperture and set the focusing scale to the hyperfocal distance for that aperture. To activate the rotation, a switch is pushed on the control box. During exposure, the photographer must either squat under the tripod or walk around behind the camera as it rotates. This is especially difficult if you happen to come across one of a few hand-operated versions that involve turning a handle on top of the camera while walking round it.

What to pay

Mike’s original prices for his panoramic cameras were £60 for the Wideboy and £200 for the rotational camera. The cameras reviewed here were bought on eBay and at an auction house: £60 for the Wideboy and £90 for the rotational. www.amateurphotographer.co.uk

05/10/2021 13:02

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Testbench

ACCESSORIES

Rode NT-USB Mini Nigel Atherton tests a compact desk mic that’s ideal for video voiceovers, webinars and much more

ALL PRICES ARE APPROXIMATE STREET PRICES

● £89 ● www.rode.com PHOTOGRAPHERS are being re-branded as ‘content creators’. Most people coming into photography today no longer just take still photos. Many of us also shoot video, for which we might want to do a voice-over. Others might host or attend photography webinars. Some may even host their own photography podcast. This is nothing new. For much of AP’s history it has been almost as absorbed with moving images and sound as with stills, whether that be 16mm, Super 8, VHS video and now digital video. Only the technology has changed. One of the most respected brands in the world of audio recording is Rode. Its NT-USB Mini is a sleek and compact desktop microphone capable of providing professional-quality audio. It certainly lives up to its name. Designed as a smaller and affordable alternative to Rode’s larger NT-USB model from 2014, the Mini is just 141mm tall by 54.5mm wide, on an 89.3mm diameter base — making it ideal for transport, and meaning that it can be set up and used anywhere in no time at all. Despite its size it’s unexpectedly heavy, at 585g. Much of the weight is in its robust, 360-degree swing mount, which attaches magnetically and enables the mic to be positioned at any angle, while remaining fairly steady on the recording surface, and being less susceptible to unintentional knocks. The USB-Mini does not require an external power supply or drivers to work, and being Class Compliant it can be used straight out of the box with various types of devices, from tablets to desktops, Mac and Windows. Like its big brother the Mini uses a high-quality condenser capsule with a fixed cardioid polar pattern, designed for recording clear sound mainly from the front. But unlike the older unit the Mini includes a built-in pop filter, for reducing plosives and unwanted ambient noise. The 3.5mm headphone output comes with a volume control and a zero-latency mode for echo-free sound monitoring. The sound from the Mini is rich and warm out of the box – incomparably better than the built-in mics of laptops, tablets and webcams but also noticeably superior to most of the no-name Chinese imports that proliferate at certain online retailers.

Verdict

In summary, the Rode NT-USB Mini is an excellent compact, studio-quality microphone that offers near universal compatibility with most devices, impressive sound, and a very reasonable sub-£100 price point. 50

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Compact

The NT-USB Mini measures just 141mm x 54.5mm x 89.3mm, making it very portable.

Compatible

Being Class Compliant it works with both Mac and Windows laptops as well as tablets and mobile devices.

At a glance Recommended

● Compact desktop microphone ● USB-C connection ● No power supply required ● Works with Mac and Windows

computers

RODE CONNECT APP

Robust

Weighing 585g the NT-USB Mini is made from steel and reinforced nylon resin, with a solid magnetic mount.

Customisable

With the free Rode connect app you can fine tune the sound, connect multiple mics and much more.

Additional features and audio fine tuning controls are available through Rode Connect — Rode’s free podcasting and streaming software. These include access to the built-in digital signal processing, broadcaststyle faders and levels metering, and the ability to connect and control up to four NT-USB Minis for multiparticipant podcasts.

www.amateurphotographer.co.uk

04/10/2021 14:45

Tech Talk

Try 13 issues for only £13*

Professor Newman on…

Aperture A conundrum and a look at the history of aperture in cameras

Print + digital access included!

ake a look at most photographic tutorials and they will explain that ‘aperture’ means the size of the hole through which the light enters. In the illustration on the right we see two apertures. The size of the hole is determined by an iris in the middle of the lens. On the right, the front of the lens is out of focus, for reasons that will be explained later. According to the definition above, the left aperture is clearly smaller than the right. However, the aperture setting is the same, at ‘F5.6’ according to the camera display. So which is correct? The answer is that the opening definition is correct, and the aperture on the left is smaller. To sort through this conundrum, we need to look at some history. It was found that the performance of lenses could often be improved by placing a ‘stop’ in front of them. This was a simple metal plate with a hole, or aperture, in it. It worked by restricting the size of the fan of light rays passing through the lens. By using a stop with a smaller aperture, better sharpness could be achieved at the cost of longer exposure times. In 1848 John Waterhouse of Halifax developed a system of interchangeable stops, allowing photographers to choose the size of the aperture. There was a problem however, which is explained in this extract from a letter from Chas. A. Long, Esq. to the editor of the Journal of the Photographic Society of Great Britain, published on 21 August 1858: ‘The time of exposure of the plates must

The aperture on the left is smaller than on the right, but both are f/5.6

depend so entirely on circumstances, that it is next to impossible to give any definite directions on that head. However, with a single landscape lens 16 inches focus, and with a half-inch stop, from 4 to 5 minutes will be ample exposure on a bright day; with a shorter focus lens, less time will be sufficient, and with a longer focus more time must be allowed.’

Apertures and ratios

In short, the effect of a given aperture on the exposure depended on the focal length of the lens. The shorter the focal length, the larger the field of view and the more light was collected. To overcome this problem a system of ‘fractional stops’ was developed. There were several different ideas as to how to do this in the late 19th century, but the idea behind all of them was the same. The aperture would be expressed as a fraction of the focal length, so taking the above example, rather than saying ‘the aperture is one half-inch’ one would say ‘the aperture is one thirty-second of the focal length’.

The most common way of expressing this was directly as a fraction, so this would be written as ‘1/32’ or ‘1:32’. The latter is still used on the front of lenses. However, by the end of the 19th century it was most common to write the fractional stop as a formula, as ‘f/32’, where ‘f’ represents the focal length of the lens. In all these cases the number 32 is what is today referred to as the ‘f-number’, or sometimes ‘f-stop’ or ‘f-ratio’. So, to address the conundrum set at the beginning of the article, the left hand aperture is indeed smaller, although the f-number is the same, 5.6. The pictures are of the same lens at the extents of its zoom range. Thus on the left, the aperture is 24/5.6mm, and on the right it is 70/5.6mm. The ambiguity is caused by common practice of saying ‘aperture’ when what is actually meant is ‘f-number’. Finally, the front of the lens is out of focus on the right because the point of focus is the aperture diaphragm, which moves as the lens is zoomed. With the lens set to 70mm, the aperture is some distance behind the front of the lens.

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

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Buying Guide

108

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.

AMOST 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 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. 53

04/10/2021 17:01

NEW

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

NEW

SUMMARY

SHOOTING

NAME & MODEL

RRP SCORE

Canon EOS M200

£499

Canon EOS M50 Mark II

£699

Canon EOS M6 Mark II

£869

Canon EOS RP

£1400 4★

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

26.2 Canon RF 102,400 3840

• 4779 5

•

Canon EOS R

£2350 4★

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

30.3 Canon RF 102,400 3840

• 5655 8

Canon EOS R3

£5880

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

Canon EOS R5

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

Canon EOS R6

£2500 5★

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

Fujifilm X-A7

£699

3★

Sports large fully articulated LCD, but frustrating controls

APS-C 24.2

Fuji X

Fujifilm X-E4

£799

4★

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

APS-C 26.1

Fujifilm X-Pro3

£1799 4★

Employs unusual hidden rear LCD design that polarises opinions

Fujifilm X-S10

£949

5★

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

Fujifilm X-T200

£749

Fujifilm X-T30

£849

Fujifilm X-T30 II

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

Basic entry-level viewfinderless model gains 4K video recording

APS-C 24.1 Canon M 25,600 3840

143 6.1

•

315 108.2 67.1 35.1 299

4★

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

APS-C 24.2 Canon M 51,200 3840

• 143 10 •

•

250 116.3 88.1 58.7 387

4★

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

APS-C 32.5 Canon M 51,200 3840

• 143 14

•

305 119.6 70

49.2 398

•

250 132.5 85

•

3.2

•

350 135.8 98.3 84.4 660

24.1 Canon RF 204,800 6000

• 4779 30 •

•

3.2

•

860 150 142.6 87.2 1015

Canon RF 102,400 4096

• 5940 12 •

•

3.2

•

320 135.8 97.5

20.1 Canon RF 204,800 3840

• 6072 12 •

•

380 138.4 97.5 88.4 680

51,200 3840

• 425 6

•

3.5

•

270 119

Fuji X

51,200 3840

• 425 20 •

•

460 121.3 72.9 32.7 364

APS-C 26.1

Fuji X

51,200 4096

• 425 20 •

•

370 140.5 82.8 46.1 497

APS-C 26.1

Fuji X

51,200 3840

• 425 20 •

•

325 126

85.1 65.4 465

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

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

•

380 118.4 82.8 46.8 383

£769

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

APS-C 26.1

Fuji X

51,200 4096

• 425 8

•

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 •

•

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 •

•

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 •

•

220 131

403

Leica TL2

£1700 4★

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

APS-C 24

49 20

•

3.7

•

250 134

399

Leica SL2

£5300 4★

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

47.3 Leica L 50,000 5120

• 225 20 •

•

3.2

•

370 147 107

916

Leica SL2-S

£3975 4★

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

24.6 Leica L 100,000 4096

• 225 25 •

•

3.2

•

510 146 107

931

Nikon Z 5

£1719 4★

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

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

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

24.5 Nikon Z 204,800 3840

• 273 14 •

•

3.2

•

410 134 100.5 69.5 705

Nikon Z 7

£3399 5★

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

45.7 Nikon Z 102,400 3840

• 493 10 •

•

3.2

•

420 134 100.5 69.5 705

Nikon Z 50

£849

5★

Well-specified APS-C mirrorless model boasts excellent handling

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

20.9 Nikon Z 204,800 3840

• 209 11 •

•

300 134.5 93.5 43.5 445

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

Leica L 50,000 3840

•

485

738

67.7 41.1 320

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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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

•

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 •

•

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 •

•

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 •

•

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 •

•

• 2580 144.4 146.8 75.4 997

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

•

890 136.9 97.3 91.6 658

Panasonic Lumix G90

£899

4.5★ Versatile SLR-shaped stills/video hybrid with 4K video and in-body IS

4/3

20.3 Mic4/3 25,600 3840

• 49 9

•

290 130.4 93.5 77.4 533

Panasonic Lumix G100

£590

4★

Small SLR-shaped camera specifically designed for vloggers

4/3

20.3 Mic4/3 25,600 3840

• 49 10 •

•

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

Mic4/3 25,600 3840

49 5.8

•

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

•

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 •

•

410 138.5 98.1 87.4 727

Panasonic Lumix GH5S

£2199

4/3

10.2 Mic4/3 204,800 4096

• 225 11 •

•

3.2

•

410 138.5 98.1 87.4 660

Panasonic Lumix S1

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

24.2 Leica L 204,800 3840

• 225 9

•

3.2

•

380 148.9 110

Panasonic Lumix S1H

£3600

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

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

24.2 Leica L 204,800 3840

• 225 7

•

440 132.6 97.1 81.9 714

Sigma fp

£1999 4★

Smallest full-frame mirrorless, but compromised features and handling

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

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

Sony Alpha 6400

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

APS-C 24

SCREEN

HEIGHT (MM)

WIDTH (MM)

RRP SCORE

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

SHOOTING

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

NAME & MODEL

4★

SUMMARY

BURST MODE (FPS)

MIC INPUT

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

RESOLUTION (MP)

Mirrorless cameras

SENSOR SIZE

SPONSORED BY

Sony E 25,600 1080

179 11 •

•

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

APS-C 24.2 Sony E 51,200 3840

• 425 11 •

•

£1000 4★

Extraordinary new autofocus system, but in an outdated body design

APS-C 24.2 Sony E 102,400 3840

• 425 11 •

•

Sony Alpha 6600

£1450 4★

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

APS-C 24.2 Sony E 102,400 3840

• 425 11 •

•

Sony Alpha 1

£6500 5★

Flagship model with an unprecedented combination of resolution and speed

50.1 Sony E 102,400 7680

• 759 30 •

Sony Alpha 7 II

£1498 5★

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

24.3 Sony E 25,600 1080

• 117 5

Sony Alpha 7 III

£1999 5★

Remarkable all-rounder with 10fps shooting and 4K video recording

Sony Alpha 7C

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

Sony Alpha 7R III

£3200 5★

Sony Alpha 7R IV

£3500 5★

DIMENSIONS

383

72.1 46.8 450

96.7 899

96.7 898

310 120

•

380 120

66.9 59.4 396

•

360 120

66.9 49.9 403

•

720 120

66.9

•

530 128.9 96.9 80.8 737

•

24.2 Sony E 204,800 3840

• 693 10 •

•

610 126.9 95.6 73.7 650

24.2 Sony E 204,800 3840

• 693 10 •

•

680 124

Same sensor as A7R II, but faster and with improved body design

42.4 Sony E 102,400 3840

• 399 10 •

•

650 126.9 95.6 73.7 657

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

61.0 Sony E 102,400 3840

• 567 10 •

•

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

12.1 Sony E 409,600 3840

• 759 10 •

•

600 128.9 96.9 80.8 600

Sony Alpha 9

£4500 5★

Super-fast 20fps shooting and stunning overall performance

24.2 Sony E 204,800 3840

• 693 20 •

•

650 126.9 95.6

Sony Alpha 9 II

£4800

A9 gains professional connectivity options and an improved body design

24.2 Sony E 204,800 3840

• 693 20 •

•

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 Sony E 51,200 3840

• 425 11

•

440 113

NEW & COMING SOON!

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344

503

350 126.9 95.7 59.7 556

71.1 59.7 509

64.2

673

44.7 343

Fujifilm GFX 50S II

£3,499.00

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NEW

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

NAME & MODEL

RRP SCORE

SUMMARY

SHOOTING

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

•

Canon EOS 850D

£820

4★

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

Canon EOS 90D

£1210 4★

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

Canon EOS 6D Mark II

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

26.2 Canon EF 102,400 1080

• 45 6.5 98

Canon EOS 5D Mark IV

£3599 4.5★ Hugely accomplished workhorse model, but pricey

30.4 Canon EF 102,400 3840

• 61 7 7 100 •

Canon EOS-1D X Mark III

£6499

Super-fast pro model for sports and action photographers

20.1 Canon EF 819,200 5496

• 191 16 100 •

Nikon D3500

£499

4★

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

24.2

Nikon F

25,600 1080

11 5 95

Nikon D5600

£800

4.5★ Excellent image quality and handling, plus Bluetooth connectivity

24.1

Nikon F

25,600 1080

• 39 5 95

Nikon D7500

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

20.9

Nikon D500

£1729 5★

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

Nikon D780

£2199 5★

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

Nikon D850

£3499 5★

Nikon D5

Minor update to EOS 1300D gains 24.1MP sensor

APS-C 24.1 Canon EF 12,800 1080

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

9 3 95

•

9 5 95

•

1070 122.4 92.6 69.8 449

APS-C 24.1 Canon EF 51,200 3840

• 45 7 95

•

800 131

APS-C 32.5 Canon EF 51,200 3840

• 45 10 100 •

•

1300 140.7 104.8 76.8 701

•

• 1,200 144

110.5 74.8 765

3.2

•

116

3.2

• 2,850 158

•

500 129

•

3.2 •

Nikon F 1,640,000 3840

• 51 8 100 •

•

20.9

Nikon F 1,640,000 3840

24.5

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

£5199

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

Nikon D6

£6299

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

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

900 151

101.3 77.6 475

102.6 76.2 515

890

167.6 82.6 1440

1,550 124

69.5 415

•

970 124

3.2 •

•

950 135.5 104

• 153 10 100 •

3.2 •

• 1,240 147

860

Nikon F 204,800 3840

• 51 7 100 •

3.2 •

• 2,060 143.5 115.5 76

840

45.7

Nikon F 102,400 3840

• 153 7 100 •

3.2 •

• 1,840 146

124

20.8

Nikon F 3,280,000 3840

• 153 14 100

3.2 •

• 3,780 160

158.5 92

1405

20.8

Nikon F 3,280,000 3840

• 105 14 100 •

3.2

• 3,580 160

163

1450

APS-C 24.2 Pentax K 102,400 1080

11 6 100 •

•

410 125.5 93

688

Compact but well-specified DSLR with interchangeable hand-grips

APS-C 24.3 Pentax K 819,200 1080

• 27 7 100 •

•

390 131.5 101

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

• 33 4.4 100 •

3.2 •

4.5★ Solid performer with fully articulated screen and in-body stabilisation

Trade-in or sell your gear 56

53-57 BuyingGuideCameras Oct16 AW.indd 56

Pentax K 819,200 1080

•

115

465

72.5 720

78.5 1005

800 134.5 103.5 73.5 820

670 136.5 110

85.5 1010

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NEW

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

£849

4★

1080

24-600

12,800 1080

• 5.9

1in

20.2

24-120

25,600 3840

Canon G7 X Mark II

£549

4.5★ Pocketable body that handles well, with really useful zoom range

1in

20.1

24-100

12,800 1080

Canon G7 X Mark III

£699

4★

Lovely pocket camera that includes 4K video and YouTube live streaming

1in

20.1

24-100

25,600

Canon G9 X Mark II

£449

4★

Slim, stylish, pocketable camera gives great image quality

1in

20.2

28-84

12,800 1080

Fujifilm X100V

£1999 5★ Replaces the X100F with new lens, tilting screen and weather-sealing

51,200 3840

Leica C-Lux

£875

Customised, re-badged version of the Panasonic TZ200

1in

20.1

24-360

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

1in

Leica Q2

£4250

Update to the Q with high-resolution sensor and weather-sealed body

Leica Q2 Monochrom

£4995 5★

Panasonic FZ1000 II

£700

4★

Panasonic FZ2000

£600

Panasonic LX15

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

ARTICULATED LCD TOUCHSCREEN BATTERY LIFE (SHOTS)

DIMENSIONS

•

3in

•

200 115

•

3.2in •

•

300 123.3 76.5 105.3 733

30 •

•

3in

•

230 110.9 60.9

340

•

3in

•

265 105.5 60.9

319

•

3in

•

265 105.5 60.9

41.4 304

8.2

•

3in

•

235

57.9 30.8 206

20 •

•

3in

•

420 128

74.8 53.3 478

25,000 3840

10 •

•

3in

•

370 113

340

24-75

25,000 3840

11 •

•

3in

•

340 118

392

20.1

25-400

25,000 3840

12 •

•

440 136.7 97.2 131.5 812

47.3

50,000 4096

20 •

•

3in

•

350 130

91.9 718

Variant of the Q2 with a modified sensor that only shoots in black & white

47.3

100,000 4096

20 •

•

3in

•

350 130

91.9 734

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

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

£370

4.5★ Likeable advanced compact with ultra-fast f/1.4-2.8 zoom lens

1in

20.1

24-72

25,600 3840

•

3in

•

260 105.5 60

Panasonic LX100 II

£600

4.5★ Fine camera with Four Thirds sensor, fast lens and analogue controls

4/3

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 II

£549

•

3in

Ricoh GR III

£799

Ricoh GR IIIx

APS-C 26.1

3840

•

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

•

3in

•

51.4 399

310

66.2 64.2 392

Fine pocket camera, but showing its age in terms of specifications

APS-C 16.2

25,600 1920

•

Slimline, lightweight advanced compact with in-body image stabilisation

APS-C 24.2

102,400 1920

•

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

102,400 1920

•

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

12,800 3840

•

1.5in •

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

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 •

•

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 •

•

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 •

•

Sony ZV-1

£700

Designed for vloggers, with high-spec mic and fully articulated screen

1in

20.1

25-70

12,800 3840

•

Zeiss ZX1

£5400 3★

Unique camera with built-in Lightroom Mobile, but awkward touch interface

27.4

51,200 3840

4★

•

320 117

77.9

240 •

62.8 34.7 251

40.5

132

400 132.5 94

144 1095

•

320 101.6 58.1

290

3in

•

220 101.6 58.1

299

•

3in

•

240 101.6 58.1 42.8 301

•

3in

•

260 101.6 58.1 42.8 302

•

3in

•

260 105.5 60

43.5 294

•

4.3in

•

TBC 142

837

Treat yourself to a new camera or lens by TRADING IN your existing kit with We offer competitive quotes and provide a hassle free service.

Step 1

Get a quote Simply complete the form at www.parkcameras.com/trade-in

www.amateurphotographer.co.uk

53-57 BuyingGuideCameras Oct16 AW.indd 57

Step 2

Send your kit Having accepted the quotation, send your gear to us or request a collection from your home.

Step 3

Receive your payment or new product!

Once the equipment has been received & checked, your new gear / payment shall be sent to you.

04/10/2021 17:01

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

Opening times: - Monday - Saturday 10am till 4pm. Closed Sunday. New Stock

CANON EOS R3

Body only

£5879

New Stock

CANON RF 100-400mm F5/6.8 IS USM

Our Price

£699

MIRRORLESS R SERIES CAMERAS EOS R5 body ............................................................... £4299 EOS R6 body ............................................................... £2399 EOS R6 plus 24-105mm F4/7.1 IS STM ............ £2929 MIRRORLESS R SERIES LENSES RF 14-35mm F4 L IS USM ...................................... £1749 RF 15-35mm F2.8 L IS USM ................................... £2389 RF 16mm F2.8 STM black .........................................£319 RF 24-70mm F2.8 L IS USM ................................... £2389 RF 24-105mm F4 L IS USM .................................... £1149 RF 24-105mm F4/7.1 IS STM STM....................................£479 RF 24-240mm F4/6.3 IS USM ...................................£959 RF 28-70mm F2 L USM .......................................... £3099 RF 35mm F18 IS STM Macro..................................£529 RF 50mm f1.2 L USM ............................................... £2389 RF 50mm F1.8 STM .....................................................£219 RF 70-200mm F2.8 L IS USM USM................................. £2729

RF 70-200mm F4 L IS USM .................................... £1699 RF 85mm F1.2 I USM DS ........................................ £3299 RF 85mm F1.2 L USM .............................................. £2869 RF 85mm F2 IS Macro ................................................£669 RF 100mm F2.8L IS USM Macro .......................... £1479 RF 100-400mm F5/6.8 IS USM black.....................£699 RF 100-500mm F4.5/7.1 L IS USM ...................... £2979 RF 400mm F2.8 L IS USM .....................................£12449 RF 600mm F4 L IS USM ........................................£13409 RF 600mm F11 IS STM ...............................................£769 RF 800mm F11 IS STM ...............................................£999 RF 1.4 Extender ............................................................£579 RF 2x Extender..............................................................£719 BG-R10 grip ...................................................................£419 LP-E6NH battery ................................................... £119.99 Mount adapter EF-EOS R ................................... £119.99

CA CA

MORE NEW STOCK LISTED ON OUR WEBSITE - WWW.MIFSUDS.COM

FULL FRAME CAMERAS EOS 1DX MKIII body ......................................£6999 EOS 5D MKIV body.........................................£2869 EOS 6D MKII body ..........................................£1429 EOS 6D plus 24-105mm F3.5/5.6 IS STM £1819 NON FULL FRAME CAMERAS EOS 90D body..................................................£1249 EOS 90D plus 18-55mm ...............................£1349 18-135mm EOS 90D plus 18-135mm.............................£1629 EOS 80D body.....................................................£699

EOS 850D body ..................................................£859 EOS 250D body ..................................................£569 EOS 250D plus 18-55mm................................£629 EOS 2000D body................................................£379 EOS 2000D plus 18-55mm .............................£468 OTHER CANON CAMERAS Powershot G5X MarkII .....................................£849 Powershot G7X MarkIII ................................ £699 Powershot SX70HS ...........................................£579 M50 Mark II plus 15-45mm ............................£699

URGENTLY WANTED BEST PRICES PAID CALL MATT 0736 828 8126

Quality Used Equipment Part Exchange Welcome

FuJI

Bron

Open 8am till 8pm daily. RING NOW! Or email equipment details to info@mifsuds.com

Sensor cleaning carried out on the premises and Pro equipment hire available - please ask for details ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 01/10/2021. E&OE. Family Run Pro Dealership With Friendly, Knowledgeable Staff. XXX_AP_2021-10-16_Misfuds Photographic Ltd_DPS.indd 2

05/10/2021 11:52

Cont

Website updated daily inc. promotions

www.mifsuds.com

Here to help - just call 01803 852400

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 800mm F5.6 7D MKII CAF 500mm F4 IS EX DG 100-400mm 300mm F2.8 USM LII box 1DX MKII 5D MKIV body body box 120-300mm F2.8 300mm F2.8 HSM F4.5/5.6 LII box IS USM LII DG OS Sport EX DG HSM no body box box hood

used Canon £2499

£1999/2397 £997

CAnon r dIgItAl AF used R5 body Mint- box .......................£3897 RF 70-200 F2.8 L IS USM box ...£2399 CAnon dIgItAl AF used 1DX MKII body box ......................£2499 7D MKII body box........................... £997 7D body box..................................... £299 6D body box..................................... £599 5D MKIV body box ........... £1999/2397 5D MKIII body box.......................... £997 80D body Mint box........................ £699 40D body ........................................... £149 20D body box .....................................£69 400D body........£99 350D body....£69 250D body ........................................ £449 1300D body ...................................... £199 1000D body ...................................... £149 BG-E20 grip box .............................. £249

BG-E16 grip. ...................................... £199 BG-E13 grip...£149 BG-E11 grip £149 BG-E9 grip box....................................£89 BG-E6 grip..........£89 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 14 F2.8 USM LII ..............................£1299 15 F2.8 fisheye ................................. £449 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 .................. £599 18-55 F3.5/5.6 IS STM.......................£99 18-135 F3.5/5.6 USM Nano ......... £399 18-200 F3.5/5.6 EFS ....................... £299 20 F2.8 USM...................................... £299 24 F2.8 STM ...................................... £129

used sigma £2199

£1399 £2199

24-70 F2.8 L USM II ......................£1199 24-70 F4 IS USM L........................... £699 24-105 F4 IS USM LII M- box....... £799 24-105 F4 IS USM L ........................ £549 28-135 F3.5/5.6 USM ..................... £219 35 F2 IS USM .................................... £399 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 ........................ £849 70-200 F2.8 IS USM LIII ...............£1799 70-200 F2.8 IS USM LII ................£1297 70-200 F4 IS USM box ................... £699 70-200 F4 L USM ............................. £449 70-300 F4.5/5.6 U L IS box........... £799 70-300 F4/5.6 IS USM II................. £449

70-300 F4.5/5.6 USM ..................... £299 85 F1.2 L USM MKII ......................£1299 100 F2.8 IS USM L macro ............. £849 100 F2.8 USM macro ..................... £399 100-400 F4.5/5.6 LII box .............£1799 100-400 F4.5/5.6 L .......................... £999 135 F2 USM L box........................... £649 180 F3.5 L USM macro ................£1097 200 F2.8 USM LII ............................. £549 300 F2.8 IS USM LII .......................£4499 300 F4 IS USM L............................... £749 400 F5.6 USM L ................................ £799 500 F4 IS USM LII ..........................£6999 1.4x ext MKIII .................................... £399 2x extender MKIII............................ £369 sIgmA CAF used 8 F3.5 EX DG fisheye...................... £499 8-16 F4.5/5.6 HSM DC box .......... £399

used Canon

£1799

£4499

10-20 F3.5 EX DC HSM .................. £279 12-24 F4.5/5.6 II HSM .................... £599 17-50 F2.8 EX DC HS OSM ........... £269 17-70 F2.8/4 DC OS HSM ............. £249 18-250 F3.5/6.3 DC OS HSM ....... £199 50-500 F4.5/6.3 HSM OS .............. £799 50-500 F4.5/6.3 HSM ..................... £599 70-200 F2.8 EX DG OS HSM ........ £599 85 F1.8 EX DG box .......................... £499 105 F2.8 EX DG HSM OS box ...... £329 120-300 F2.8 DG OS Sport box £2199 150 F2.8 EX DG OS HSM box ...... £699 150-500 F5/6.3 APO DG OS ........ £599 150-600 F5/6.3 sport ...................£1197 150-600 F5/6.3 contemporary ... £749 180 F2.8 DG OS macro box ......... £997 300 F2.8 EX DG HSM ...................£1399 500 F4 DG OS HSM sport box ..£3997

£6999

800 F5.6 EX DG HSM no hood .£2199 TC1401 extender ...............................£19 other CAF used TAM 10-24 F3.5/4.5 Di II ............... £199 TAM 11-18 F4.5/5.6 ........................ £129 TAM 16-300 F3.5/6.3 II VC ............ £399 TAM 28-300 F3.5/6.3 VC PZD box . £499 TAM 100-400 F4.5/6.3 Di VC USD . £599 TAM 180 F3.5 Di macro ................ £399 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 MT24-EX ring box ........................... £599 430EX II..........£149 580EX II ........ £169 580EX..............£129 600EX RT ..... £299 ST-E3 trans.....£269 ST-E2 trans ....£99 Angle finder C.................................. £149

NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED nIkon dIgItAl AF used D850 body box.................. £2099/2297 D810 body box..............................£1199 D800E body box ............................. £699 D780 body Mint box ...................£1699 D750 body box................................ £997 D700 body ........................................ £399 D500 body Mint box ...................£1197 D500 body ........................................ £997 D300 body box................................ £299 D7200 body box ............................. £649 D3200 body ...................................... £199 D3000 body .........................................£99 D200 body ........................................ £169 MBD-15 (D7100/7200) ................. £129 MBD-12 grip (D810)....................... £249 MBD-200 grip (D200) .......................£69 nIkon Z dIgItAl AF used Z7 body box ...................................£1499 Z6 body box ..................................... £997

24-70 F4 S Mint box....................... £599 nIkon AF lenses used 8-15 F3.5/4.5 AFS Mint box......... £997 10-24 F3.5/4.5 AFS ......................... £499 12-24 F4 DX AFS ............................. £499 14-24 F2.8 AFS Mint- box ..........£1197 16 F2.8 AFD fisheye box............... £499 16-35 F4 AFS VR box ..................... £699 16-80 F2.8/4 VR DX ........................ £499 16-85 F3.5/5.6 AFS DX VR box ... £249 18-35 F3.5/4.5 AFS M- box .......... £549 18-55 F3.5/5.6 AF VR ........................£99 18-105 F3.5/5.6 VR DX AFS.......... £199 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 box .......... £699 24 F1.4 G AFS Mint.......................£1197 24 F2.8 AFD....................................... £349 24-70 F2.8 AFS VR M- box .........£1399 24-70 F2.8 AFS box ........................ £897

24-120 F4 AFS VR box ................... £499 28-300 F3.5/5.6 VR box................. £649 35 F1.4 G AFS M- box ..................£1299 35 F1.8 AFS DX box........................ £169 35-105 F3.5/4.5 AFD one touch £169 50 F1.4 AFS G box .......................... £299 50 F1.8 AFS box............................... £169 50 F1.8 AFD box .............................. £129 58 F1.4 AFS G box ........................£1099 60 F2.8 AFS box............................... £449 60 F2.8 AFD box .............................. £349 70-200 F2.8 E FL Mint..................£1699 70-200 F2.8 AFS VRII M- box....£1097 70-200 F4 VR box ............................ £699 70-300 F4.5/5.6 AF-P ED VR box £479 70-300 F4.5/5.6 AFS VR box ........ £349 70-300 F4.5/6.3 DX AF-P VR box £249 70-300 F4.5/5.6 G ..............................£99 80-400 F4.5/5.6 AFS VR box ......£1499 80-400 F4.5/5.6 AFS VR box ......£1299

85 F1.4 AFS box............................... £997 85 F1.4 AFD Mint box ................... £997 105 F1.4 E AFS M- box ................£1499 105 F2.8 AFS VR............................... £599 180 F2.8 ED ....................................... £399 200-400 F4 AFS VR II box ...........£3997 200-500 F5.6 VR AFS box ...........£1099 300 F2.8 AFS VRII box..................£3997 300 F4 AFS E PF ED VR box .......£1449 500 F4 AFS VR E FL latest box ..£7997 500 F4 AFS VR serviced ..............£4499 500 F5.6 E PF VR AFS box ..........£3199 800 F5.6 E FL VR AFS box.........£12997 TC14-EII box...................................... £329 TC17-EII box...................................... £299 TC20-EIII ............................................. £349 TC-20EII .............................................. £199 sIgmA nAF used 8-16 F4.5/5.6 HSM DC box .......... £399 10-20 F3.5 DC box .......................... £269

10-24 F3.5/4.5 Di II VC HLD ......... £449 12-24 F4.5/5.6 II HSM .................... £599 18-250 F3.5/6.3 DC OS.................. £199 50-500 F4.5/6.3 HSM OS .............. £997 70-200 F2.8 EX DG OS HSM ........ £599 70-300 F4/5.6 DG APO macro .... £139 70-300 F4/5.6 DG macro .............. £139 105 F2.8 EX DG HSM OS............... £329 120-300 F2.8 DG OS Sport box £2199 150 F2.8 EX DG OS HSM box ...... £699 150-500 F5/6.3 DG OS HSM ........ £599 150-600 F5/6.3 sport ...................£1197 150-600 F5/6.3 contemporary ... £749 TC-1401 extender ........................... £179 1.4x EX DG conv box ..................... £149 other nAF used TAM 10-24 F3.5/4.5 Di II VC HLD £449 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 60 F2 SP DiII macro .............. £299 TAM 100-400 F4.5/6.3 Di VC USD. £599 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 SB-600....................................................£99 SB-700 box ........................................ £219 SB-900................................................. £249 SB-910................................................. £299 SU800 box ......................................... £199 Nissin i40 ..............................................£99 DR-6 angle finder ........................... £169 DR-5 angle finder ........................... £169 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...................£1299 X-T3 body black............................... £799 X-T10 body box ............................... £199 8-16 F2.8 XF WR box....................£1399 10-24 F4 R OIS XF box................... £699 14 F2.8 R box .................................... £529 16-80 F4 XF WR...£599 18 F2 box £349 18-55 F2.8/4 XF Mint- ................... £399 23 F1.4 XF M- box ........................... £699 60 F2.4 XF box ................................. £479 90 F2 R LM WR XF box .................. £699 1.4x extender XF WR ..................... £279 2x extender XF WR ......................... £339 X100 Limited Edition kit box...... £499 VG-XT3 vertical grip box .............. £149 VPB-XT2 grip box............................ £149 VG-XT1 grip .........................................£79 Nissin i60 flash box ........................ £149 Nissin Air 10S box..............................£49

sony neX e mount AF used A6000 body ...................................... £369 E 16-50 F3.5/5.6 PZ OSS ............... £169 E 50 F1.8 OSS box ........................... £189 E 55-210 F4.5/6.3 ............................ £219 TAM 28-200 f2.8/5.6 DiIII RXD box £649 TAM 70-300 F4/6.3 Di III RXD ..... £479 MINOLTA/SONY DIGITAL USED Sony RX10 MKIV box ...................£1299 Sony RX100 MKIII............................ £299 Sony A100 body.................................£79 Sony VG-C70AM.................................£99 FE 35 F1.4 ZA OSS cox .................. £899 A 16-50 F2.8 SSM DT ..................... £399 A 18-70 F3.5/5.6 .................................£89 A 50 F1.8 SAM DT box .....................£99 A 55-200 F3.5/6.3 DC macro box£299 mInoltA/sony A mount 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 ................... £199 100-300 F4.5/5.6 ............................. £149 3600HSD flash ....................................£49 OTHER MIN/SONY A MOUNT AF USED SIG 18-300 F3.5/6.3 ........................ £299 SIG 50-500 F4.5/6.3 HSM OS ...... £899 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 .. £599 SIG 1.4x EX converter .......................£99 TAM 90 F2.8 SP ................................ £199 Teleplus 1.4x conv .............................£69 Teleplus 2x conv ................................£79 Kenko 1.4x Pro 300DG .................. £149 olymPus 4/3 used 14-42 F3.5-5.6 .....................................£69

14-45 F3.5-5.6...£69 35 F3.5 ..........£99 40-150 F3.5/4.5...................................£99 40-150 F4-5.6 ......................................£69 EX 25 extension tube .......................£99 olymPus mICro 4/3 used OMD-EM1X body box .................£1499 OMD-EM1 MKIII body .................£1399 OMD-EM1 MKII body .................... £599 OMD-EM1 body black................... £399 OMD-EM5 MKIII body blk M- box £799 OMD-EM5 MKII body box............ £599 OMD-EM5 body box...................... £299 OMD-EM10 MKII body .................. £249 E-PL5 black box ............................... £149 12-40 F2.8 Pro .................................. £499 12-50 F3.5/6.3 EZ ............................ £149 12-200 F3.5/6.3 box ....................... £599 14-42 F3.5/5.6 II AR MSC .................£99 14-150 F4.5/5.6 MKII...................... £429 17 F1.2 ED Pro.................................. £799

17 F1.8 box ....................................... £299 25 F1.2 Pro M- box ......................... £997 40-150 F2.8 Pro ............................... £929 40-150 F4/5.6 ED ............................ £149 45 F1.8 silver..................................... £149 60 F2.8 macro box.......................... £349 75 F1.8 box ....................................... £499 SAMYANG 12 F2 Mint box MF ... £199 FL-900AR flash ................................. £379 FL-600AR flash ................................. £199 PAnAsonIC dIgItAl used GH2 body .......................................... £299 G7 body Silver Mint box .............. £299 G2 body ................................................£99 7-14 F4................................................ £599 14 F2.5 ................................................ £199 14-42 F3.5/5.6 .....................................£99 14-45 F4/5.6...................................... £149 25 F1.4 box ....................................... £379 45-200 F4.5/5.6................................ £199

100-300 F4/5.6 box ........................ £369 200 F2.8 box ...................................£1299 1.4x converter .................................. £299 PentAX dIgItAl used K5 body MKII .................................... £399 16-45 F4 ED DA box....................... £199 18-55 F3.5/5.6 AL ...............................£69 18-250 F3.5/6.3 DA ........................ £249 28-80 F3.5/5.6 silver FA ...................£69 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 DG-4 grip for K5 .................................£79 other PentAX AF used SIG 17-50 F2.8 DC HSM box........ £199 SIG 70-300 F4/5.6 DG macro ...... £139 SIG 150-500 F5/6.3 DG OS HSM £599 More on website WWW.MIFSUDS.COM

BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED BronICA 645 used ETRS + AEII prism + 75 PE + speed grip ..................................... £699 ETRSi body box ............................... £299 40 F4 E ................................................ £299 150 F3.5 E .......................................... £149 200 F4.5 PE........................................ £299 ETRSi 120 back RWC late ............. £119 ETRS 120 back early..........................£99 Polaroid back box..............................£29 Plain prism E box ............................ £169 AEII prism .......................................... £169 Motor winder ................................... £169 EI winder ...............................................£99

Speed grip E ........................................£99 Lenshoods various ............................£40 BronICA 6x6 used SQAi + 80 + WLF + 120 back ...... £997 SQAi body ......................................... £499 SQA body .......................................... £299 SQB body........................................... £299 40 F4 PS.............................................. £499 110 F4.5 PS macro .......................... £399 150 F4 PS ........................................... £299 2x converter PS ............................... £299 2x converter S .................................. £149 SQAi 120 back late ......................... £199 SQA 120 back early ........................ £149

Polaroid back ......................................£29 WLF ...................................................... £199 Lenshoods various ..................... £20/50 hAsselBlAd 6x6 used 500CM + 80 F2.8 + A12 ..............£1997 150 F4 CF ........................................... £699 150 F4 Blk T* box ............................ £499 45º prism unmetered late ........... £399 A12 black latest box ...................... £499 WLF chrome late............................. £299 Pola+ back box ...................................£79 Lenshood various ..............................£49 RCP80 projector + 150 F2.8 ......£1499 WWW.MIFSUDS.COM

mAmIyA 645 mF used Teleplus 2x converter .......................£39 120 insert..............................................£29 Ext tube each ......................................£29 mAmIyA 7 rF used 43 F4.5 L + V/F box ........................ £997 50 F4.5 + VF ...................................... £799 Viewfinder for 150 F4.5 ................ £199 mAmIyA rB used 55 F4.5 ................................................ £299 Ext tube 1 .............................................£59 Ext tube 2 .............................................£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 ........................................... £799 400 F5.6 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 REF converter angle finder box. £179 PentAX 6x7 used 45 F4 late ........................................... £599 55 F4 late ........................................... £499 55-100 F4.5 ....................................... £699 75 F4.5 ................................................ £399 90-180 F5.6 ....................................... £499 100 F4 + macro adapter............... £699 120 F3.5 soft focus ......................... £399 200 F4 late......................................... £399 300 F4 latest ..................................... £349 2x rear converter grey .................. £299 Wooden grip .................................... £199

35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED CAnon AF FIlm BodIes used EOS 5 body ..........................................£89 EOS 600 / 650 / 3000 body each..£39 EOS 300 / 50E / 500N body each .£39 EOS 1000/1000fn body each.........£39 CAnon Fd used A1 body.............................................. £169 AE1P black body ............................. £169 AE1P silver body ............................. £169 T90 body............................................ £199 T70 body...............................................£99 A1 World Cup 1982 body box.... £249 AV-1 body .............................................£99 50 F1.8............£69 50 F2...................£69 135 F3.5.................................................£69 2x extender B ......................................£49 FD bellows ........................................ £149 ContAX used CZ 180 F2.8 AE................................. £399

CZ 300 F4 AE .................................... £399 leICA used IIIg body box .................................... £997 lIghtmeters used Minolta Flashmeter IVF ................ £199 Sekonic L358 box ........................... £329 Sekonic Digilite F ............................ £149 mInoltA AF used 7Xi body................................................£69 Dynax 3 body......................................£29 500Si body ...........................................£29 505Si Super body ..............................£29 mInoltA md used X700 body ......................................... £199 X300s body black ..............................£99 X300 body blk/chrome ...................£99 28 F2.8 ...................................................£79 28-70 F3.5/4.8 .....................................£69 50 F1.7 ...................................................£79

50 F3.5 macro .................................. £149 70-210 F4 ..............................................£99 75-200 F4.5 ..........................................£99 100-300 F5.6 ..................................... £149 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 VC700 grip ...........................................£49 nIkon AF FIlm BodIes used F5 body box...................................... £699 F4s body ............................................ £499 F801 /F801s body each ...................£99 nIkon mF used Nikon F Photomic FTn Apollo chrome body.................................... £699 F3HP body......................................... £599 F3 body .............................................. £499

CF22 case for F3 .................................£39 CF20 case for F3 .................................£39 F2a body black ................................ £599 F2 Photomic + DP-1 chrome ...... £599 FM2n body Blk or Chrome each £599 DW-4 finder for F3.............................£89 F301 body ............................................£69 15 F3.5 AIS......................................... £899 24 F2.8 AI ........................................... £299 28 F3.5 AI ........................................... £169 28 F4 shift .......................................... £499 28-85 F3.5/4.5 AIS........................... £299 35-70 F3.5 AIS .....................................£99 35-105 F3.5/4.5 AIS ........................ £149 50 F1.4 AIS box ................................ £299 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 ...................................... £349 85 F2 AIS box ................................... £299 100-300 F5.6 AIS ............................. £149 105 F2.5 AI ........................................ £299 105 F4 AI macro .............................. £199 135 F2.8 AI ........................................ £199 300 F4.5 ED AIS ............................... £299 TC14B conv ..........................................£99 TC300 conv ....................................... £149 SAMYANG 85 F1.4 Mint box MF £249 DG-2 Eyepiece magnifier ................£59 DR-4 Angle finder box .................. £129 SB-8A flash ...........................................£69 olymPus om used OM-2N body chrome .................... £299 OM-2 body chrome box............... £299 OM-1N body chrome .................... £299 OM-10 chrome body ........................£79

28-48 F4 ............................................. £129 35-70 F4 ................................................£99 50 F1.8 ...................................................£99 135 F3.5.................................................£99 200 F4 ................................................. £129 7/14/25 ext tube each .....................£20 14/25 auto ext tube each ...............£29 Converter 2x A....................................£99 PentAX AF used SFXN body ...........................................£39 PentAX mF used 17 F4 PK ............................................. £399 50 F1.4 PK .......................................... £149 50 F1.7 PK .............................................£69 50 F2 PK ................................................£49 80-200 F4.5 PK ....................................£69 300 F4 PK box .................................. £399 400 F5.6 PK .............................. £399/499 Bellows M + slide copier .............. £199

Item you requIre not lIsted? emAIl detAIls oF whAt you Are lookIng For And we wIll emAIl you when we CAn helP. CorreCt 01/10/2021. 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.

XXX_AP_2021-10-16_Misfuds Photographic Ltd_DPS.indd 3

05/10/2021 11:52

York Road, BURGESS HILL, West Sussex RH15 9TT 53-54 Rathbone Place, LONDON, W1T 1JR

Experts in photography

Unbeatable stock availability

Competitive low pricing

UK stock N

! ck! o EWst N w in

! EW

3.2”

30 fps

24.1

MEGA PIXELS

20.9

MEGA PIXELS

11 fps

3.0”

A camera that lets you photograph sport, wildlife and news in ways you never thought were possible. Stay ahead of the competition, shooting at 30fps and identifying subjects just by looking at them. Welcome to the future of photography.

The Z fc is where classic Nikon camera design meets innovative Z series technology for superb image quality and pure, unadulterated style. Wherever you shoot, whatever you shoot - from stills to movies to vlogs. Propel your creativity into the future with the lightweight DX-format mirrorless camera that puts iconic in your hands.

Body only £5,879.00

Z fc + 28-70mm £1,039.00 Z fc + 28mm f/2.8 SE £1,129.00

SAVE 5% off selected Canon RF 1/2 PRICE CF EXPRESS MEMORY CARD! See parkcameras.com for full details. lenses when bought with the EOS R3

Canon EOS RP

Canon EOS R6

26.2

20.1

MEGA PIXELS

5 FPS

Body only +24-105mm

£1,049.00 £1,329.00 Add a Canon LP-E17 spare battery for only £44.99

RF 100mm

f/2.8 L Macro IS USM

Body

Canon EOS R5 45

MEGA PIXELS

only Spread the cost with our finance .00 options!

£2,399

Save 5% off selected Canon RF lenses with the EOS R6.

RF 14-35mm

Body

α1 Logo

Save 5% off selected Canon RF lenses with the EOS R5.

£1,479

.00

See website for latest availability.

Visit our website to watch our first look video!

Our Price

£1,749

.00

£699

.00

NOW IN STOCK! See website to learn more

Expected October 2021!

Visit our website to watch our hands-on first-look video!

Take your printing to a brand new level with this beautifully compact professional A3+ printer, rewarding you with rich, vibrant and exquisite gallery quality prints every time.

Our price £699.00

Find out more at parkcameras.com

EW N

MEGA PIXELS

51.4

3.2”

Photography is a practice of pursuing perfection, a continual balance between searching for quality and having total control that allows for the perfect image to exists between the moments that are seen and unseen. Hold space for those moments with GFX50S II and explore a new world of creative possibilities. Pre-order / purchase and claim a FREE BC-W235 Dual Battery charger worth £59

GF 35-70mm

XF 23mm

f/4L IS USM

Nikon Z7 II

20.9

45.7

Body only

£809.00

Nikon Z 40mm f/2

MEGA PIXELS 10 FPS

+16-50mm

NEW!

Body only

£849.00

£2,959.00

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Our Price

See website for latest availability.

£249.00

Add the Nikon MB-D11 battery grip for only £359

EXPECTED OCTOBER! See website to learn more

f/5.6-8 IS USM

Canon imagePROGRAF PRO-300

Body only £3,499.00

Nikon Z50

RF 100-400mm

f/4L IS USM

NEW!

Our Price

SPREAD THE COST WITH OUR FINANCE OPTIONS See parkcameras.com for full details.

MEGA PIXELS 11 FPS

only Spread the cost with our finance .00 options!

£4,299

UK’s largest independe

30 fps

3.0”

Sony continues to challenge the limits of conventional imaging tools with the new Alpha 1 offering new dimensions of imaging performance as well as efficient workflow, giving you new creative freedom.

Body only £6,499.00

2 YEAR WARRANTY AVAILABLE See parkcameras.com for full details.

Watch our hands-on first look video at youtu.be/GEfJGFQrcwE

Sony a7 III

Sony a7R IVA

24.2

61.0

Sony FE 14mm f/1.8 GM

MEGA PIXELS 10 FPS

Body only + 28-70mm

£1,699.00 £1,899.00 Add a Sony NP-FZ100 battery for only £65.00

LUMIX S5

Body only

£3,199.00

MEGA PIXELS

I.S

NEW!

Body only £1,399.00*

*Price after £300 cashback. You pay £1,699 & claim £300 from Panasonic.

LUMIX S 50mm

LUMIX S 85mm

f/1.8

f/1.8 NEW!

Visit our website to watch our video review!

3.0”

The new LUMIX S5 offers Full frame 4K 4:2:2 10-bit internal recording at 30p and 4:2:0 at 60p to give you all the flexibility you need with your video shooting projects.

LUMIX S 24mm

f/1.4 R LM WR

£1,399.00

Add the Sony VG-C4EM battery grip for £399.00

24.2

Moving Images Forward

In stock at

24 months 0% finance available!

Free Sigma MC-21 EF to L mount adapter worth £249!

XF 33mm

f/1.4 R LM WR NEW!

LIMITED STOCK AVAILABLE! See website for details.

50.1

MEGA PIXELS

f/1.8

NEW!

Our Price

EXPECTED LATE OCTOBER! See website to learn more

NOW IN STOCK! See website to learn more

EXPECTED MID OCTOBER! See website to learn more

Visit our website to watch our video review!

£849.00

£819.00

£699.00

All prices include VAT @ 20%. All products are UK stock. E&OE. Please mention “Amateur Photographer” when ordering items from this advert. Prices correct at time of going to press; Prices subject to change; check website for latest prices.

XXX_AP_2021-10-16_Park Cameras Ltd_DPS.indd 2

£799.00

£429.00

£599.00

Keep up-to-date with all the latest new products and news with Park Cameras!

05/10/2021 11:57

cing

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parkcameras.com

01444 23 70 60

or e-mail us for sales advice using sales@parkcameras.com

UK stock

UK’s largest independent photo store

Award winning customer service

Tamron 18-300mm

NEW!

f/3.5-6.3 Di III-A VC VXD

The first APS-C mirrorless camera zoom lens in the world with a 16.6x zoom ratio, this lens delivers the benefits of a versatile all-in-one zoom lens ideal for an extensive array of photographic scenarios.

Scan here to watch!

Coming Soon! £679.00

Family owned & Run

MEGA PIXELS

We’ve managed to get hands-on with the NEW Canon RF 100-400mm! Watch now at youtu.be/9z4faS-BZBY

3.1”

10 fps

The new SIGMA fp L is equipped with a full-frame Bayer sensor with approximately 61 megapixels, making it one of the highest resolution full-frame bodies ever built.

Sigma 150-600mm

This lens enables users to enjoy casual shooting with steady performance and high image quality in the ultratelephoto realm where conventional wisdom once dictated a tripod.

Powerful ultra-telephoto zoom Sports line lens for mirrorless systems. This portable and practical optic revolutionises the way mirrorless users capture wildlife, motorsport and other fast action subjects.

f/5-6.7 Di III VC VXD

f/2.8 Di III RXD

In stock!

£849.00

Available in Sony FE Mount

Add a Hoya 67mm NX-10 UV filter for only £28.95

Manfrotto 290 Aluminium 3-Section Tripod + 804 Head MK290DUA3-3W

Sony E-Mount £1,379.00 NOW IN STOCK!

f/2.8 Di III RXD

In stock!

Available in Sony FE Mount

Add a Hoya 67mm NX-10 UV filter for only £28.95

Tamron 100-400mm f/4.5-6.3 Di VC USD

In stock!

£699.00

Available in Canon or Nikon fits.

Add a Hoya 67mm UV(C) Digital HMC filter for £19.95

Samyang AF 12mm f/2 - Sony E Mount

Our Price

£360.00

Spread the cost with finance options.

See website to learn more about this lens.

Manfrotto 220 Pro Kit

Manfrotto Pro Light Reloader Spin-55

Gitzo Systematic Kit - Series 3

MVG220FF

MB PL-RL-S55

GK3533LS-83LR

Roller Bag

Gimbal

Our Price

See website for even more aluminium tripods!

SAVE 15% on a Manfrotto Gimboom with this Gimbal!

See in store or online for even more Roller Bags!

£169.00

NEW!

f/5-6.3 DG DN OS | Sport

Tamron 28-75mm

£699.00

NOW IN STOCK! See website to learn more.

Available for Fujifilm X Mount!

Tamron 150-500mm

Tamron 17-28mm

Body Only £1,999.00

£389.00

£289.00

3-section Carbon Fibre Tripod

See website Our Price Our Price

for even more

.00 .00 Tripods! £198 £1,219

Kit includes GH4383LR Visit us in store to try this Center Series 4 tripodBall outHead for yourself!

Coming Soon! £1,199.00

Available for L Mount or Sony E Mount!!

Samyang 14mm

f/2.8 Mk II - Sony E Mount

Our Price

£399.00

Samyang 85mm f/1.4 Mk II

From

Spread the cost with finance options.

See website to learn more about this lens.

Gitzo GH4383LR Series 4 Ball Head (Lever version)

£359.00

Available in Canon EF, Nikon F & Sony E mount

Gitzo Series 4 Long 5-section Carbon Fibre Monopod

See website Our Price Our Price

for even more

.00 .00Tripods! £198£459

NEWusand now to in try stock! Visit in store this See website more tripod out to forlearn yourself!

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for even more

.00 .00Tripods! £198£349

For more Visit us inGitzo storemonopods, to try this seetripod website visit in store! outor for yourself!

Epson SureColor SC-P700 This professional-level, compact A3+ printer produces sharper detail and smoother gradations using the deepest blacks and superb blue tones.

Find out more at parkcameras.com Lowepro Photo Active BP 300 AW

Lowepro Flipside BP 400AW III

£149.00

Available in Blue or Black designs

Everyday photo backpack with All Weather AW Cover™

USED Canon EOS-1D X Body Available from

£859.00

Our Price

£169.00

Available in Dark Grey or Black designs

Rugged outdoor backpack with enhanced protection

USED Nikon Z7 Body

With the DJI OM 5 you get a versatile Smartphone Gimbal for flawless selfies, ultra-smooth video, automatic tracking and much more which unlocks the full potential of Coming your mobile. NEW!

soon! £139.00

USED Fujifilm GFX 50R Body

Available from

£1,599.00

Available from

£2,559.00

Now in stock from £509.00

Wacom One

OM 5

Smartphone gimbal

Backpack

Our Price

BACK IN STOCK! at £679.00

This stabilizer with quick responsiveness, a new touch screen and advanced operation logic strives to create a better experience for users in filmmaking with its classic structure, powerful Infineon chip, upgraded algorithm and new image transmission experience.

Creative Pen Display Feels like pen and paper. Works like magic. You can draw, edit photos and videos, or brainstorm in a way that’s so familiar, you’ll forget you’re doing it digitally.

USED Olympus E-M1 Mark II Body

USED Sony a6000 Body

Available from

£669.00

All our used cameras are thoroughly checked and processed through our Quality Assurance procedures to ensure they are in the absolute best condition and come with a full 6 MONTHS UK WARRANTY.

Available from

£269.00

Our price £359.00

For even more pre-owned Cameras, lenses & accessories, see in store or visit parkcameras.com

TRADE-IN OR SELL YOUR KIT WITH PARK CAMERAS FAIR HONEST QUOTES: provided within 24 hours FREE COLLECTION SERVICE: See website to learn more TRADE-IN BONUSES: available on a wide range of products

FREE HOME COLLECTION AVAILABLE* *For equipment valued over £300

Be FIRST to learn about all the latest new products for 2021 by signing up to our newsletter, following us on Facebook or Twitter, or by visiting www.parkcameras.com. XXX_AP_2021-10-16_Park Cameras Ltd_DPS.indd 3

05/10/2021 11:58

AP_2021-10-09_Camera World Ltd_DPS.indd 1

24/09/2021 14:16

AP_2021-10-09_Camera World Ltd_DPS.indd 2

24/09/2021 14:16

01954 252352

Digital Photography

LEICA 135mm f4.5 HEKTOR ...............................................................................EXC+ £75.00

ROLLEIFLEX SCHNEIDER 150MM F4.6 MAKRO FOR 6008..............................MINT- £575.00

Nikon Manual Focus

LEICA 90mm FINDER .........................................................................................MINT £99.00

YASHICA 124G TELEPHOTO AUX LENS SET......................................................MINT- £69.00

CANON EOS 7D BODY COMPLETE LOW ACC 1875 ............................ MINT BOXED- £375.00

VOIGTLANDER BESSA T WINDER.........................................................MINT BOXED £149.00

CANON EOS 40D COMPLETE WITH ALL ACCESSORIES .....................MINT-BOXED- £125.00

LEICA 5cm f2 SUMMAR SCREW .....................................................................MINT- £175.00

Nikon Auto-Focus & Digital, Lenses Accessories

NIKON 24mm F2.8 AIS SUPERB SHARP LENS ..............................................MINT-- £199.00

FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE .................. MINT BOXED- £295.00

LEICA 90mm f4 ELMAR BLACK SCREW .......................................................EXC++ £145.00

NIKON F5 BODY ...............................................................................................MINT- £465.00

LEICA 135mm f2.8 ELMARIT M WITH SPECS.............................................ECX+++ £299.00

NIKON F100 PRO BODY WITH MB15 GRIP ......................................................MINT- £275.00

NIKON 45mm F2.8 GN NIKKOR .......................................................................MINT- £199.00

FUJI TCL-X100 TELECONVERTER FOR X100/100S etc ...................... MINT BOXED- £195.00 NIKON D7500 BODY KIT ONLY 297 ACTUATTIONS ............................ MINT BOXED- £699.00

LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT.............................................EXC++ £99.00

NIKON 10.5 f2.8 “G” IF-ED AF DX FISHEYE.........................................MINT BOXED £325.00

NIKON MB-D18 BATTERY GRIP for D850 + BL5 COVER ................... MINT BOXED- £295.00

LEICA 135mmf4.5 HEKTOR IN KEEPER.......................................................EXC+++ £199.00

NIKON 28mm f2.8 A/F “D” ................................................................ MINT BOXED- £225.00

NIKON D4S BODY WITH BATT AND CHARGER.............................................MINT- £1,495.00

LEICA 135mm f4.5 HEKTOR + HOOD SCREW .................................................EXC++ £99.00

NIKON 35mm f2 A/F “D” ................................................................... MINT BOXED- £245.00

NIKON D3000 WITH BATT AND CHARGER ......................................................MINT- £125.00

LEICA SF20 FLASH FOR M6 etc .............................................................MINT BOXED £89.00

NIKON 50mm f1.4 A/F “D” ................................................................ MINT BOXED- £195.00

NIKON D200 BODY WITH BATTERY,CHARGER+MB-D200 ..............................MINT- £225.00

LEICA 14472 GRIP FOR M8/M9 etc .....................................................MINT BOXED £125.00

NIKON 50mm f1.4 “G” AFS................................................................ MINT BOXED- £265.00

NIKON SB900 SPEEDLITE................................................................... MINT BOXED- £145.00

LEICA FONOR BLACK RANGEFINDER ...................................................MINT-CASED £175.00

NIKON 50mm f1.4 “G” AFS................................................................ MINT BOXED- £215.00

NIKON 35 - 70mm F3.3/4.5 ZOOM NIKKOR MACRO AIS .............. MINT- £169.00

NIKON SC28 TTL REMOTE CORD ......................................................... MINT BOXED- £65.00

LEICA R7 CHROME BODY ................................................................................MINT- £365.00

NIKON 50mm f1.8 A/F “D” ...............................................................................MINT- £89.00

NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO .........................EXC++ £119.00

NIKON ML-3 REMOTE CONTROL SET ................................................. MINT BOXED- £145.00

LEICAFLEX BODY CHROME .............................................................................MINT- £195.00

Nikon 60MM F2.8 a/f D macro lens .................................................. MINT BOXED- £295.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP ..................................... MINT- £145.00

NEEWER SPEEDLITE 750 MK II FOR NIKON ......................................... MINT BOXED- £55.00

LEICA CURTAGON 35mm f4 ................................................................ MINT-BOXED £395.00

NIKON 85mm f1.8 A/F D ...............................................................................EXC++ £215.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP .........................MINT BOXED- £165.00

OLYMPUS 45mm f1.8 M ZUIKO DIGITAL M 4/3rds + HOOD ............. MINT BOXED- £225.00

LEICA 28 - 70mm f3.5/4.5 VARIO ELMAR R ROM ..........................................MINT- £475.00

NIKON 300mm f4E PF ED VR AF-S LENS LATEST .......................... MINT BOXED- £1,195.00

NIKON MD4 MOTOR DRIVE FOR F3/F3HP ................................... EXC+++ £99.00

PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS..................... MINT BOXED- £145.00

LEICA 50mm f2 SUMMICRON 2 CAM .........................................................EXC+++ £299.00

NIKON 10 - 24 mm f3.5/4.5 “G” ED DX AF-S.................................................MINT- £399.00

NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3 ............ MINT- £145.00

SIGMA 30mm F2.8 DN MICRO 4/3RDS .............................................. MINT BOXED- £115.00

LEICA 90mm f2.8 ELMARIT 2 CAM.................................................................MINT- £299.00

NIKON 12 - 24mm f4 “G” DX IF-ED AF-S.......................................... MINT BOXED- £395.00

NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2................MINT-CASED- £115.00

METZ 44A/F1 FLASH UNIT FOR SONY DLSR........................................ MINT BOXED- £75.00

LEICA 560mm f6.8 TELYT LENS WITH CASE AND ......................................EXC+++ £399.00

NIKON 12 - 24mm f4 “G” DX IF-ED AF-S..........................................MINT-CASED- £365.00

NIKON SB 16 FLASH FOR F3 ..........................................................EXC++ £65.00

Canon Autofocus, Digital Lenses, Canon FD CANON 50mm f1.8 MK II...................................................................................MINT- £65.00 CANON 85mm f1.2 USM “L” MK II LATEST MODEL....................... MINT BOXED- £1,045.00 CANON 100mm f2.8 MACRO USM IMAGE STABILIZER ..................... MINT BOXED- £699.00

Binoculars SWAROVSKI 10x40 SL HABICHT+STRAP AND COVERS .................................MINT- £465.00

Medium & Large Format

NIKON 16 - 35mm f4 “G” AF-S ED VR LATEST VERSION ................. MINT BOXED- £675.00 NIKON 24 - 85mm f2.8/4 A/F “D” WITH HOOD ..............................................MINT- £225.00 NIKON 16 - 80mm f2.8-4EAF-S VR ED DX + HOOD .......................... MINT CASED- £545.00 NIKON 16 - 85mm f3.5/5.6 G ED AF-S VR.........................................MINT-BOXED- £199.00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL .................. MINT CASED- £499.00

CANON 300mm f4 USM IMAGE STABILIZER LENS ............................ MINT BOXED- £695.00

BRONICA ETRS COMPLETE, BODY,75mm LENS, WLF ....................................MINT- £395.00

NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL .................. MINT BOXED- £595.00

CANON EF-S 10 - 22mm f3.5/4.5 USM.............................................. MINT CASED- £245.00

BRONICA ETRS 40mm LENS PRISM FIDER & SP GRIP ..................................MINT- £465.00

NIKON 35 - 70mm f3.3/4.5 A/F LENS .............................................................EXC++ £49.00

CANON 24 - 105mm f4 “L” USM IMAGE STABILIZER....................... MINT CASED- £395.00

BRONICA ETRS 150mm LENS AEII FDR ,& SPEED GRIP ................................MINT- £499.00

CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER....................... MINT CASED- £599.00

BRONICA ETRSi 120 BACK................................................................................MINT- £95.00

NIKON 70-200mm f2.8E AF-S FL ED VR LATEST ........................... MINT BOXED- £1,399.00

CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER....................... MINT BOXED- £645.00

HASSELBLA X PAN LEATHER EVER READY CASE ..........................................MINT- £195.00

CANON 10 - 22mm f3.5/4.5 USM..................................................................EXC++ £295.00

HASSELBLAD 28mm f4 HC FOR H SYSTEM.................................... MINT BOXED- £1,075.00

CANON 17 - 55mm f2.8 EFS IS USM WITH HOOD ..........................................MINT- £445.00

HASSELBLAD 120mm f4 MACRO HC FOR H SYSTEM ...............................EXC++ £1,095.00

CANON 18 - 55mm f3.3/5.6 STM VIBRATION REDUCTION.............................MINT- £149.00

HASSELBLAD 150mm f4 SONNAR T* BLACK ...............................................EXC++ £195.00

CANON 28 - 135mm f3.5/5.6 USM IMAGE STAB..............................MINT + HOOD- £165.00

HASSELBLAD 150mm f4 SONNAR CF................................................MINT-BOXED- £395.00

CANON 70 - 300mm f4.5/5.6 USM IMAGE STABILIZER .................................MINT- £269.00

HASSELBLAD 150mm f4 SONNAR SILVER ...................................................EXC++ £175.00

KENCO DG CANON FIT TUBE SET 12,20,36MM.................................... MINT BOXED- £99.00

HASSELBLAD 250mm f5.6 SONNAR SILVER ...................................................EXC+ £179.00

CANON 580EX MK II SPEEDLITE ........................................................MINT-CASED- £169.00

HASSELBLAD HTS 1.5X TILT AND SHIFT ADAPTOR ....................... MINT BOXED- £1,995.00

CANON 580 EX SPEEDLITE..................................................................EXC++CASED- £99.00

HASSELBLAD GIL GPS UNIT FOR H SYSTEM ..................................... MINT BOXED- £399.00

CANON 580 EX SPEEDLITE.................................................................MINT-CASED- £149.00

HASSELBLAD PM90 PRISM FINDER ...............................................................MINT- £275.00

CANON 550 EX SPEEDLITE...................................................................MINT-BOXED- £89.00

HASSELBLAD PME3 METERED PRISM FINDER ..............................................MINT- £275.00

CANON 550 EX SPEEDLITE..................................................................EXC++CASED- £65.00

HASSELBLAD VFC-6 METERED PRISM .............................................. MINT BOXED- £175.00

KENCO DG CANON FIT TUBE SET 12,20,36MM.................................................MINT- £99.00

HASSELBLAD A12 BACK CHROME..................................................................MINT- £129.00

KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER ....................... MINT CASED- £99.00

BRONICA AUTO EXTENTION TUBE E-14 ............................................... MINT BOXED- £45.00

CANON EF 1.4x EXTENDER ................................................................ MINT BOXED- £215.00

BRONICA POLAROID BACK FOR ETRSI, ETRS ETC .............................. MINT BOXED- £59.00

SIGMA EX 1.4 TELECONVERTER .......................................................................MINT- £75.00

BRONICA PLAIN PRISM FOR ETRS/ETRSI.........................................................MINT- £75.00

SIGMA 14mm f2.8 EX HSM ASPHERIC .............................................. MINT CASED- £365.00

BRONICA PLAIN PRISM FOR ETRS/ETRSI.......................................................EXC++ £59.00

TAMRON 70 - 300mm f4/5.6 SP Di VC ULTRASONIC .........................MINT+HOOD- £225.00

BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC................................MINT- £75.00

TOKINA 12 - 24mm F4 IF DX ASPH AT-X PRO + HOOD .................... MINT BOXED- £299.00

BRONICA MOTOR WINDER E .........................................................................EXC+++ £89.00

Contax ‘G’ Compacts & SLR & Ricoh

BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi..............................................MINT- £179.00 BRONICA 50mm f2.8 PE FOR ETRS/ETRSi......................................................MINT- £199.00

CONTAX TLA 140 FLASH FOR G1/G2 .....................................................MINT CASED £65.00

BRONICA SPEED GRIP FOR ETRSW/ETRSi........................................................MINT- £49.00

YASHICA ML CONTAX FIT 28mm f2.8 ...............................................................MINT £99.00

BRONICA 150mm F3.5 ZENZANON S ..............................................................MINT- £165.00

CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS ...................MINT BOXED £275.00

BRONICA PLAIN PRISM FOR SQAi/SQA ............................................................MINT- £99.00

CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS ...............................MINT £255.00

BRONICA 65mm F4 ZENZANON PS FOR SQ.......................................MINT-CASED- £145.00

CONTAX 50mm f1.7 AE LENS ............................................................................MINT £95.00

BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ .......................MINT-CASED- £365.00

CONTAX 135mm f2.8 SONNAR WITH FILTER ..................................................MINT £175.00

BRONICA 150mm F4 PS ZENZANON FOR SQ.....................................MINT-CASED- £145.00

YASHICA 135mm f2.8 CONTAX FIT...................................................................MINT- £95.00

BRONICA 180mm f4.5 PS LENS & CASE ...........................................MINT-BOXED- £199.00

YASHICA 200mm f4 CONTAX FIT......................................................................MINT- £90.00

BRONICA SPEED GRIP FOR SQA/SQAI ..............................................................MINT- £69.00

CONTAX MAGNIFIER F2 .........................................................................MINT BOXED £49.00

BRONICA FILMBACK SQ-i220 FOR SQA/SQAi...................................... MINT BOXED- £79.00

CONTAX TLA 30 WITH DIFFUSSER.........................................................MINT CASED £69.00

BRONICA SPORTS/ACTION FINDER VINTAGE ...................................................MINT- £79.00

CONTAX TLA 280 FLASH ...................................................................................MINT- £59.00

METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA .......................... MINT BOXED- £150.00

CONTAX TLA 280 FLASH UNIT ...............................................................MINT BOXED £75.00

MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ..............................MINT- £365.00

CONTAX TLA 360 FLASH ........................................................................MINT-CASED £65.00

MAMIYA M645J COMPLETE WITH 80mm f2.8 ...............................................MINT- £299.00

CONTAX GD1 DATABACK FOR CONTAX T3........................................... MINT-BOXED £69.00

MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC....................................MINT-CASED- £365.00

LEICA “M” , “R” , & SCREW & RANGEFINDER

MAMIYA 80mm f1.9 SEKOR C FOR 645 etc ...................................................MINT- £299.00

LEICA M2 CHROME BODY (REALLY NICE) ...................................................MINT- £1,175.00

MAMIYA 150mm F4.5 “G” WITH HOOD FOR MAMIYA 6 ................................MINT- £295.00

MAMIYA 150mm f3.5 SEKOR C FOR 645 SUPER etc .....................................MINT- £145.00

LEICA MR METER ................................................................................ MINT-BOXED £175.00

MAMIYA 180mm F4.5 SEKOR Z W FOR RZ.....................................................MINT- £199.00

LEICA 50mm f2 SUMMICRON RIGID SER No 15933XX ..................................MINT- £975.00

MAMIYA 250mm F4.5 LENS FOR RZ ..............................................................MINT- £195.00

LEICA 90mm f2.8 TELE ELMAR + HOOD ........................................................MINT- £395.00

MAMIYA 210mm F4 SEKOR C FOR 645 ............................................. MINT CASED- £195.00

LEICA 5cm f3.5 COLLAPSIBLE ELMAR ...........................................................MINT- £225.00

MAMIYA 180mm F4.5 SEKOR FOR RB............................................................MINT- £169.00

LEICA 90mm f2 SUMMICRON PRE ASP SER No35234XX ..............................MINT- £945.00

MAMIYA 220 BACK FOR RZ 67 .........................................................................MINT- £95.00

LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M..........................................MINT- £275.00

PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ...........................MINT- £199.00

LEICA 90mm f4 ELMAR M MOUNT .................................................................MINT- £165.00

PENTAX 55mm F4 SMC FOR 6X7 ...................................................................MINT- £175.00

LEICA 135mm f2.8 ELMARIT M 11829 WITH CASE.............................MINT BOXED £375.00

PENTAX 55mm F2.8 FOR PENTAX 645 .............................................. MINT BOXED- £199.00

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NIKON AF-S TELECONVERTER TC-14E III .......................................................MINT- £395.00 SIGMA 1.4x TC-1401 TELECONVERTER ............................................. MINT CASED- £189.00 NIKON DR-6 RIGHT ANGLED FINDER ................................................. MINT BOXED- £145.00 NIKON TC-17E II TELECONVERTER .................................................... MINT BOXED- £175.00 NIKON TC20E II 2X AF-S TELECONVERTER .......................................MINT-BOXED- £175.00 NIKON DR4 RIGHT ANGLE FINDER ....................................................... MINT BOXED- £89.00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS .........................................MINT- £75.00 SIGMA 300 - 800mm f5.6 EX APO HSM ........................................EXC++CASED- £2,499.00 SIGMA 300 - 800mm f5.6 EX DG APO HSM ...................................MINT-CASED- £2,999.00 TOKINA 11 - 16mm f 2.8 AT-X PRO DX WITH HOOD...........................MINT-HOOD- £245.00

NIKON 28mm f2.8 AI .......................................................................................MINT- £165.00 NIKON 50mm f1.2 AIS ................................................................... MINT- £395.00 NIKON 50mm f1.4 Ai ..................................................................... MINT- £195.00 NIKON 50mm f1.8 AIS SHARP LENS ............................................... MINT- £89.00 NIKON 50mm f1.8 AI LENS ............................................................. MINT- £85.00 NIKON 135mm f2.8 AI LENS SHORT TELEPHOTO ......................... MINT- £175.00 NIKON 500mm f8 MIRROR LENS UNMARLED SUPERB ................ MINT- £295.00

Olympus Manual OLYMPUS OM4 BLACK BODY........................................................................EXC++ £225.00 OLYMPUS OM2 SP.........................................................................................EXC++ £129.00 OLYMPUS 28mm f2.8 ZUIKO .............................................................................MINT- £75.00 OLYMPUS 38mm f2.8 ZUIKO MACRO LENS .......................................MINT-CASED- £299.00 OLYMPUS 50mm f1.8 ZUIKO LENS ...................................................................MINT- £55.00 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 FOR MACRO, FLASH PHONE PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION PHONE

TOKINA 35mm f2.8 ATX PRO DX MACRO 1:1 LATEST ...................... MINT BOXED- £245.00

Pentax Cameras and Lenses

NIKON F3 BODY ................................................................................................EXC+ £245.00

PENTAX LX BODY WITH PENTAX 50mm f1.7 LENS........................................MINT- £399.00

NIKON FM BODY..............................................................................................MINT- £165.00 NIKON FM2n BLACK BODY............................................................................EXC++ £325.00

PENTAX 20mm f4 M SMC & FILTER ................................................EXC++ CASED- £275.00 PENTAX 24mm f2.8 A SMC & FILTER ................................................MINT-CASED- £175.00

NIKON FM2n CHROME BODY ......................................................................EXC+++ £245.00

PENTAX 28mm f2.8 A SMC & FILTER ..................................................MINT-CASED- £75.00

NIKON FM2 CHROME BODY ..........................................................................EXC++ £199.00

PENTAX 35mm f2 M SMC & FILTER ..................................................MINT-CASED- £119.00

NIKON FE CHROME BODY..............................................................................EXC++ £125.00

PENTAX 40mm f2.8 M SMC PANCAKE LENS & FILTER.....................MINT-CASED- £105.00

NIKON FE CHROME BODY................................................................................MINT- £145.00

PENTAX 50mm f1.7 A SMC & FILTER ..................................................MINT-CASED- £39.00

NIKON FM BLACK WITH MF-16 BACK ........................................................EXC+++ £169.00

PENTAX 50mm f1.4 M SMC .................................................................MINT-CASED- £95.00

NIKON FM BLACK ..........................................................................................EXC++ £145.00

PENTAX 85mm f2 M SMC & FILTER ..................................................MINT-CASED- £185.00

NIKON FE2 BLACK BODY................................................................. EXC++ BOXED- £225.00

PENTAX 100mm f4 A SMC MACRO & FILTER ...................................MINT-CASED- £139.00

NIKON F2 A BLACK BODY ...........................................................................EXC+++ £245.00

PENTAX 135mm f3.5 M SMC & FILTER ...............................................MINT-CASED- £75.00

NIKON F2 A BODY FULLY WORKING ................................................................EXC+ £199.00 NIKON F2 BODY FULLY WORKING....................................................................EXC+ £169.00 NIKON F2 PHOTOMIC BODY CHROME ...........................................................EXC++ £275.00 NIKON F2 PHOTOMIC BODY CHROME ..............................................................EXC+ £199.00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS .....................................EXC++ £250.00 NIKKORMAT FT CHROME WITH 35mm f2.8 S LENS ........................EXC++ CASED- £145.00 NIKKORMAT FT CHROME ..............................................................................EXC+++ £75.00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ................................EXC++ CASED £165.00

PENTAX 200mm f4 A SMC MACRO ED GREEN RING RARE...............MINT-CASED- £995.00 PENTAX 200mm f4 A SMC & FFILTER .................................................MINT-CASED- £89.00 PENTAX 300mm f4 A SMC ED GREEN STAR & FILTER .....................MINT-CASED- £375.00 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 PENTAX FB-1 / FC-1 / FD-1 FINDER SYSTEM ...................................MINT-BOXED- £225.00

We urgently require your used photographic equipment. We have customers waiting for: Nikon, Canon, Leica, Contax, Bronica, Hasselblad and most other makes of camera lenses, accessories, binoculars and collectables. We will buy for cash from you, or we are happy to sell on your behalf on a commission basis. Best prices paid. We can arrange collection and even call and collect and pay on the spot if necessary anywhere in the UK.

14/09/2021 16:24

Equipment to sell? Great news! The global market for quality digital and ﬁlm cameras, lenses and accessories is stronger than ever! With our worldwide network of customers we’re paying the highest prices for Nikon, Canon, Leica, Fuji, Contax, Olympus, Panasonic, Sony, Zeiss, Voigtlander, Konica, Minolta, Sigma, Tamron, Tokina, Hasselblad, Pentax, Bronica, Mamiya and other top-quality brands.

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17/09/2021 10:28 05/10/2021 15:55

Photo Critique

Final Analysis Paul Hill considers…

The Great Dorset Steam Fair c. 2016, by Chris Hilton

uring my long photographic career, I have often met amateurs who have had fascinating lives and interesting things to say, but most often this is rarely reflected in the photographs they make. Many will be members of camera clubs where the programme is dominated by competitions and the largely fictitious ‘rule book’ beloved of judges, mostly men who usually have no professional experience. These arbiters can talk the talk, but rarely can they walk the walk. Many members of clubs I have spoken to over the years hate them, but sadly the status quo mostly remains intact. But there are some mavericks, who rather than carping from the perimeter fence, get stuck into changing such myopic conservatism. One such maverick is Chris Hilton, who is based in Bridport, famed for being the place where the popular TV series Broadchurch was made. ‘We wanted to get away from that image of a camera club as being a bunch of grey-haired old men in a grey room looking at the same old pictures,’ he told me. ‘I stepped forward to take the position of Chair and together with a mostly new committee we took the club on a bit of a journey.’ They haven’t completely thrown the baby out with the bath water, but they now organise workshops, group projects, and field trips away from Dorset, and have noticeably increased their membership. The gender balance is now 50:50 – and some members are

teenagers! Demonstrating its inclusivity, the club’s motto is: ‘The “best” camera is the one that is to hand when you want to make a picture’. Chris’s own photography matches his personality – humorous and quirky – which means his images have no noticeable reference to the Rule of Thirds. But then he has an adventurous bent, and seeks to reflect this in his images, unconcerned with what a judge might say. Not surprising as he did a Bauhaus-style foundation course at the London College of Furniture before dropping out to become a footloose busker. He used this talent to help fund his travels ending up (he doesn’t quite remember how) in America, getting married and looking after swimming pools in California. That didn’t work

‘Chris’s own photography matches his personality – humorous and quirky’ out so back to Blighty where he fell into civil engineering, leaving his art education and busking well behind. ‘I eventually ended up running a landfill site, picking through the rubbish and selling it on. I then went back to swimming pools in the States, but my marriage broke down and I came back again – alone.’ But he had fallen in love with photography during his travels. He drifted into antiques, pipe fitting, 14-hour shifts on a jack hammer. Long hours, damned hard work and little ‘me’ time. ‘So, I gave it all up, borrowed a ladder, knocked on some doors and became a window cleaner.’

His new partner, Jen liked his photographs and encouraged him to join Bridport Camera Club. Although filled with trepidation, he did and got a warm welcome and an audience for his engaging pictures taken from around the world. He and Jen still travel a lot and he has even managed to produce a wonderfully idiosyncratic book, The Plastic Chairs of South East Asia (see more on Chris’s website and buy the book at https://bit.ly/ chairsSEAsia). Well, he did go to the London College of Furniture…

Chris’s photographs can be seen at www.visuallycuriousphotography.com

Among many achievements, Paul Hill has written two books on photography, was director of the Creative Photography course at Trent Polytechnic and has been exhibited numerous times. He was the first photographer to receive an MBE for services to photography and the first professor of photographic practice in a British university. hillonphotography.co.uk. 66

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04/10/2021 17:08

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13/08/2021 14:25