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Saturday 16 February 2019

g n i t h g i l e m o H for getting great Best starter kits house e th g in v a le t u o h it w s e g a im

Awards special

Gear of the year

Our top cameras, lenses and extras: buy with confidence

Revitalise old prints Breathe new life into family memories

Hone your drone skills Don’t miss these tips and insights from a fascinating new book

Taken in good faith How one photographer covers world religions

Northern lights and more Get the most from Norway’s Lofoten Islands



A week in photography It’s that time of the year again, when our annual awards recognise the finest cameras, lenses and accessories for the serious photographer. However, you don’t need to have attended our glittering awards ceremony in London to get the winners’ details – all the products are listed on pages 37-51, which also serves as a handy shopping list if you’re in the market for the best new gear.

In this issue 8 First look Michael Topham gets a detailed look at the new Panasonic Lumix S1 and S1R


16 Lighten up Learn how to create the best home studio set-ups with James Paterson


Even if you’re happy with your existing equipment there’s lots to enjoy in this issue, including a guide on how to revitalise old family photos, on getting better drone images, as well as advice on planning a trip to Norway’s Lofoten Islands – one of the best destinations for shooting the Northern Lights. And if you haven’t done so already, take advantage of a subscription – see our offer on page 21. Nigel Atherton, Editor photographer.magazine amateurphotographer


amateurphotographer magazine


22 Hone your drone skills Don’t let the recent negative publicity put you off drone photography. It’s a great way of finding a new photographic perspective 28 Location guide Andy Farrer shares his tips on shooting in Norway’s beautiful Lofoten Islands

Regulars 3 7 days 14 Inbox 53 Tech Talk 66 Legends

Darenth Valley Mist by Stephen Abrams


Canon EOS 5D Mark II, 17-40mm f/4L, 1/10sec at f/11, ISO 100 This early-morning misty scene was uploaded to Instagram with the hashtag #appicoftheweek. It was taken by photographer Stephen Abrams. He tells us, ‘The Darenth Valley in Kent is one of my favourite locations and is beautiful all year round. I headed out well before

dawn but was disappointed at the lack of clouds necessary for a spectacular sunrise; however the lovely layers of mist hanging in the valley more than made up for it. The clear sky helped define the lone tree, and the cattle wandering into shot were the icing on the cake.’


37 AP Awards 2019 AP celebrates and rewards all the products and companies that have made photography truly great in the past 12 months.


32 Cosmetic surgery Breathe new life into old prints. James Paterson takes you through the steps using PS Elements


30 Photo stories Jerusalem-based documentary photographer Gali Tibbon shares her amazing images of faith

Each week we choose our favourite picture on Facebook, Instagram, Flickr, Twitter or the reader gallery using #appicoftheweek. PermaJet proudly supports the online picture of the week winner, who will receive a top-quality print of their image on the finest PermaJet paper*. It is important to bring images to life outside the digital sphere, so we encourage everyone to get printing today! Visit to learn more.

Send us your pictures

If you’d like to see your work published in Amateur Photographer, here’s how to send us your images: Email Email a selection of low-res images (up to 5MB of attachments in total) to CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 14. Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above. 3

NEWS ROUND-UP The week in brief, edited by Geoff Harris

‘Smartphones could halve camera market’ Canon believes the threat from smartphones could halve the size of the conventional camera market in two years. It therefore intends to focus its camera business on corporate customers, says Canon president Fujio Mitarai. ‘The mirrorless product is growing, but it is a replacement [for] single lens reflex, it is not adding to the market as a whole.’ See parts of the translated interview at

X-Rite competition Colour management specialist X-Rite Inc. has launched a competition to celebrate the 10th anniversary of its ColorChecker Passport Photo. For a chance to win, upload an image to the competition page at by 24 February showing the ColorChecker Passport Photo in action. The winner will be announced on 1 March and exhibited at The Photography Show.

Limited-edition Leica M10-P goes safari Got a spare £7k burning a hole in your pocket? Leica has just released a limited-edition Leica M10-P ‘Safari’ in olive green livery. Originally designed for the armed forces, its olive-green editions date back to the early 1960s. Only 1,500 units of this M10-P model have been released and it’s available The US District Court for the now for £6,900, while a District of Columbia has found matching green Summicron-M the Syrian government guilty of 50mm f/2 lens can be snapped deliberately targeting war up for £2,300 from 15 February. correspondent Marie Colvin and For further details see French photographer Remi Ochlik, who were both killed during the siege of Homs in 2012. The lawsuit was brought by Colvin’s family and Syria has yet to comment. Colvin and UK photographer Paul Conroy are depicted in a new film, A Private War.

US finds Syria guilty

Software maker ON1 has released Photo RAW 2019.2, a free update to its Photo RAW 2019 editing software. Headline features include tethered shooting support for the Nikon Z 6, Z 7 and D850, along with support for the Leica D-Lux 7 and Panasonic Lumix DMC-TZ100. Try it out for free at 4


ON1 Photo RAW 2019 update



Garden Photographer of the Year results announced The winners of the International Garden Photographer of the Year (IGPOTY) competition 12 were announced at the Royal Botanic Gardens, in Kew, London, on Friday, 8 February. The overall winner of £7,500 and the grand title is Jill Welham from North Yorkshire. The winning image entitled ‘Fireworks’, (left), showcases the wet cyanotype process that Jill uses. The resulting study of three allium heads is accompanied by the wonderful, distinct swirling patterns and shapes this process offers. This latest IGPOTY competition saw more than 19,000 individual entries from over 50 countries. The competition exhibition is open to the public at Kew from 9 February and the new IGPOTY Collection Twelve hardback book is now available. See

Words & numbers

Reality is to photography what melody is to music Ralph Gibson American art photographer (b.1939) SOURCE: WWW.CNET.COM


The number of times photosharing app Facebook Moments was downloaded in December, compared to over 10 million in June 2016. It’s being discontinued 5

Remembering respected AP writer Ivor Matanle

Pentax releases fast prime and ultra-wide zoom PENTAX has announced two new lenses, beginning with a fast, ultra-wide zoom – the HD Pentax-DA* 11-18mm F2.8 ED DC AW. The lens, aimed at outdoor shooters and astrophotographers, is designed for Pentax APS-C DSLRs and has a maximum aperture of f/2.8, with an equivalent focal length of 17-27.5mm. AW in the lens nomenclature stands for ‘all weather’, so the 11-18mm is dust- and splash-proof. Other noteworthy features include a Focus Clamp Mechanism to lock the focal point. The lens is made from 16 elements in 11 groups, has a minimum focusing distance of 30cm and weighs 704g. It is available now for £1,399.99. The other new lens is the HD Pentax-FA 35mm F2, an update of Pentax’s 35mm f/2 prime lens. Designed for full-frame Pentax DSLRs, it features a high-grade multi-layer HD coating, and a stain-repellent SP coating on the front surface for robust outdoor use. The lens is made from six elements in five groups, with a six-bladed diaphragm. It’s available now for £399.99.

WE ARE sad to report that Ivor Matanle, a regular contributor to AP for many years, died in January. Ivor was an expert on owning and using classic cameras, and had a strong following among readers. ‘His books and articles will live on... I bought my second Leica IIIf from him in January 1977,’ said reader David Loxley, one of many who paid tribute to Ivor on our forum. Ivor was brought on board by the then Editor, Garry Coward-Williams, and wrote for us until 2016. ‘Before Ivor, vintage cameras were treated as curios, nice to own, but you wouldn’t use them,’ recalls Garry. ‘There was a lot of ignorance about oldies especially from those brought up on modern autoeverything cameras. Ivor put

that to rights with a series that showed benefits and quirks of old cameras from a practical, user’s position. Ivor was a first-class writer and published author. He also helped some auto-obsessives discover the joys of using real cameras.’ Another former AP Editor, Damien Demolder, said, ‘What a terrible shame Ivor has left us. He was a lovely man, and I enjoyed our chats a great deal. The breadth of his knowledge never failed to astonish me, and I took great delight in how meticulous he was in noting, say, the delicate adjustments that had been made between the production years of a particular camera or lens. I doubt there are many to rival the depth of his understanding and appreciation of vintage photographic equipment. He worked very hard on his AP

articles, calling in favours from his vast network of friends and fellow-collectors, and travelling the length of the country to borrow some fascinating rarity. It was the uncommon, the best, the highest quality, the most popular and the most unusual that would really get his blood pumping, and his eyes would sparkle when discussing whatever it was. I’ll never forget the look he gave me when I told him I was collecting cameras from the decidedly ordinary Ensign range. It was like telling a birder that I liked sparrows. He will be greatly missed by all his friends and fans, and I’m immensely grateful that I had the chance to get to know him.’ AP’s sincere condolences One of Ivor’s Icons of photography features for AP from 16 July 2011 go to Ivor’s family.

Tetenal teetering?

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The late Ivor Matanle: prolific, meticulous, a true legend

FILM-CHEMISTRY specialist Tetenal Europe GmbH appears to be in difficulties, with German staff told that production will cease in April and the company wound up after 172 years, according to a report on imaging + foto contact’s website. However, Tetenal UK said that while discussions are continuing, ‘Tetenal UK is still very much here and continues to be a robust, stable and forward-looking company.’ Tetenal UK will also be attending the forthcoming Photography Show. Meanwhile a management-buyout plan to salvage Tetenal

Tetenal UK is still ‘very much here’

Europe has been submitted to the insolvency administrators in Germany. Tetenal began in 1847 when Theodor Teichgräber started selling chemicals for the wet-collodion process.

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Panasonic Lumix S1/S1R

After teasing us with the S1 and S1R last year, the first working samples have arrived. Michael Topham shares his first impressions Build quality


The S1/S1R both employ magnesium alloy die-cast front and rear panels with seals at every joint for maximum durability and robustness.

Shutter speeds range from 60sec-1/8,000sec using the mechanical shutter to 60sec-1/16,000sec using the electronic shutter.

At a glance

£2,199.99 Panasonic Lumix S1 (body only)


Panasonic Lumix S1R (body only)

■ Wide diameter L-mount ■ Venus Imaging engine ■ Dual Image Stabilisation system ■ 4K 60p/50p video recording ■ Dual card slot (XQD and SD) ■ Available from 18 March 2019

Slow motion movie 2x slow motion at 4K/60fps is available, plus there’s 6x slow motion in Full HD with frame rates up to 180fps.

break last year was Leica, Panasonic and Sigma’s decision to come together and form the L-Mount Alliance for the production of full-frame mirrorless cameras and lenses. Despite getting hands-on with a detailed mock-up sample of the S1R last year, we’ve been patiently waiting for Panasonic to release more detailed information. During our annual visit to Panasonic’s Digital Imaging Seminar, we were given the opportunity to use both models extensively and find out more about the three matched lenses for the system. 8

The main difference between the S1 and S1R lies directly behind the L-mount, with the S1R boasting a 47.3-million-pixel sensor and the Lumix S1 offering a 24.2-million-pixel sensor. The ISO range on the S1R spans from ISO 100-25,600 (expandable to ISO 5051,200), with the Lumix S1’s ISO reaching a maximum of ISO 51,200 (expandable to ISO 50-204,800). The sensors on both models pair up with a new Venus Engine processor, permitting continuous shooting speeds of up to 9fps in AFS (single-shot AF mode) or 6fps

High Resolution mode When situations demand greater resolution, the S1R can capture 187MP images. The S1 can also shoot up to 96MP in its high-res mode.

ontinuous focus on both models. There’s also the opportunity to shoot a burst of 18MP JPEGs at 30fps in the 6K Photo mode, while 4K Photo offers sequences at 30fps or 60fps, albeit at a lower 8MP resolution. One of the key features on both models is the 5-axis Dual IS II image stabiliser, which provides up to six stops of compensation to counteract camera shake when shooting stills or movies. It works just like the system in the company’s Lumix G9 in the way it combines 2-axis stabilisation from the lens with 5-axis stabilisation in the camera and permits high-

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AP’s Reviews Editor Michael Topham tries out the Lumix S1R for size with the optional BGS1 battery grip attached

resolution images to be taken by shifting the sensor between consecutive shots. Added to this, Panasonic has introduced an IS Status Scope feature that displays a graphic interpretation of vibration. Once again, Panasonic relies on its formula of contrast detection and Depth From Defocus (DFD) technology for focusing. It also employs what’s called ‘advanced artificial intelligence technology’ to detect the differences between humans, cats, dogs and birds. Panasonic cameras have gained an excellent reputation among leading videographers around the world. The Lumix S1, which is more likely to appeal to video shooters, allows video recording up to 4K 60/50p 4:2:0 in 8-bit directly to an SD or XQD card. In addition, 4:2:2 colour sampling can be output through HDMI, and Panasonic will provide a software key to unlock the option to record 4K 60/50p 4:2:2 10-bit via HDMI-output and 30p/25p/24p in 4:2:2 10-bit internally later in the year. The S1 and S1R both feature two card slots, one of which accepts UHS-II SD cards, and the other XQD. Panasonic has made it known that compatibility with CFexpress will follow too. Bluetooth and Wi-Fi connectivity options are available to pair and transmit images to

Panasonic L-mount lenses

mobile devices, plus there’s a new Lumix Sync app that’s been developed for seamless remote control of the S1 and S1R and immediate transfer to a phone or tablet. The S1 and S1R are the first models in the world to debut a 5.76-million-dot OLED EVF. Other points of interest regarding the EVF are its maximum 120fps refresh rate, minimum lag time of 0.005sec and option to adjust the magnification between 0.7x, 0.74x and 0.78x. Just below the EVF, both cameras boast a 3.2in, 2.1-million-dot LCD touchscreen that flips out similarly to the type of three-way tilt screens we’ve seen on Fujifilm X-series cameras. It’s also fully integrated with the camera’s menus.

Build and handling In the hand the S1/S1R feel considerably larger and heavier than the most recent full-frame mirrorless releases from Canon, Nikon and Sony. This is offset to some extent by an excellent handgrip that’s beautifully sculpted. Buttons and dials are spread well apart, they even illuminate in the dark! Both models are clearly designed to satisfy the very high expectations of professionals and serious enthusiasts, while being familiar to those who’ve used Lumix G cameras before.

First impressions THE standout feature that made me say the word ‘wow’ out loud when I used the S1R for the first time is the EVF. It’s sensationally sharp, refreshes quickly and offers a first-class viewing experience. I’d have no hesitation in saying it’s the best EVF I’ve ever used. Ergonomically, the S1R is rather nicely laid out and in many respects feels like a bigger, beefier Lumix G9. Autofocus seemed brisk and Eye AF was responsive when shooting a series of portraits. Furthermore, High Resolution mode impressed too and appeared to work well when I attempted handheld shots without a tripod. My lasting impression from using the Lumix S1R for a few hours is that it’s one very capable camera indeed and there’s much to like. There’s appeal to the S-series system, especially with the backing of Sigma lenses and Panasonic’s professional support, but I sense the hardest job for Panasonic moving forward is going to be getting the Lumix S1/S1R into professionals’ hands and convincing them that this new system is superior to what most pros and serious enthusiasts are already using. subscribe 0330 333 1113 I I 16 February 2019

INITIALLY there will be three lenses available for Panasonic’s S-series cameras based on the Leica L-mount, these being the Lumix S Pro 50mm f/1.4 (£2,299.99), Lumix S Pro 70-200mm f/4 OIS (£1,749.99) and Lumix S 24-105mm f/4 Macro OIS (1,299.99). The Lumix S Pro 50mm f/1.4, with its focal length considered ‘standard’ for the full-frame format, features an optical construction made up of 13 elements in 11 groups. To counteract chromatic aberrations, two aspherical lenses and three extra-low dispersion lenses are used in its design and unlike many 50mm prime lenses that have nine aperture blades, it differs in that it has an 11-bladed iris in an attempt to produce the most attactive bokeh possible. An aperture ring is also present, while switching to manual focus requires the focus ring to be snapped forward. Priced at £2,299, it works out just £50 less than the RF 50mm f/1.2L USM (£2,349.99) for the Canon EOS R system. As for the Lumix S Pro 70-200mm f/4 OIS, this telephoto zoom optic is fully compatible with Panasonic’s 5-axis Dual IS II system, offering up to six stops of image stabilisation. Construction-wise, it combines 23 elements in

A 70-200mm f/2.8 is due to follow this 70-200mm f/4

17 groups with nine aperture blades and has one aspherical lens and three extra-low dispersion lenses to minimise chromatic aberrations and maximise sharpness. Like the Lumix S Pro 50mm f/1.4, manual focus is activated by snapping the manual focus ring forward. Last but not least is the kit lens – the Lumix S 24-105mm f/4 macro OIS. This general-purpose standard zoom with its 0.5x magnification and minimum focus distance of 30cm teams up with S-series cameras to offer up to six stops of image stabilisation. The lens features 16 elements in 13 groups and incorporates two aspherical lenses as well as two extra-low dispersion elements. Among the ten lenses due to be released by 2020 are a 24-70mm f/2.8, 70-200mm f/2.8 and 16-35mm f/4. Two teleconverters (1.4x and 2.0x) will be coming too, along with a super-tele lens, two primes and a macro lens. Focal lengths are still to be announced.

The first three lenses for the S-series include the Lumix S 24-105mm f/4 Macro OIS (£1,299) and the Lumix S Pro 50mm f/1.4 (£2,299) 9

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



Dog Show 1961-1978 Anglia Square, Norwich


Small Town Inertia

by Jim Mortram



ne of the most important names in contemporary documentary photography, Jim Mortram has long been a pioneer for the disadvantaged, ignored, and neglected. Here at AP we’ve been following his work for the best part of a decade, during which time the situation sadly doesn’t seem to be improving. Indeed, his pictures are a reminder of the daily struggles that millions of people in the UK are currently having to endure. The images in this exhibition don’t always

Jim photographs those in his local community

make for comfortable viewing, but that’s exactly why you should seek them out. Jim lives near Dereham, a small town in Norfolk. Like thousands of other communities in this country, increasing numbers of people are finding it ever more difficult to survive at a time of welfare cuts and failing health services. Having been photographing those in the community for several years, the work was turned into a book – also called Small Town Inertia – crowdfunded in super-quick time and published by Bluecoat in 2017. Typically, Jim’s subjects face physical and mental problems with the added pressure of an incredibly hard-to-navigate and seemingly unjust social security system. These factors contribute to isolation and loneliness on an unprecedented scale, but it is always with hope, dignity, strength and resilience that Jim presents his incredible portraits. This essential exhibition takes place at Newcastle’s Side Gallery, a space that is dedicated to showing the best in humanist documentary photography – whether from the North East of England or elsewhere. If you can get to the gallery to see the show – and you should make every effort to do so – you won’t be disappointed with the quality of photography, but you will almost definitely come away disappointed with the state of the nation. Amy Davies

Side Gallery, Newcastle. Free entry. Runs until 24 March 2019. 10

By Shirley Baker, Hoxton Mini Press, £14.95, 80 pages, hardback, ISBN 978-1910566404 MOST of us would rather photograph a dog show than a human beauty pageant any day – although you could argue there are somewhat disconcerting similarities between the two. Shirley Baker, who was known for her warm and unaffected street images of Salford and Manchester, also spent some 17 years photographing the Manchester Dog Show, capturing the essence of not only the bulldogs, poodles and pekes who were primed to strut their stuff in the ring, but also the equally primped and preened owners. The images are imbued with the same sympathy and delight that characterises all of Baker’s work. It’s as much a document of the fashions of the day as it is of the dogs themselves, and, like all the books from the estimable Hoxton Mini Press, it’s worth adding to your photo-book library. +++++ Ailsa McWhinnie


Advanced Love By Ari Seth Cohen, Abrams, £22.99, 240 pages, hardback, ISBN 978-1419733390 IF A PHOTOGRAPHER told you they were working on a project about older couples and the longevity of their relationships, you’d probably imagine a set of rather sentimental portraits shot inside chintzy homes, possibly in black & white. Prejudiced? Probably. Patronising? No doubt. Inaccurate? Definitely – as the images shot by Ari Seth Cohen for his book Advanced Love prove beyond doubt. Meet faux-fur-clad Eva (68) and oh-so dapper Bill (74), who have been together for 42 years and whose marriage survived the disapproval of Eva’s parents (Bill is African American). Then there are cover stars Britt and Günther, whose advice (presumably in between roller-skating down the street) is to ‘rejoice in the happiness of the other’. Photographed on the street in glorious colour, and accompanied by stories and quotes, these are couples who exude confidence and style, and are a template for how many of us should hope to spend our later years. +++++ Ailsa McWhinnie

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In next week’s issue

Viewpoint Jon Bentley


Everyone is aware of the music written about cars and driving, but what about the link between certain songs and photography?

Jon Bentley is a TV producer and presenter best known for Top Gear and Channel 5’s The Gadget Show

winners Tips for shooting all kinds of subjects, as AP speaks to the winners of TPOTY 2018


taking pictures of their mothers, and the sisters of their brothers, just to ‘show that they love one another’, or taking snaps of the summer ‘to prove that it really existed’. Ray also reminisces about ‘pictures of things as they used to be’, sucking his thumb by an oak tree when he was three before being overcome by the emotion and begging not to see the picture any more. The message in some songs about photos can be very serious indeed. The Manic Street Preachers’ Kevin Carter is about a Pulitzer prize-winning photographer who was traumatised by whether the atrocities he photographed would have happened if he wasn’t there to record them. He took his own life in Johannesburg at the age of 33. Strange Fruit is perhaps one of the most powerful songs related to photography. It was first written as a poem by Abel Meeropol and sung by Nina Simone and Billie Holiday amongst others. It was inspired by a famous and chilling photograph of a racist lynching that took place in Indiana in 1930 taken by Lawrence Beitler. There may be fewer songs about photography than cars but they’re often a little, and sometimes a lot, more profound.

Do you have something you’d like to get off your chest? Send us your thoughts in around 500 words to the address on page 14 and win a year’s digital subscription to AP, worth £79.99 12


Jackson Browne’s Late for the Sky




t a popular level there’s everything from Prince’s Little Red Corvette to Madness driving in their Morris Minor. Delve deeper and there are bountifully rich seams of material; Johnny Cash building his Cadillac a piece at a time or Kraftwerk’s celebration of the Autobahn. Whatever your musical tastes, the tunes put you behind the wheel, even when you’re not. I’ve never thought photography and music achieved the same magical synergy. Not that I haven’t treasured some songs on the subject. My personal favourite is Jackson Browne’s Fountain of Sorrow. The great songsmith, best known for his work with the Eagles, insightfully describes the process of taking a portrait and recording a character in a moment. I bought the Late for the Sky LP, on which it appears, back in 1974 and the song often plays in my mind when I’m trying to capture a character with a camera. Another photo song I’ve long admired is Paul Simon’s exercise in nostalgia, Kodachrome. Its touching exploration of how bright colours can evoke past joys feels even more relevant in the filtered age of Instagram. But maybe I’ve been ignoring photography songs for years without realising it. Once I started looking there were more than I’d thought. Many are fairly simple in their approach; songs about people who no longer have a real person, just their photo. Like The Cure’s Pictures of You in which singer Robert Smith is haunted by pictures of a girl he’s lost. Or a photo as a substitute for a person as in The Who’s Pictures of Lily where a boy is given a photo of a girl to help him get to sleep - read into that what you will. It works, but he becomes distressed when he can’t meet the girl for real because she died years ago. Others look a little deeper into the emotions photographs can elicit. Camera by Editors suggests people hide their sadness in photographs as they smile automatically. In People Take Pictures of Each Other, The Kinks’ Ray Davies looks at why people shoot pictures, fathers

Matt Golowczynski on the Nikon D750 after working with it for four years

Obsolete and discontinued What happened when Mike Crawford used outdated photo paper for a project?

Zeiss Batis 40mm f/2 CF Andy Westlake reviews Zeiss’s standard prime for Sony full-frame mirrorless

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Ivor Matanle will be greatly missed


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Chief Executive Officer Marcus Rich Group Managing Director Andrea Davies Managing Director Gareth Beesley Editorial Director Simon Collis Printed by Walstead UK Limited Distributed by Marketforce, 5 Churchill Place, London E14. Telephone 0203 787 9001 Editorial Complaints We work hard to achieve the highest standards of editorial content, and we are committed to complying with the Editors’ Code of Practice ( IPSO/cop.html) as enforced by IPSO. If you have a complaint about our editorial content, you can email us at complaints@ ti or write to Complaints Manager, TI Media Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please provide details of the material you are complaining about and explain your complaint by reference to the Editors’ Code. We will endeavour to acknowledge your complaint within 5 working days, and we aim to correct substantial errors as soon as possible. All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the right to shorten or modify any letter or material submitted. TI Media Limited or its associated companies reserves the right to re use any submission sent to the letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered trademark of TI Media Limited © TI Media Limited 2018 Amateur Photographer (incorporating Photo Technique, Camera Weekly & What Digital Camera) Email: amateurphotographer@ ti Website: TI Media Limited switchboard tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues per year) on the Tuesday preceding the cover date by TI Media Limited, 161 Marsh Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part of this publication may be reproduced, stored in a retrieval or transmitted in any format or medium, whether printed, electronic or otherwise, without the prior written permission of the publisher or the editor. This is considered a breach of copyright and action will be taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to any publication or advertising matter without first obtaining written permission from the publisher. TI Media Limited does not accept responsibility for loss or damage to unsolicited photographs and manuscripts, and product samples. TI Media Limited reserves the right to use any submissions sent to Amateur Photographer Magazine in any format or medium, including electronic. One year subscription (51 issues) £155.50 (UK), e259 (Europe), $338.99 (USA), £221.99 (rest of world). The 2015 US annual DEU subscription price is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Subscriptions records are maintained at TI Media Limited, 161 Marsh Wall, London E14 9AP. Air Business Ltd is acting as our mailing agent.




May I crave space to write a tribute to the camera meister, Ivor Matanle, of whose death I just learned from Anne Matanle. My first contact with Ivor was through his Ivor and Anne Matanle adverts in the classified pages of AP, back when the world was a far better and kinder place. When I last spoke with him Ivor had difficulty speaking and told me that he was far from well. The last letter I received he has hand-written using a pen he valued. Though I never actually met Ivor in person, I got to ‘know’ him well through conversations on the phone and the exchange of letters, and his AP articles encouraged me to write for many journals myself, including for the Leica Historical Society, Club Rollei User magazine and Icon Publications. Ivor once referred to me as ‘The Great Kitchen in the West’. Apposite, perhaps, as I first read AP in 1955, and shall be 85 in May. Ivor shall be greatly missed by aficionados of his many AP articles, but

Those who remember his articles in AP might assume that he had an enormous collection of cameras with which he illustrated them. Not so. What he did have was an enormous collection of friends, who had cameras, and who were more than happy to supply pictures or – more often – heavy bags of equipment that needed to be transported to the AP photo studio to be photographed. I remember him emailing me once to ask if I could supply a picture of a rare Rittreck camera. ‘No problem,’ I said, ‘what do you need?’ Back came the reply, ‘A three-quarter view facing left, a three-quarter view facing right, a view from the top showing an image on the focusing screen, two views from the back with the film holder on and off, a close-up of the shutter speed dial, another of the focusing knob…’ He was such a lovely man, that no one could ever refuse. John Wade

Classic camera expert Ivor Matanle wrote countless in-depth articles for AP

I am sure many readers will share my sorrow at I firmly believe that his magisterial learning of the death this book is his greatest gift to classic week of Ivor Matanle. I camera aficionados and future know I am one of many aficionados for many years to come. whose love of cameras and Harry Kitchen photography was inspired by Ivor’s articles published in AP; and his books on collecting and using classic cameras. For those who A Samsung 64GB EVO Plus microSDXC with SD did not know him adapter Class 10 UHS-1 Grade U3 memory card personally, he was a lovely supports 4K UHD. Offering R/W speeds of up to 100MB/s /60MB/s and a man. He touched many of 10-year limited warranty. us with his vast knowledge, enthusiasm, wit, wisdom him in person through the and humour. He leaves a Photographic Collectors’ great legacy and will be Club of Great Britain where sadly missed. It’s sad to hear that Ivor he gave regular talks at John Kirkham Matanle has passed away. meetings around the There will be a great country. He was one of the Thanks to everyone who number of regular readers most knowledgeable wrote in about Ivor. His who will remember his people I have ever met on enthusiasm for classic wonderful in-depth articles the subject of classic cameras inspired on various classic camera cameras. He was also rare collectors everwhere brands over many years. among knowledgeable and his knowledge was I first came across Ivor people in being able to unequalled. He was through his books which communicate that clearly loved by many have become like bibles to knowledge in a way that and will be sadly missed members of the camera was informative, interesting by all who knew him Ivor inspired affection among readers and colleagues alike collecting fraternity. I met and often amusing. – Nigel Atherton, Editor


Tributes to Ivor Matanle

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Photoshop arrived in 1988. Along with Lightroom and many other editing applications available today, it’s here to stay. Allison Ritchie

Switching to mirrorless In your letter of the week (AP, 5 January), on whether mirrorless systems are lighter or not, the writer asked what other Mark Gilbert refers to some of Michael Topham’s field tests photographers thought. As a photographer who has taken that leap I think check’ was my amber I have just read Mike it depends on what you flashing warning light so I Gosling’s letter in this switch from and to. I first decided not to go ahead. week’s AP (19 January went from the Canon EOS Something must have issue) about his interest in 7D to the Fujifilm X-T1 and clicked with the seller heritage and heritage was very pleased with both because later a revised railways. Other readers advert appeared declaring the weight and function of may be interested to know a count of 18,000+ shots. the kit and the bag on trips that there are specialist You certainly need to know out. I have now got rid of photography charter my Canon – I loved the your way around camera companies that specialise settings, as shutter counts camera but not the weight. in these areas. Indeed, I I upgraded to a Sony A9 are not usually part of the remember reading articles set operating menu, but it and mainly use that. Its by Michael Topham who function, image quality and is possible to check and attended events organised the information is definitely weight for me is just right. I by TimeLine Events, who have some issues with my worth having. offer a range of heritage hands (I get a weak grip at Scott Fraser subjects. Another heritage times) but when I use my railway specialist is 30742 A9 I can hold it for longer Charters. The events these than I could my Canon. My companies run are A9 lenses are also a step Nigel Atherton pointed out up from my Canon lenses, specifically for photographers and involve that many iconic 20thand give me better lens the positioning of subjects, century photos were quality. In some ‘DSLR heavily manipulated in the switch’ cases you may not such as trains, enactors darkroom (Inbox, 19 and vehicles to enable get rid of all the weight you January). Yet no one back good photographs to be would like in all the lenses, then criticised the practice but your bag is smaller and taken. Mark Gilbert in the harsh manner can be lighter. Mine is both. directed at photographers A thing to think about How right you are to point who use image editing that I have learnt: do you out the value of a shutter software today. need to take as much kit? count when considering Ansel Adams’s I got so confused about buying a used camera, as ‘Moonrise, Hernandez’ which lens I needed and mentioned in the excellent negative is a million miles was getting stuck changing Second-hand best buys removed from the final them over on my trips and article (AP, 5 January). master print that Adams missing chances. Now I Much as I would be produced. It wasn’t take one, or two at most. reluctant to buy a used car cheating. It was simply Finally, if the camera is without an assurance on Adams’s astonishing comfortable to hold, easy the mileage, I’ve learned it darkroom skills tied in with to operate and takes a is just as important to have his extraordinary ability to great photo, does a few some clear understanding previsualise an image. extra grams matter; surely of a camera’s usage. A Photographers who use it is about kit performance couple of years ago I was photo-editing software over the weight? almost committed to a sale know that with a bit of skill In the future who knows with one doubt. The seller and imagination an how far photography will answered all other points otherwise duff image can have gone. I bet there will satisfactorily but seemed be totally transformed with be a camera that we will hesitant on shutter a few clicks of the mouse. say is too light and blows numbers. An excuse of ‘too Cynics can carp all they over on a tripod! difficult technically to like. But as Nigel said, Henley Hughes

Back in the day A wander through the AP archive. This week we pay a visit to February 1976

Heritage railways

Photoshop is here to stay

Shutter counts count

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HOLD on to your hats, dear readers, we are back in the unchartered territory of 1976. There may not be dragons, but there was plenty of other fun stuff in the magazine, including a cover model straight out of Abigail’s Party and no cover lines at all. How can mere words be allowed to sully such a stunning hairstyle? Another highlight was ‘Notes for Novices’, written by R. H. Mason, who rocked the Michael Caine look, as seen on the spread below. We also love the manic-looking toddler, heavily vignetted hound (complete with an ASBO chain collar) and sultry lovelies on this spread. The names of past contributors to AP are often a source of amusement too – take one ‘Ludwig Haskins,’ who wrote a piece called ‘Oh, for a King Canute!’ It’s Cockney rhyming slang for boot, apparently. Would you Adam and Eve how good AP was back in ’76?

These pages were for the ‘novice snapshooter’, apparently 15



Lighten up

Take your photography to the next level with a studio lighting set-up at home. James Paterson shows how to get the best from your starter kit


These are mains-powered flash units. More powerful than a speedlight, they also have modelling lights. Each light comes with a stand, and the fixtures on the front make it easy to fit light modifiers. 16

KIT LIST Basic lights and accessories for a home studio set-up

Umbrella Diffuses and spreads the light. Either direct the flash through the umbrella, or angle it away and bounce light back off the umbrella. Useful for lighting interiors and portraits, but hard to control the spread of light.

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James Paterson

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop. Visit


hether you want to shoot portraits, pets, products, food or macro, a studio lighting kit will lend your photos a level of clarity and professionalism that is difficult to achieve in any other way. It opens the door to complete control. If you’re new to studio lighting, then get ready to fall in love with photography all over again. However, studio flash can initially seem slightly daunting. There are so many decisions to make: which exposure settings should I use? Where do I position my lights? Which modifiers would be best? And which flash power should I use? These are all stumbling blocks that can be overcome with a little know-how. Over the following pages we’ll shed some light on the subject.

Monoblock or strobe?


Softens and diffuses the light, much like window light. Creates attractive rectangular catchlights in the subject’s eyes. Similar to a white umbrella, but easier to control the play of light and shade.

Sync cable/ wireless trigger


The jargon around flashes can be a little confusing: are they studio heads, monoblocks, monolights, power packs or strobes? In general, a starter kit will include two monoblocks (or ‘monolights’ for those in the USA). These are individual, self-contained flash units that plug into the mains. By contrast, a power pack is a sort of control centre for running multiple smaller lights, while ‘strobe’ is a catch-all term for any type of flash. As well as the two monoblocks, a starter kit will typically include two stands, a sync cable/wireless trigger and light modifiers like white umbrellas, silver umbrellas or softboxes. These modifiers are key to succeeding with flash. They let us diffuse and control the spread of light for all kinds of looks. If the kit doesn’t have a wireless trigger we’d recommend getting one. Flash sync cables are fiddly, they always seem to fall out of the camera at the wrong moment, and they’re easy to trip over. What’s more, many cameras won’t even have a sync cable socket. Wireless triggers are cheap and make things easier. One other piece of kit that comes in very handy – and that many of us will have already – is a reflector. Positioned opposite the flash, we can use the reflector to bounce light back

Attach this to your camera to trigger the flashes. All studio flash units will have an optical slave. This means if you trigger one flash, the others will detect it and fire too.

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Starter kits typically include both an umbrella and softbox 17


HOME STUDIO SET-UPS Controlling the flash

into the shadows and reduce the contrast. As such, it can act almost like another separate light.

How much power do you need? If you’re considering getting a starter kit, then the first decision is all about power. The power of a flash head is measured in watt-seconds (the maximum number of watts that can be output over 1 second). Studio strobes typically start at around 100W for the cheaper models, and can go up to 1200W for expensive, high-output heads. The right level of power for you will depend on what you shoot – if you need to light a huge space or big group of people, then 800W might be necessary, but for a home studio portrait set-up where you’ll mostly be shooting individuals or small groups, then you’re unlikely to need more than 300W strobes. Compared to a speedlight, even the lowest power monoblocks will be at least

Most studio units will have modelling lights

double the strength. There are other practical advantages too. Mains power means there’s no need for batteries, recycling times are much quicker and light modifiers are easy to use. What’s more, studio units have helpful modelling lights. These are constant lights that help us to visualise the play of light and shade across our subject before we take the shot.

A studio flash head will usually offer a few simple controls. First, there’s the output setting. This controls the strength of the light. Many monoblocks have a range between 1.0 and 6.0. Each number represents one stop of light, so the maximum output of 6.0 could equally be thought of as 1/1 power, while the minimum output of 1.0 is effectively 1/32 power (although some heads will go lower than this). Of course, the strength of this maximum and minimum output will vary depending on the power of the unit and whether a light modifier is fitted. Among the other controls there’s usually a button that switches the recycling beep on or off. This tells us when the heads are fully recycled and ready to fire (it usually takes half a second or so). The other useful control is an optical slave mode. Enable this on our second light and it’ll fire upon detecting the flash from the first.


Lit from above



A single softbox can give us a wide variety of looks depending on the positioning and strength. Here it’s positioned directly above the face and angled downwards. This is sometimes called ‘butterfly lighting’, as the shadow cast down from the nose looks a bit like a butterfly.

This time our softbox is positioned behind the subject to the left, lighting the far side of the face. Known as short lighting (as opposed to ‘broad’ which lights the front side), this gives a low-key, moody look. The background is very dark because our flash is angled away from it.

A softbox can act as a backdrop for a simple high-key look. The light will wrap around the edges of the face, creating attractive edge light along the cheeks. If the front of the face is too dark, it can be lifted by opening the aperture and bouncing light back in with a reflector.


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10 tips for flash photography 1 Distance affects power

Halving the distance between the flash and subject will increase its strength by four times – or two stops – in accordance with the inverse square law.

2 Distance and quality

Changing the distance of the light also changes its size in relation to the subject – the further away it is, the harder the quality of light.

3 Watch for fall-off

The fall-off of a flash is the difference in strength across the subject, and it will be more pronounced if the light is in very close.

4 Look to the catchlights

catchlights in the subject’s eyes can indicate the positioning, quantity and type of light used.

5 Bounce the flash

As well as using modifiers like umbrellas and softboxes, remember that you can also soften and diffuse the light by bouncing it off the walls or ceiling.

6 Shutter speed and flash

Shutter speed has no bearing on the flash exposure, only on the influence of the ambient light. If in doubt, stick to 1/200sec.

9 Recycle after lowering output

7 Diffusion needs more power Any modifier placed between our light source and the subject – like an umbrella or softbox – will weaken the output, so increase the power accordingly.

8 Feather the light

Try feathering the light by angling it across the front of the subject rather than directly at them; this gives an attractive ‘wrap-around’ quality.

10 Bring lights in close

Bringing the lights in close will make them very large in relation to the subject and therefore produce softer, more flattering light.

If you want to see how other portrait photographers have lit their photos, the

If you lower the output, hit the test button to recycle the flash as it may still be primed for the previous higher power setting.

In silhouette

Side lighting

Under lighting

A similar high-key look to the previous shot, but this time our softbox is pointed at the backdrop instead. If we like, we can open up our aperture to lift the subject, or instead expose for the backdrop like this, so that they come out almost in silhouette.

Here the light hits one side of the face, plunging the other into deep shadow. This is sometimes called ‘split lighting’. Note how the side-on light reveals much more texture in the skin than the frontal light in the first shot, resulting in a less-flattering portrait.

Placing the softbox underneath the chin gives us ‘scary movie’ lighting. We’re used to seeing light coming from above, so when it’s directed from below it can look unnatural – this holds true whether the subject is standing up like this or lying down.

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Why use studio lighting? The main reasons to use studio lighting are quality and control. The power of the flash means we can shoot with a low ISO for maximum quality with minimal noise. The second reason is the control that studio lighting offers. There’s control over the positioning of the lights – we can place them above, below, in front, behind – wherever we choose. Then there’s the control we have over exposure. We dictate the exposure; we don’t have to let the lights dictate it for us. As photographers we are used to adapting our exposure settings to suit the available light, so using studio lighting is a slight shift in mindset. We can, with a few exceptions, choose whatever

combination of shutter speed, aperture and ISO we want. If you’re just getting started, then here’s a stock exposure setting to begin with. In manual exposure mode choose a shutter speed of 1/200sec (which is usually around the maximum flash sync speed for a DSLR), then set aperture f/8 and ISO 100. Turn on the flash and take a few test shots. If the image comes out too bright or too dark then simply adjust the power of the light – either by moving it closer or further away, or by changing the output – until you have a correct exposure. You can also use a light meter to determine the right flash power, or simply judge it by assessing the histogram on the camera’s LCD.

One light or two? While it might be tempting to use both monoblocks in a starter kit, if you’re new to studio lighting then start with just one. Get to grips with positioning, power and exposure; and then when you’re comfortable with one light progress to using two. Whenever we use more than one flash, it can be a very helpful exercise to ‘build’ the lighting by taking test shots of each light in isolation, with all the others off. This way, we can see exactly how each affects the overall set-up, which makes it much easier to strike a harmonious balance between them. Get to grips with this, and the possibilities for beautifully controlled lighting are endless.

Bare bulb vs softbox vs umbrella

Bare bulb

Softbox 20

Light from a bare bulb is small and hardedged, and often unflattering

By increasing the light source size, the light becomes more diffuse

A KEY reason to use studio lighting is the many options we have to change the quality of the light using a variety of modifiers. A starter kit will typically include a softbox and umbrella, and we also have the option to fire the flash bare. When fired bare, the light source is very small and, like the midday sun in a cloudless sky, light from a small source is very hard-edged. Note here (left) how it creates deep shadows under the chin. By contrast, when we modify the light with an umbrella or softbox we increase the size of the source so the light is more diffuse and the shadows become much softer. The softbox is arguably the winner here, because the shadows are soft but still nicely defined. It’s harder to control the spread of light with an umbrella, therefore it’s bounced off all the nearby walls and surfaces here and filled in the shadows, resulting in less contrast.


You have less control with an umbrella, which can result in flatter lighting

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Hone your

drone skills D

variety of remote-controlled aircraft equipped with specialist cameras for a few years, small multi-rotor drones with cameras have only been commercially available to the public for the past six years. This makes it all the more astonishing that the standard of drone photography has made such great leaps in such a short time. For example, there are now more than 1.5 million posts on Instagram tagged with #drone. As the publishers of this new book observe, ‘a revolution in photography is taking place above our heads’. If you are curious about drone photography but not sure what it involves, Masters of Drone Photography will provide lots of ideas and food for thought. There’s certainly never been a better time to get into it. Folding drones take up a similar amount of space to a larger lens in your camera bag, so aerial photography is a viable option for many photographers. But as editor Fergus Kennedy explains in the

Above: ‘Reine Sunrise’ by Tobias Hägg. ‘During winter in the Arctic you have the golden hour all day’ Right: ‘Men are from Mars’ by Tugo Cheng. From the Discovering China series of images

introduction, don’t mistake ease of use for fly-and-click simplicity. ‘Successful drone photographers must master all the usual photographic techniques, and then apply these to an aerial platform. If anything, drone photography demands an extra leap of the imagination, as a top-level image is rarely the result of a random flight.


rones have been in the news a lot recently, but for all the wrong reasons. The chaos caused at Gatwick Airport by a suspected drone sighting in December ruined a lot of travellers’ festive holidays and won’t be forgotten quickly, and there is justified outrage about drug dealers using drones to distribute their illicit wares to prisoners. Despite all this bad publicity, it is important to remember that the vast majority of drone users in the UK are conscientious and lawabiding. Drones are also a fantastic tool for still photography and film making, especially when it comes to landscape work. A new book called Masters of Drone Photography celebrates some of the greatest achievements in this genre, so we’re going to preview of some of its best bits. Drone photography is a relatively new discipline. Although many enthusiasts have been using a


Don’t let the recent furore put you off drone photography. A new book on the subject is inspiring and full of ideas, as Geoff Harris reveals

‘Brighton Pier’ by Fergus Kennedy. ‘This was taken at dusk on a cold winter’s day but I still had to ensure the pier was empty so I didn’t overfly anyone’ 22

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As with most other branches of photography, it usually entails a high degree of planning and forethought, as well as persistence. It certainly helps to be able to imagine what the world might look like from above, and how different lighting conditions might affect the shot.’ If this book inspires you to get into drone photography, what is a good entry-level model? We don’t have space here for a full group test, but can make a few recommendations. The DJI Mavic Pro (around £900) is one of the most popular drones and for good reason. It features a quality camera capable of 4K video and 12MP stills. Battery life is a respectable 27 minutes, plus it conveniently folds up for carrying around. Half the


Getting started


factor to take into consideration is the light. A high viewpoint can leave the land looking rather flat, like the view from an aircraft window. As always, the most interesting light is often at dawn or dusk when the shadows are longer and the directional light accentuates the rise and fall of the landscape. It also helps to look for patterns, strong graphic shapes and contrasting objects, as you can see from these images from the book. Budget drones, sometimes called ‘selfie drones’, usually have fixed cameras, but serious photography requires a drone with a gimbal head. It will let you tilt the camera up or down independently of the drone’s

Above: ‘Safe Haven’ by Stacy Garlington. ‘I didn’t see the rainbow when I was flying the drone, it was quite accidental’

Below: ‘Taj Mahal’ by Amos Chapple. ‘A large monkey saw the drone and was freaking out, so I had to beat a retreat’


weight and price of the Mavic, the DJI Spark (£449) is a great choice for beginners. It has a 12MP stabilised camera and handy front-obstacle avoidance, plus a return-to-home feature in case you’re worried about it getting lost. Another good entry-level choice is the Parrot Bebop 2 (about £300), a fun starter drone capable of 14MP stills and 1,080p video, with 20mins flight time and a maximum range of 300m. It features a fisheye camera that offers a wide view. Regardless of what you buy, a new drone will not automatically result in stunning photographs. All the principles of good landscape photography still apply. The biggest

movement – essential for composing a picture. Stabilisation is also important, especially for video.

Ideas for better shots


When it comes to drone photography technique, try to stay relatively low. Even at a decent altitude it can be difficult to convey a dramatic sense of height in stills, although this is less of a problem with video. Sometimes it’s hard to tell if the photo has been taken at all. To help prevent this, don’t go too high, and try to include larger foreground objects so that the scene recedes into the distance. Straight down views can yield fantastic results too. It often helps if the sun is low, as the raking shadows can add extra depth to a line of trees or a row of buildings. Some new drone users can end up feeling a bit 24

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Advice from the masters Just some of the standout tips from Masters of Drone Photography Morning is the best time for me as the low sunlight picks up the textures of the landscape. You might also get lucky with mist, and there are fewer people around on the streets, so it’s much safer flying a drone. Amos Chapple First of all I check the batteries of the remote-controller and the drone, to make sure I have sufficient power for my flight. I also inspect the rotors and the temperature of the drone, and then look over my planned flightpath to ensure it’s clear of any high buildings or helicopter routes. I always undertake low-altitude manoeuvres to check the behaviour of the drone before I go higher. Bachir Moukarzel I like to compose my shots by eye, but do rely heavily on the thirds grid to compose my images. I try to do my own things with regard to photography, but the Rule of Thirds cannot be ignored in most situations. David Hopley

deflated by the quality and resolution of the stills and footage compared to a dedicated DSLR or mirrorless camera. One solution is to merge a set of shots into a panorama, as drones are good at staying still and level. Check out intelligent tracking features, if these are built into your drone, as these lock on to objects and landmarks, making drone operation easier for beginners. So what about the law and drone photography? While there is pressure on the government to tighten the legislation, it won’t want to spoil the fun for the vast majority of law-abiding users, or damage a fast-growing market that has created many jobs in the UK. The main thrust of the proposed new laws will be to give the police extra powers to land, seize and search

drones; expand the use of technology to detect and repel drones at sites like airports and prisons; and not surprisingly, to extend exclusion zones around said airports. If you are worried that your innocent drone photography will somehow land you in trouble, don’t be. As Aviation Minister Baroness Sugg recently stated, ‘For those who operate their drones responsibly and safely, we do not want to make it difficult to realise the potential of this technology.’

Masters of Drone Photography by Fergus Kennedy is published by Ammonite Press and is on sale now for £25. ISBN: 978-178-1453315. See

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‘Meander, Millington, East Yorkshire’ by David Hopley. ‘I switched to a 45mm lens (90mm equivalent) so I could capture the shot without having to fly too far away’

I’ve seen quite a few drone flyers getting overenthusiastic in the early days, flying flat out or too far away, and it often ends in a crash. You should have a keen understanding of the weather conditions and you’ll find it much easier to fly safely if you position yourself as close as you can to the drone – this gives you a much better understanding of the surroundings. Fergus Kennedy In the air, even a tiny bit of wind can affect the overall sharpness of an image, especially when I’m using lower shutter speeds. I generally use Tripod mode as well, which improves drone stability by applying more torque and power in certain directions. And I always shoot in raw mode. Francesco Cattuto As with conventional photography, the golden and blue hours provide the best light for creating the most emotional impact in an image – and as a drone photographer you’re also trying to capture emotion. When you’re shooting over water you have to remember that the angle of incidence equals the angle of reflection, so move your drone around to make sure you’re not getting any nasty reflections. Stacy Garlington I try not to fit the whole world into my image – I like to focus on small things instead of shooting an incredibly large scene where your eyes wander all over the image. I lead the viewer’s eyes straight to the subject I want to show them. Tobias Hägg 25

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Lofoten Islands, Norway

‘Jagged mountains, pristine beaches and dancing aurora – what more do you want from a location?’ asks Andy Farrer

The Northern Lights can be viewed in this region from September through to mid-April

THE ARCHIPELAGO of Lofoten in Norway is north of the Arctic Circle in the county of Nordland. The dramatic islands of Hinnøya, Austvågøy, Gimsøya, Vestvågøy, Flakstadøya and Moskenesøya are linked by bridges. These bridges are fantastic photo opportunities in their own right. Owing to the warm Gulf Stream, Lofoten has a much milder climate than any other parts of the Arctic Circle. Between late May and mid July you can experience the midnight sun, while the northern lights can be viewed from September through to mid April. The dramatic peaks are truly breathtaking and abundant. Literally at every turn you’ll be wowed by the scenery. Whether it’s day or night, the mountains will provide stunning backdrops. You will find numerous beaches, such as Haukland and Flakstad, that are pristine. As well as beaches there are lots of rugged granite shorelines, which often have layers of ice and snow. The fishing villages such as Hamnøya and Henningsvær are very picturesque where you’ll likely see white-tailed sea eagles picking fish from the fjords and circling above the mountains. The fish are dried on large racks dotted around and about. The weather here can change quickly, but you can hardly fail to capture dramatic scenes. Even in calm, still weather, the fjords look incredible, especially with mirror-like reflections of the mountains. Remember to note your favourite viewpoints during the day so you can revisit them after dark to try to capture them with dancing aurora overhead.

Andy Farrer Andy won Landscape Photographer of the Year in 2015. He is equally at home in the Arctic Circle as in the Sahara or on his home patch on the Jurassic Coast in Dorset. See more of this work at www., @andyfarrerphoto @lightandlandphotography

Canon EOS 5DS/ 5D Mark IV

I love my 50MP EOS 5DS, especially for shooting crisp, icy winter scenes where the resolution is really pronounced. I switch to the 5D Mark IV for the aurora images at night, as its ISO performance for astrophotography is much better suited. 28

Canon EF 16-35mm f/2.8L III USM This lens is very versatile; it’s the perfect choice for wideangle landscapes while also being fast enough for pin-sharp astrophotography. It also uses the standard 100mm Lee filter system, so no extra sets of filters are required.


Arca Swiss P0 Ballhead

White-tailed eagles can be seen in the fishing villages of Hamnøya and Henningsvær

This is a lightweight, but strong, ball head that I use primarily for travel and astro photography. It’s very easy to get locked into position and, unlike geared heads, it allows the camera to be pointed directly upwards, which is very useful for aurora scenes.

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Shooting advice My favourite time of year to visit is February and March, with nice long nights for chasing the aurora and shorter days where the golden hour lasts most of the day. Being at such high latitudes the days are very short; in fact, from 27 November to 15 January, the sun doesn’t actually rise above the horizon. Seeing the first sunrise of the year in mid-January is always a great time to visit. The all-day (albeit short days) twilight is a joy for photography.

Food and lodging Airbnb has become quite popular now, but the fisherman’s cabins (rorbuer) are the nicest way to enjoy your stay. The cabins, usually on stilts, have terrific views across fjords with mountain backdrops. If you’re near larger towns there are some nice restaurants, but down on the Lofoten Islands there are very few places to go. So stock up at supermarkets in the towns and embrace the hotdogs at the garages. Make sure you have supplies for Sundays, as you’ll find it difficult to find anywhere open at all. As well as pristine beaches, there are a number of rugged granite shorelines

There are plenty of dramatic peaks, which provide stunning backdrops

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A word of warning Lofoten has become much busier in recent years, so book accommodation in advance. If you’re planning to drive from Tromsø rather than fly in, consider a night’s accommodation en route, as it’s a long drive, especially if it’s snowing. You can fly from Tromsø and rent cars locally.


Photo Stories

Keeper of the faith


ali Tibbon attended art school in Jerusalem to study photography, but admits, ‘I mostly hated it when I was studying because it was more art oriented. I would go out and take pictures. Jerusalem is a very diverse place and it has a mixture of Christians, Muslims, Palestinians… I would come back with pictures and people would ask, “Where is this?” I would tell them to just get out of their bubble and cross the street; stories are everywhere.’ With early influences such as Henri CartierBresson, Josef Koudelka and Sebastião Salgado, her drive was always towards photojournalism, and as a first-year student, she had already begun shooting for the photo agency ZOOM 77, which supplied images for Yedioth Ahronoth – Israel’s biggest national daily newspaper. Her career began in 1996 and since then her work has combined news coverage of conflict with magazine assignments and her personal projects, most of which cover the themes of religion and faith. Her photography has also brought her global recognition, including being named Travel Photographer of the Year in the World Photography Awards 2013 for her work in Lalibela, Ethiopia. As well as working overseas, Gali has frequently documented the conflict in her native Israel. In fact, she was attending the Eddie Adams Workshop in the USA when the Second Israeli-Palestinian Intifada began. Gali recalls, ‘It was 2000 and Jerusalem was [being blown] up and I thought, “What the f**k am I doing here [in the USA]?” It was quite an overwhelming experience. I just wanted to go back to work.’ Her conflict work has had some ramifications for her. ‘When you go to conflict zones, or you live in a country that’s constantly in a conflict, you have to have the right people around you

to share what you’ve been through. You have to have one or two good friends that, after work, you can go and have a drink and a laugh with, just as a way to let off steam… dark humour or whatever. Some people stay with it buried inside until it explodes, but I have many other things in my life which balance me.’ Her work documenting religion, and the ceremonies that surround it, led to a unique opportunity in 2016. ‘It was the historical restoration of the tomb of Jesus at the Church of the Holy Sepulchre in Jerusalem. It was quite amazing, in the archaeological sense, that someone just opened a tomb that had been there for hundreds of years, and I had the chance to be there. You go in at 7pm; they lock the doors and nobody opens the doors until 5am. The whole experience was quite amazing – historically and photographically.’ Gali’s award-winning project from Lalibela, Ethiopia – which is sometimes known as the ‘Jerusalem of Africa’ – was shot in black & white. It documented the annual pilgrimage of up to 60,000 pilgrims to a tiny village with churches carved out of rock. She explains, ‘One of the reasons I chose black & white is because I felt like I was kind of time travelling and that I was in a timeless place. The pictures I took could have been taken 70 or 100 years before. It felt very biblical and very pure.’ She notes, ‘Photojournalism is like having a front-row seat at history, in a sense. What other people might see at home on TV, I’m standing there when it happens. A lot of people think that photojournalism is glamorous, but it’s not. It also has an emotional price. At the end of the day photography is in your head; it’s in your eyes and not just in equipment. It’s up to you what you do with the equipment. I know that people see pictures from Israel, and they know that it’s mine without seeing my byline, so that’s a great thing to achieve.’

Gali Tibbon is an award-winning photojournalist based in Jerusalem. Her work has been exhibited at many major photography festivals in Europe, and she has been the subject of two documentary films. To find out more go to 30


Photographer Gali Tibbon tells Steve Fairclough how she balances her assignments with personal work that often covers religion and faith

Pilgrims gather around the cross-shaped church of Bete Giyorgis (St George), Lalibela, Ethiopia, as a dove flies over

Left: A Catholic pilgrim re-enacts the Passion of Jesus Christ as Israeli border policemen guard the procession during Good Friday 2004 along the Way of the Cross (aka the Via Dolorosa) in Jerusalem

Right: Dressed in kimonos, members of the Christian Japanese movement the Makuya pray at Judaism’s holiest site the Western Wall in Jerusalem’s Old City


Gali explains, ‘I’m quite minimalistic. What’s usually enough for me is a Canon EOS 5D Mark IV and a good 24-70mm f/2.8 lens. I like the 24-70mm Mark II because it’s as good as the prime lenses. I find that the less gear I have the more comfortable I am, and also the people I’m approaching feel much more comfortable. I also have the EOS M5 but I’m not that accustomed to the electronic viewfinder. I use it when I need to be more discreet and also the flip-open screen at crazy angles allows you to get other stuff. If I have a certain shoot, the M5 with a wide lens might be perfect, so I’ll just take it along.’ Gali also has a 70-200mm lens ‘when I go to do more newsy work’ and a 16-35mm with a couple of flashguns for portraits. Below left: Several hundreds of Ultra Orthodox Jewish men protest in Jerusalem against the selling of bread during the Jewish holy day of Passover on 22 April 2008 Below: Greek Orthodox Patriarch of Jerusalem, Theophilos III, swings incense during mass at the St James chapel in the compound of the Church of the Holy Sepulchre



James Paterson

Cosmetic surgery

Revitalise old prints by using these simple Photoshop techniques, says James Paterson


ew Photoshop tasks are as rewarding as restoring an old photo. There’s something deeply satisfying about breathing new life into damaged prints, so that they can be cherished for years to come. Whether you’re restoring snaps from your own family album or as a favour for someone else, it leaves you with a glow as warm as the gorgeous sepia tones in these treasured old mementos. For users of Photoshop Elements, there are a host of powerful restoration tools on offer. Retouching tools like the Healing brushes and Clone tool are ideal for fixing marks and scratches, and the tonal commands make it easy to enhance and sharpen faded old details. Even heavy-duty restoration work such as repairing ripped prints is possible with simple layer and masking skills. Over the next few pages we’ll explore a few typical problems and how to fix them.

Miraculous restorations

the broken pieces, Even very badly damaged prints can be restored. shifting them back into place As long as enough detail remains, it doesn’t matter like a jigsaw. When all the pieces are lined up, if that detail is in several pieces. We begin by finish off by retouching the seams using the Spot selecting each individual piece with the Quick Healing Brush and Clone tool. To do so, make a Selection tool, then copy each to a new layer (Cmd/ new layer and set both tools to ‘Sample All Layers’ Ctrl+J). Once done, the Move tool and Transform so that they sample from the combined details; command (Cmd/Ctrl+T) can be used to reposition then paint to fill in the gaps. 32


James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop magazine. To see more of his work visit


Master the Healing and Clone tools The Clone Stamp tool and Healing brushes are the go-to tools for much restoration work – or indeed all kinds of retouching tasks. There are two healing tools to choose from: the Spot Healing Brush and Healing brush. The Spot Healing Brush is usually the one to start with. It works by automatically sampling from the surrounding image in order to fix the area being painted. As such, it’s brilliant for removing the little spots, marks, dirt, scratches and wrinkles that inevitably appear in old prints. Simply paint over them and let the tool do the work (for long scratches, shift-click between two points to paint a straight line). As with all automated tools the Spot Healing Brush can occasionally go wrong, but this is when you can switch to either the Clone tool or Healing Brush to tidy up. Both of these other tools require you to Alt-click to sample a source – usually a clean area nearby. The Clone tool simply copies pixels from the source area to the painted area. It’s often most effective when used at a low opacity, as this allows you to gradually smooth out rough areas (to set a brush opacity quickly hit 1 for 10%, 2 for 20% and so on). All these tools can be set to ‘Sample All Layers’. This is handy, as it means we can create a new empty layer above our original image then retouch on this layer, thereby preserving the original image on the layer below if we ever need to go back to it. The Spot Healing Brush is ideal for removing little scratches and marks quickly




Tips for digitising your prints

Get the handpainted look

The first task is to transform your old prints into ones and zeros. If the photo is in a frame then take care removing it, as the emulsion may stick to the glass and come away when it’s pulled out. It’s best to use a flatbed scanner to digitise the print – set the scanning resolution to 300 pixels per inch or more. If you can’t use a scanner then a camera will do the job. The key thing is to light the print evenly with two lamps (you can use either flashes or constant lighting) on either side of the print. It can be helpful to stick the print to a wall, as it makes it easier to position the lights on either side, each angled at 45°. As for camera settings, it’s best to use ISO 100 for maximum image quality, and set a mid-range aperture like f/5.6 or f/8, as this is typically the sweet spot where most lenses are at their sharpest.

Why not add colour to old photos to give them a hand-painted treatment? The technique is very easy. Simply go to the Layers panel and make a new empty layer, then change the Blend Mode to Color. The Color Blend Mode allows you to apply the colour while still keeping the details visible from below. Next grab the Brush tool, choose a colour and begin painting. Once done, make other layers for different colours. Often the colour can initially look too strong, but it’s easy enough to tone it down by lowering the layer opacity. And if it doesn’t look like the right shade, you can always tweak the colour afterwards by adjusting the Hue (hit Cmd/Ctrl+U for the Hue/Saturation command).

Use the ‘Restore Old Photos’ Guided Edit The Guided workspace in Elements offers a wide range of techniques, each laid out like a tutorial with all the tools you’ll need at hand. Found under ‘Special Edits’, the dedicated ‘Restore Old Photos’ guided edit is a great place to start, especially if you’re a beginner. It guides you through cropping and retouching the print, then gives you the option to apply the Dust and Scratches filter and sharpening, as well as auto tonal fixes or a black & white conversion. It doesn’t give you the same control as doing things manually in the Expert Mode, but it’s quick and easy.


1 Auto-haze removal

This automatically boosts washed-out blacks and enhances detail. Go to Enhance>Auto Haze Removal to apply. 34

2 Remove a colour cast

For colour prints go to Enhance>Adjust Color >Remove Color Cast then click on a point that should be neutral, like the headscarf here.

3 Dust and Scratches filter

Found in Filter>Noise, this applies an automatic fix across the image to remove small dust spots and can halve your retouching time.

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Get creative Instead of doing a straightforward restoration, why not use old photos as material for creative artwork? There’s something about the authenticity of vintage prints that makes them ripe material for a surreal makeover like this. You can create all kinds of wonderful collage effects using selections, layer and masks. Here (below) – after removing the facial features – we’ve duplicated our original layer several times, making each one slightly smaller, then used a layer mask to hide the central portion of the face, revealing the smaller head on the layer below.

Replace missing details If part of a photo is missing or badly damaged so as to be unrecognisable, you might be able to mirror the details from elsewhere to fix the problem. To do this, make a loose selection of the area you want to copy using the Lasso tool, then hit Cmd/Ctrl+J to copy it to a new layer and Cmd/Ctrl+T to transform. Right-click and choose Flip Horizontal to flip it and drag it into position to fill in the missing details. Once done, we usually need to soften the edges of the piece so that it blends in with everything else. To do this, we add a layer mask, grab the Brush tool and – using a soft-edged brush tip – paint with black around the edges for a smoother transition.

4 Content-Aware Fill

This fills in missing areas. Select the problem area with the Lasso tool then go to Edit>Fill Selection and choose Use: Content-Aware.

5 Unsharp Mask

Use Enhance>Unsharp Mask to sharpen soft details. Adjusting the Threshold will exclude grain from the effects of the sharpening.

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Amateur Photographer

Awards 2019 PHOTOGRAPHY is not about what gear you have, they say, but try telling that to somebody whose slow-focusing lens or noisy, clunky old DSLR has caused them to miss a once-in-a-lifetime shot. Nobody wants to be stuck with second-rate gear. As a weekly magazine, AP tests more camera bodies, lenses and accessories than any other UK publisher, and our testing team is the toughest and most ruthlessly independent of any in the industry. So a recommended award from APâ&#x20AC;&#x2122;s testers really means something, which is why so many big makers proudly display our stamp of approval on their packaging. While you can argue that few really bad cameras or lenses are released these days, as a buyer you obviously want to get the best buy you possibly can. Why buy something good when you can get something great for not much more money? So, read on to discover our top cameras, lenses and accessories of the past 12 months. Also featured here are the winners of our Good Service Awards, as well as some particularly noteworthy photographers who deserve our applause. Great photography, after all, is what AP is all about...

Exceptional Achievement in Photography

Marilyn Stafford Marilyn Stafford was born in the USA in 1925 and now lives in the UK. Having worked as a photojournalist and fashion photographer in Europe, her internationally published work spans 1948-1980 and she has photographed prominent historical figures, refugees and tribal peoples. Visit www.marilynstafford

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HOW MANY photographers can say they started their career taking the portrait of one of the 20th century’s most iconic figures? The recipient of our Exceptional Achievement in Photography Award did just that, capturing none other than Albert Einstein in his home in 1948. Never setting out to be a photographer, she received her ‘training’ for that particular photo shoot in the back of the car on the way to Einstein’s house – there’s nothing like being thrown in at the deep end. It’s not surprising that her very first portrait continues to be of interest all these years later, but she would go on to so much more. Born in Cleveland, Ohio, Marilyn has spent the vast majority of her life living and working in Europe. She first visited the continent accompanying a friend whose husband had cheated on her and had forced the guilty party to pay up for the transatlantic jaunt. Had it not been for this trip, the rest of Marilyn’s impressive career might never have got started. That career went on to span four decades, during which Marilyn Stafford was well ahead of her time, carving out a successful career in a world almost completely dominated by male photographers. Working in fashion photography in Paris in the 1950s, she pioneered a type of shot style that had never been seen before – images of women wearing ready-to-wear clothes on the streets of the city, rather than stiff and formal studio portraits.


Marilyn’s documentary photography work started on the streets of Paris

Remarkably humble and self-effacing, Marilyn would probably tell you that this was down to a lack of desire to learn how elaborate lighting set-ups worked, but whatever the reason, the results were striking for their realism in an era that was moving from the uppity world of haute couture. It’s easy to see how this shooting style was a launching point for her early work with children in the slums of Paris, the start of her documentary career. Counting luminaries such as Robert Capa and Henri

Marilyn’s first photograph was this image of Albert Einstein

‘She was working in Fleet Street when you could count her female contemporaries on one hand’ Lina. Here, she found herself working in Fleet Street at a time when you could count the number of female contemporaries on one hand. Although times have certainly changed immensely since then, there’s still plenty of work to be done – which is where Marilyn’s next project comes in. Now living on the South Coast, she stopped taking photos herself ‘when it went digital’, she says, but Marilyn’s involvement in the craft is far from over – in fact her role is arguably even more important than ever.

Passionate advocate

Cartier-Bresson among her friends, her life would continue to be a series of twists, turns and lucky chances. In Paris, she married and travelled to Tunisia to photograph Algerian refugees (something which she did while six months pregnant, no less). The resulting photographs were sent to The Observer by CartierBresson, and would become her first front-page feature. Some years later, following the separation from her husband, Marilyn moved to London with her daughter,

A new ready-to-wear style of clothing had never really been photographed in-situ before, a style which Marilyn pioneered

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Unsurprisingly, she is a passionate advocate for women in photography, and as such she set up the Marilyn Stafford FotoReportage Award in 2017. In association with FotoDocument, it is a social enterprise which highlights positive social or environmental initiatives. At inception, the award was generously self-funded by Marilyn, with the aim to award a small amount of money to a female photographer. More than 60 entrants from all over the world applied for the prize, leading to extra sponsorship from Olympus for the 2018 prize – as well as an exhibition of the winners and runners-up. It is a great honour to present this AP award to Marilyn, who should be recognised and rewarded for both her own fantastic career spanning several decades at a tricky time, and her devotion to helping to make sure that we don’t get complacent about the role of female photographers in today’s society. A woman with hundreds of fascinating stories, Marilyn is a fearless advocate for photography, despite being 93, and she is a thoroughly deserving recipient of the Exceptional Achievement in Photography award. If you would like to know more about Marilyn’s life, her extensive body of work, or how you can apply for the FotoReportage photography award, visit www. 39

Power of Photography Award

Adam Ferguson grew up in Australia but now lives in Brooklyn, USA. He sees himself as a storyteller, specialising in conflict and geopolitical issues. He contributes to various publications including The New York Times, Time and National Geographic

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AP’S POWER of Photography Award is awarded in recognition of the power that photography has to move us and challenge our preconceptions. The winner is an Australian-born photojournalist who first gained recognition in 2009 for his work in Afghanistan. Since then he has worked internationally, with a focus on conflict and civilians caught up in it, contributing to The New York Times, Time magazine and National Geographic, amongst others. This award is for his work on a story for The New York Times that won First Prize in the People (Stories) category at last year’s World Press Photo Contest. Adam was working on assignment in Nigeria when he heard about a young woman who had been deployed by militant Islamist group Boko Haram as a suicide bomber but had escaped. Since 2014, Boko Haram has abducted more than 2,000 women and girls, many of whom have been strapped with explosives and ordered to blow themselves up in crowded areas. A small number managed to escape and find help. ‘I wanted the pictures to celebrate the girls’ resilience,’ he explained, ‘and accentuate their bravery and beauty, but the challenge was how to tell this story when, for their own safety, I couldn’t show their faces.’ Adam brought over a journalist from The New York Times and she interviewed the girls while Adam photographed them. ‘The girls were mostly around 18 or 19, and had been kidnapped when they were around 13,’ explained Adam. ‘Some were turned into war brides,


Adam Ferguson


Lily’s projects show her talent for capturing real-life stories

Rising Star Award

Lily Bungay

Adam wanted to celebrate the bravery of the girls who managed to escape from Boko Haram. ‘All these girls had been through a very intense level of indoctrination at a very impressionable age,’ he said.

some saw their entire families being killed.’ Adam photographed 18 girls in two days, working in a series of safe houses and using the surroundings that were there. The lighting was deceptively simple. ‘I brought a full set of strobes and light modifiers to Nigeria,’ he told AP, ‘but to save time I ended up just using one of my flash heads with the modelling light on, and my ISO set to 3200.’ Despite the limitations that Adam was working under, this set of images shows the power of a simple idea carried out with skill, sensitivity and clear stylistic vision.

CELEBRATING young and talented photographers establishing themselves in the industry, the Rising Star award is now in its second year. In an era where it’s more difficult than ever to make a successful living from photography, there are still an astonishing number of extraordinary photographers that we come across on an almost daily basis. This year, our Rising Star award goes to Lily Bungay. Thanks to a former career working in marketing for a camera manufacturer, Lily was already well known to us at AP, but since deciding to pursue a career in imagemaking more recently, her work has continually impressed and resonated. She has recently completed a masters degree in Photojournalism and Documentary Photography, with the work from her recent degree show ‘Ikaria’ being featured in AP’s 5 January 2019 issue, as well as in other notable outlets, such as the BBC. Her passion for capturing real-life situations with warmth and depth is particularly evident in her work, with her projects telling a story in a way which appears effortless but would surely be out of reach for lesser photographers. As well as her fascinating personal projects, it comes as no surprise that Lily is quickly making a name for herself in the commercial world – it’s clear that her unique storytelling style crosses over into both areas of her life, helping to create shots that are empathetic and encourage second, third or even fourth glances. She also shoots weddings with her business partner Martin Eberlen, where again, it’s her personable style mixed with the ability to perfectly capture candid moments of emotion that makes her portfolio stand out. Unusually for a young photographer, she works in both digital and analogue formats – we can’t wait to see what else she comes up with in the coming years.

Lily Bungay is a documentary and portrait photographer, and freelance content producer based in London. For more information, see subscribe 0330 333 1113 I I 16 February 2019


Adrian Clarke has had a long and successful career with Fujifilm

Chris Cheesman Memorial Award

Good Service Awards THE RETAIL industry is going through a torrid time at the moment, with one in three retailers in the FTSE 100 reporting profit warnings last year, and predictions that 10,000 shops will go out of business on the UK high street in 2019. In hobbyist markets like photography, good specialist retailers that offer great service from knowledgeable staff play a vital part in helping keep our hobby alive, and at AP we try to support them as best we can. One of the ways that we do this is through the Good Service Awards. Voted for by you, the reader – their customers – a Good Service Award logo is a signpost to existing and potential customers saying ‘This is a business that offers a high quality of customer service.’ But we only give this vote of approval to retailers whose customers vote for them in sufficient numbers. This year ten Good Service Awards have been given to UK retailers. We also give a single Platinum award for the retailer who received the most votes of confidence from their customers. For the third year in a row this award has been won by Grays of Westminster.

2019 Awards CameraWorld Clifton Cameras Dale Photographic Ffordes Photographic Jessops London Camera Exchange Mr Cad Park Cameras SRB Photographic Wex Photo Video

Platinum Award Grays of Westminster

Adrian Clarke THE CHRIS CHEESMAN Memorial Award was inaugurated in 2017 in memory of AP’s former News Editor, who died in 2016. It is given to someone in recognition of their outstanding contribution to the UK photo industry. This year’s recipient, Adrian Clarke, is the MD of Fujifilm UK. He joined the photo business in the mid 1980s after graduating from Cambridge University and spending a summer engaged as a political canvasser in the USA. His first role at Fuji Photo Film UK Ltd was as a marketing executive working on the company’s motion-picture films, professional video tape and photographic paper. When Fujifilm launched the first minilab, he began the process of populating the market with 1-hour photo outlets and the beginning of high street film processing. During the 1990s he completed an MBA and worked in many other parts of the business including Graphic Arts and Recording Media. Adrian led Fujifilm’s entry into the digital camera business with the launch of the DS-7, and since then has steadily risen to become managing director of Fujifilm’s European Electronic Imaging business, with a stint along the way as vice president of Photo Imaging in Europe. Former AP News Editor Chris Cheesman, who died in 2016 42

Once again Grays of Westminster received the most votes of confidence from its customers 16 February 2019 I I subscribe 0330 333 1113

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16-19 March 2019 The NEC, Birmingham

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Accessory of the Year

Gitzo Advent


Accessory of the Year



Benro GD3WH Geared Head Why we like it ● Precise control of camera

positioning ● High-quality Mg-alloy construction ● Relatively small and lightweight ● Uses standard Arca Swiss quick release ● Three bubble levels to set camera straight

GEARED heads are the perfect choice for any photographic application that demands really precise camera adjustment, such as macro or architecture. In its first offering of the type, Benro has come up with an excellent design that for many photographers offers the ideal compromise between size, sturdiness and price. The GD3WH uses a conventional layout with three large control knobs, one for each axis of movement. Rotating any one of them drives the camera directly in the corresponding direction, allowing highly accurate composition setting. For quick and rough repositioning, the gearing can be disengaged using the adjacent star-shaped controls, which spring firmly back into place when released. With sturdy magnesium alloy construction, this head is both lighter and more compact than its direct competitors. Another big advantage is that its quick release uses Arca Swiss-pattern dovetail plates, which are now a de facto standard. The screw-type clamp is especially well designed and makes attaching the camera unusually quick. This may be Benro’s first attempt at a geared head, but it’s an excellent design that gets pretty much everything right. Camera adjustment is smooth and precise, and it’s portable enough to carry with you on location. Quite simply, it’s the new leader of its class.

PREMIUM manufacturer, Gitzo, is best known for its high-end tripods, but more recently we’ve seen the brand introduce backpacks into its range. The Adventury 30L is smaller than the Gitzo Adventury 45L, but remains a sizeable backpack with ample capacity and an impressive depth to accommodate pro-spec DSLRs and mirrorless cameras with a 70-200mm lens attached and a second body plus up to four lenses. What we love about this bag is how well thought through it is. Outdoorsy types with who it’ll be most popular will find it comfortable to carry, and its expandable roll top offers the perfect place to store a jacket, food, drink, or other non-camera-related items. Along with two sizeable pockets either side, you get multi-link straps to secure a large tripod, freeing up both of your hands for long hikes. You also get two straps at the bottom that can be used to carry a small two-man tent, plus there is a pair of padded compartments on the side to safely carry a tablet and laptop measuring no larger than 23x2x37cm. For outdoor photographers with lots of kit, this is an excellent backpack option, which most importantly, feels comfortable to wear when fully loaded and offers first-class protection for your expensive kit on the move. It’s thoroughly deserving of one of the three Accessory of the Year awards we handed out this year.

‘What we love about this bag is how well thought out it is... an excellent backpack option’

ury 30L Why we like it


● Fits carry-on luggage

■ Benro GD3WH Geared Head ■ Eizo ColorEdge CS2730 ■ Gitzo Adventury 30L ■ Hahnel ProCube 2 ■ H&Y Quick Release Magnetic Filter Frame ■ Hoya Ultra-Pro Circular Polarising filter ■ Loupedeck+ ■ Lowepro PhotoStream RL 150 ■ Manfrotto 190 Go! MS Carbon MT190GOC4 ■ Vanguard ALTA RISE 48

requirements of most airlines ● It’s water repellent and offers an additional rain cover ● Comfortable when fully laden ● Offers good interior customisation ● Features adjustable waist and sternum straps




Accessory of the Year

Hahnel ProCube 2




ALMOST invariably, cameras are only supplied with the means to charge a single battery, meaning it’s not easy to replenish two at the end of a shoot. For this, you need a dual charger such as the Hahnel ProCube 2. It’s an update to the original ProCube, with a similar sturdy metal body shell and interchangeable plates that each accept a pair of batteries. But it gains a few neat updates; the battery holders now simply clip in place, without the need to plug-in a fiddly connector wire, and the LCD display shows how much charge has been fed to each battery. Versions are available for Canon, Nikon, Olympus, Sony, and Fujifilm/Panasonic, each coming with several battery plates to cover a wide range of cameras from each brand. You also get a plate for charging four AA batteries, which fixes magnetically onto the top of the unit; however this means it can’t be used when you have Li-ion batteries installed. In addition, a high-power 2.4A USB output will charge phones or tablets once the camera batteries are full. This is a supremely well-made and robustfeeling piece of kit, and is a particularly good choice if you use multiple cameras from the same brand.

Why we like it ● Interchangeable holders for

different batteries ● Informative LCD status screen ● Versatile, with AA battery charging and USB output ● Works from mains power and in-car ● Sturdy metal construction

‘This is a supremely well-made and robustfeeling piece of kit’ e 0330 333 1113 I I 16 February 2019


Software of the Year

Serif Affinity Photo Why we like it ● Excellent power, scope

and range of tools for the price (£49) ● Good for creative professionals as well as photographers ● Doesn’t require you to sign up to a subscription plan ● Supports lookup table (LUT) adjustment ● Produces very naturallooking HDR images

Nominees ■ Professional 3D LUTs package ■ Mastin Labs Portra Pushed Pack ■ Serif Affinity Photo

PHOTOSHOP has a reputation for being the best imageediting application in the world, but there are plenty of alternatives that are just as good or better in their own way, and Affinity Photo is one of them. Like Photoshop, it doesn’t have its own image browsing or cataloging area, but it offers some excellent tools for fettling and fine-tuning your images. The develop module reveals great depth, colour and detail in raw files with a handy split-screen to compare your adjusted image with the original. Everyday adjustments are available as adjustment layers and provided that you save your image in the Affinity Photo file format, it’s possible to return and tweak the settings you applied previously. You can also create Live Filter layers with effects displayed live on your image as you make adjustments. Affinity Photo is a full-on professional photo editing application that makes no concession at all to its price point. You get a strong, fast and highly capable rival to Photoshop – and one that doesn’t need a regular subscription payment.




Innovation of the Year

Canon Speedlite 470EX-AI THIS AP award highlights the most innovative products to arrive in the market over the last 12 months and this year Canon has made it onto the nominees list with two products. After much deliberation, the award went to the Canon Speedlite 470EX-AI – a product quite like no other we’ve seen before. Though you might think it’s difficult to reinvent the wheel of how a flashgun works, that’s exactly what Canon has achieved here. It’s equipped the 470EX-AI with an Auto Intelligent (AI) function, which is designed to work out the optimum position of the flash head before automatically manoeuvring it to create softer, more flattering illumination. In full-auto mode, the unit requires a test flash to be taken to calculate the optimum angle for natural illumination before the motorised head moves into its optimal position ready to shoot. Alternatively, it can be set to semi-auto mode for flash-savvy users who’d prefer to set the angle of the flash themselves. The clever thing about this mode is that the flash registers the position as manually set by the photographer using the Angle/Set button and readjusts based on the orientation of the camera – very robotic indeed! If you’re a Canon user who wants to get away from the trial-and-error approach to getting great results from using bounce flash, or simply want a user-friendly Speedlite that won’t faze you, the 470EX-AI is a tempting option and gives us an insight into the direction flashguns might be heading in the future. 46

Why we like it ● Motorised head operates

very smoothly ● Easy to set up and use ● Can be switched to manual and used like a normal flash ● Covers a standard range of 24-105mm ● Supports ultra wideangle lenses as wide as 14mm



Nominees ■ Canon Speedlite 470EX-AI ■ Laowa 24mm F14 2x Macro Probe ■ Canon EOS R system

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Prime Lens of the Year

Sony FE 24mm F1.4 GM Why we like it ● Absolutely superb

optical quality ● Smaller and lighter than DSLR equivalents ● Built-in aperture ring ● Silent, decisive autofocus ● Dust and moisture-resistant construction

Nominees ■ Panasonic Leica DG Elmarit 200mm f/2.8 Power OIS ■ Samyang AF 24mm F2.8 FE ■ Sigma 105mm F1.4 DG HSM Art ■ Sony FE 24mm F1.4 GM ■ Zeiss Loxia 2.4/25

THIS fast wideangle prime for Sony’s full-frame mirrorless system sets new standards in its class. As a member of the firm’s premium G Master range, it offers stunning optical quality, combining spectacular resolution across the entire image with attractive rendition of defocused backgrounds. As a bonus, it’s also substantially smaller and lighter than its equivalents for full-frame DSLRs. The newly developed optical formula employs 13 elements in 10 groups, includi extreme aspheric elements along with three crafted from extra-low AWARD dispersion (ED). WINNER This delivers 2019 NS LE stunning sharpnes E IM PR even at f/1.4, coupled with minim distortion and chromatic aberration. In addition, the lens suffers from barely any coma flare of

point light sources at the corner of the frame, making it highly suitable for astrophotography. Nano-AR coating suppresses flare and ghosting, while fluorine coating shrugs off water and grease from the front element. Sony’s latest high-power direct-drive supersonic motor (DDSSM) system offers fast and silent autofocus that’s also unerringly accurate, even with off-centre subjects at large aperture settings. Manual focus is similarly well behaved thanks to the Linear Response MF system, which offers a very intuitive feel similar to using a traditional manual-focus lens. Overall, this is without doubt the best fast wideangle prime we’ve tested.

‘This fast wideangle prime sets new standards in its class’

Zoom Lens of the Year

Why we like it ● Offers attractive saving

Sigma 24-70mm F2.8 DG OS HSM Art FOR USERS of full-frame DSLR and mirrorless cameras requiring a versatile zoom that performs as well in low light as it does creating a shallow depth of field wideopen, a pro-spec 24-70mm f/2.8 is definitely the way to go. Sigma’s 24-70mm f/2.8 presents a very attractive saving over its Canon, Nikon and Sony rivals and puts up a strong fight against them in terms of optical performance. To maximise its appeal, it’s optimised for use with sensors boasting a resolution of up to 50 million pixels. Effective optical stabilisation helps to keep subjects sharp and images free of handshake, with the option of opening the lens to f/2.8 being particularly useful in low-light scenarios and when you’d like to emphasise a subject from a busy background and create pleasing bokeh in out-of-focus areas. With a robust build quality as well as fast and quiet autofocus, it’s a lens that’ll provide first-class service over many years. All things considered, this is a superb optic. While it might not be a particularly lightweight option, full-frame users after one of the finest and most affordable f/2.8 standard zooms available won’t have any regrets adding this optic to their collection. 48

over close rivals ● Highly effective image stabilisation provides four stops benefit ● Fast, silent and accurate autofocus ● Strong and robust build quality ● Creates attractive images when used wide open





■ Nikon AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR ■ Sigma 14-24mm F2.8 DG HSM Art ■ Sigma 24-70mm F2.8 DG OS HSM Art ■ Sigma 60-600mm F4.5-6.3 DG OS HSM Sports ■ Tamron 100-400mm F/4.5-6.3 Di VC USD

16 February 2019 I I subscribe 0330 333 1113

Why we like it ● Really useful 24-200mm

equivalent zoom range ● Very good image quality ● Remarkably fast autofocus and continuous shooting ● High-quality pop-up electronic viewfinder ● Tilting screen allows flexible compositional options

Nominees ■ Panasonic Lumix DC-LX100 II ■ Panasonic Lumix DC-TZ200 ■ Sony RX100 VI

Compact Camera of the Year

Sony RX100 VI WITH THIS latest iteration of its groundbreaking pocket camera, Sony has made perhaps its most significant change to date. In place of the 24-70mm equivalent zoom used by the previous three generations, it’s added a considerably longer 24-200mm equivalent optic, while retaining almost the same body size. With impressive image quality across the entire zoom range, this makes for an excellent compact camera that’s capable of shooting a wide range of subjects. The class-leading spec sheet includes 24 frames-per-second continuous shooting complete with exposure and focus adjustment between frames, a 315-point hybrid autofocus system including on-chip phase detection, and 4K video recording. Another key design feature is the clever electronic viewfinder that pops up out of the top plate and retracts when not in use. This facilitates the double-hinged LCD screen design, which can rotate 90° down for overhead shooting, or 180° forwards for selfies. What’s particularly impressive, though, is how these


Why we like it ● Triple camera including

Huawei Mate 20 Pro

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features are all somehow crammed into a body that will fit into a shirt pocket. For those who can afford the £1,149 asking price, and are prepared to put up with its handling foibles, the Sony RX100 VI might just be the perfect pocket travel camera.

Smartphone Camera of the Year

HUAWEI has been producing some spectacular smartphones over the past few years, with innovative camera technology that’s co-engineered with Leica. With this latest model, it has taken the already-excellent camera used by its P20 Pro and added a 16mm equivalent lens, alongside 27mm and 80mm camera modules. This makes for a unique device that brings a whole new perspective to smartphone photography, allowing you to switch from ultra-wideangle to short telephoto simply by tapping a button. Huawei’s camera app is both impressively well-featured and intuitive to use. Alongside the basic point-and-shoot Photo mode, you get an Aperture mode for shallow depth-of-field effects, a Night mode that allows handheld exposures up to eight seconds, and a Portrait mode including various relighting and bokeh-simulation effects. Enthusiast photographers should particularly appreciate the Pro



ultra-wideangle lens ● Fully featured camera app includes full manual control ● DNG raw recording from all three cameras ● Excellent battery life and rapid charging ● Attractive, water-resistant design


‘A new perspective to smartphone photography’ mode, which gives full manual control and the ability to record DNG raw files. The device is based around a lovely 6.39in OLED HDR screen that’s gently curved towards the edges, with a fingerprint reader embedded underneath. Its huge 4200mAh battery charges quickly and is easily capable of lasting a day of intensive use. Last but not least, IP68 waterresistance means it should survive an accidental soaking. For serious photographers, there’s nothing else quite like it. I 16 February 2019

Nominees ■ Google Pixel 3 XL ■ Huawei Mate 20 Pro ■ Huawei P20 Pro 49

Entry-level Camera of the Year

Canon EOS M50 Why we like it ● Compact size and light

weight ● Reliable metering and auto white balance ● Quick and accurate autofocus ● Easy-to-use interface that gives extensive control ● Fully articulated touchscreen LCD

WITH this premium entry-level model, Canon is finally offering buyers a genuine choice between DSLR and mirrorless. It employs an SLR-like design with a built-in central electronic viewfinder and fully articulated touchscreen, while offering a similar degree of external control to the ultra-compact EOS 200D DSLR. But beneath its unassuming exterior lies a camera that’s easy to use and takes great pictures.

Nominees ■ Canon EOS M50 ■ Fujifilm X-T100 ■ Olympus PEN E-PL9

The EOS M50 is built around a 24MP APS-C sensor that uses Canon’s Dual Pixel CMOS technology to provide fast, accurate phase-detection autofocus across most of the image area. It’s capable of shooting at up to 10 frames per second, or 7.4fps with focus adjustment between shots. Well-implemented Bluetooth and Wi-Fi connectivity makes it easy to share your favourite images or control the camera remotely using your smartphone. Despite its small size, the EOS M50 handles well and provides a decent level of external control, complemented by an excellent touchscreen interface. Most importantly, it’s capable of producing consistently fine images, with attractive colours and well-judged exposure. Overall this is a very likeable little camera that manages to be simple and approachable for novices, while also offering a full degree of manual control for enthusiasts. It’s a great option both AWARD for beginners, and for WINNER L E V Canon DSLR owners 2019 -LE A RY ER T tempted by the EN CAM advantages of mirrorless.

Professional Camera of the Year

Fujifilm GFX 50R WITH the GFX 50R, Fujifilm has come up with a Goldilocks formula for mediumformat digital. It’s placed a 51.4MP CMOS sensor that’s 70% larger than full frame into a relatively compact body that’s just as easy to carry around as a high-end DSLR. What’s more, it’s not stratospherically more expensive either. In terms of design, the GFX 50R uses a rangefinder-style body with a cornermounted viewfinder. It’s built around traditional analogue shutter speed and exposure compensation dials on the top-plate, alongside aperture rings on the AWARD WINNER AL lenses. With further key controls placed at N 2019 your fingertips, including an electronic dial SIO ES ERA F O M for ISO and an AF-selector joystick, it’s an PR CA absolute pleasure to use. Thanks to its dust and weather-resistant construction, it can readily be taken format sensor brings addictively high image quality, out of the studio and shot on location in tough combining exceptional detail and phenomenal conditions, too. dynamic range with Fujifilm’s peerless colour The large, high-resolution electronic viewfinder is reproduction. For those able to fully exploit its joined by a tilting rear screen that facilitates shooting at awkward angles, with both giving an accurate preview of strengths, the GFX 50R is a truly phenomenal photographic tool. how your shots will come out. Crucially, the medium50

Why we like it ● Superlative image quality

with stunning detail ● Excellent design places key controls at your fingertips ● Intuitive dial-led operation gives a fluid shooting experience ● Excellent viewfinder and screen enables precise composition ● Robust, weather-resistant construction

Nominees ■ Fujifilm X-H1 ■ Nikon Z 7 ■ Fujifilm GFX 50R

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Why we like it ● Robust and hard-wearing


● Excellent handling ● Sensational EVF at its

price point ● Responsive autofocus system ● Promising selection of Z-series lenses

Nominees ■ Fujifilm X-T3 ■ Nikon Z 6 ■ Sony Alpha 7 III

The Z 6 provides Nikon users with an easy transition from DSLR to mirrorless

Enthusiast Camera of the Year and Product of the Year AWARD WINNER T S 2019 IA US A

Nikon Z 6



Impressive image quality from the 24.5MP full-frame sensor

The Z 6 has excellent handling characteristics

THE NIKON Z 6 was the real standout camera of 2018, impressing all of us on the AP team. It picked up a 5-star Gold Award when we reviewed it, which it has now followed-up by winning the Enthusiast Camera of the Year Award as well as the highly coveted Product of the Year award. Sister to the high-resolution Z 7, the Z 6 is a remarkably versatile full-frame mirrorless camera that provides what so many Nikon users looking to make the transition from DSLR to mirrorless have been waiting for. It shares the same body design and uses the same large-diameter, short back-focus lens mount as the Z 7, but differs in that it’s more of a general purpose model, incorporating a lower resolution 24.5MP full-frame BSI CMOS sensor, 273-point phase detection AF system and fast 12fps burst shooting. The hurdle of allowing existing Nikon owners to make good use of their

subscribe 0330 333 1113 I I 16 February 2019

F-mount lenses has successfully been overcome by creating the FTZ mount adapter. New users to the camera will be bowled over by the excellent viewing experience of the large electronic viewfinder, as well as the quality of the images it delivers. Despite being smaller and lighter than equivalent DSLRs, it has wonderful handling characteristics that make it feel every bit like a thoroughbred Nikon to use. Overall the Z 6 is an astonishingly impressive camera for the money and is the full-frame camera to go for if you don’t require the Nikon Z 7’s super high-resolution output. Nikon has entered the high-end mirrorless market with quite a statement and to produce a camera of such high quality as the Z 6 at its first attempt further highlights the firm’s commitment to challenging in the full-frame market at the highest level. 51

THE EISA PHOTOGRAPHY MAESTRO CONTEST 2019 1ST PRIZE h1500 & EISA Maestro Trophy 2ND PRIZE h1000 & EISA Maestro Trophy 3RD PRIZE h750 & EISA Maestro Trophy

This Year’s Theme:






Provide 5-8 photographs on the theme of ‘Power’. All entries must be in digital format (from a digital camera or scanned film originals).

AP has teamed up with Photocrowd to host the contest. To enter, go to The top three will be chosen by the AP team and the results will be published in a June issue of AP. The winner will win a print subscription to AP and go forward to the International round of the contest.

The winning entries from each of the 16 participating EISA countries will then be judged together at the Association’s general meeting in June 2019. The final results of the International Maestro contest will be revealed at the EISA Awards Gala on 6 September 2019.

inners will also be All National Maestro w at the end of June published on Facebook oice competition. for the EISA Public’s Ch 000. Prize for the winner: 81

Results will be published in the September or October issues of all 16 EISA photo magazines/websites. All three winners will be invited to Berlin at the official EISA Awards ceremony on 6 September

For further details, terms and conditions visit

Tech Talk ofessor Newman on…

Amateur Photographer

Designed to help produce smoother handheld footage, gimbals still operate as third-party devices

However, these gimbals are still third-party devices. So far as I know, no camera manufacturer includes a gimbal in its own-brand, system-specific accessories. Recently, Nikon has announced a ‘Filmmaker’s kit’ for its new Z 6 mirrorless camera. Included in this kit is a gimbal, a MOZA Air 2 3-axis motorised rig, which appears to be a particularly powerful example of the species. Priced in the mid-£500 range, it includes many intelligent modes for keeping track of a moving subject, including follow-focus and follow-zoom modes. These require a follow-focus accessory, which connects to the appropriate lens ring (focus and zoom) and allows motorised movement. All of which began a train of thought. When attached to an AF DSLR, the follow focus is duplicating the function of the autofocus mechanism within the lens. Would not a better solution

Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer subscribe 0330 333 1113 I I 16 February 2019

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Filmmaker’s kit

be to connect together the systems of the camera and gimbal, and use the motor in the lens to do what it was designed to do? But this doesn’t happen, even for this accessory, which Nikon has chosen to include within its own kit. Another item in the kit, the Atomos Ninja V monitor/recorder has included some integration between the two systems. Nikon has collaborated with Atomos to furnish a new interface that allows the recorder to collect and record 10-bit raw video (that means ‘raw’ in the same sense as a still raw). Unfortunately, this is rare. The digital photographic world does not seem to deal in standardised interfaces that allow efficient interworking between different pieces of gear. The basic standards such as EXIF soon degrade into manufacturer-specific ‘Maker Notes’ which according to the EXIF standard is ‘a tag for manufacturers of EXIF writers to record any desired information’ – that is, there is no commonality between manufacturers. For translating data to and from cameras, and for remotecontrolling them, there is supposedly the standardised ‘Picture Transfer Protocol’ – but unfortunately few camera manufacturers seem to adhere to it, and it has not been updated since 2008, and so cannot begin to cater for the functionality of modern cameras. Which all in all, is a pity. Modern cameras’ AF systems are remarkably good at tracking subjects, if they could be coupled directly to a gimbal, we could have a system that not only tracked and kept the subject in focus automatically, but also kept it in frame. I can imagine that being a real boon for action photography.


A modern video gimbal is a complex electromechanical system

‘gimbals’ designed to help produce smoother handheld footage. My knowledge of these gimbals was limited to those that I’d seen video producers using. Mostly they were mechanical affairs, essentially a weight with a spring and a damper, which slowed down and damped any hand movement. In a few years they have evolved into something completely different, with all three axes motorised, internal gyroscopes and acceleration sensors and a processor controlling them. They are even equipped with remote controls. In effect, they are fully duplicating the action of image stabilisation in the camera, though on a larger and slower scale.

usive xcl


mateur Photographer is primarily about stills photography, which means that sometimes technological advances from the moving-picture side of the image-making business pass us by. Recently, I found myself investigating gimbals, because I was in need of an remote mechanism for aiming a camera. In the past such equipment was called a ‘motorised pan-tilt head’, and these are still available, though I would guess of limited use to most still photographers. As well as these devices, my search uncovered a range of devices generically called ‘gimbals’, designed for video production. The advent of DSLR video, and the consequent availability of very high quality video production at much lower cost than before, led to the production of

for just


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This week! ut back potted dahlias ow to move a tree! rune fruit trees arvest leeks

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dÄ&#x17E;Ć&#x152;ĹľĆ? Ä&#x201A;ĹśÄ&#x161; ŽŜÄ&#x161;Ĺ?Ć&#x;ŽŜĆ? ĹŻĹŻ Ć&#x2030;Ć&#x152;Ĺ?Ä?Ä&#x17E;Ć? Ĺ?ĹśÄ?ĹŻ sd Ä&#x201A;Ć&#x161; ĎŽĎŹĐš Prices Ä?Ĺ˝Ć&#x152;Ć&#x152;Ä&#x17E;Ä?Ć&#x161; Ä&#x201A;Ć&#x161; Ć&#x;ĹľÄ&#x17E; ŽĨ Ĺ?Ĺ˝Ĺ?ĹśĹ? Ć&#x161;Ĺ˝ Ć&#x2030;Ć&#x152;Ä&#x17E;Ć?Ć? &Z Ä&#x17E;ĹŻĹ?Ç&#x20AC;Ä&#x17E;Ć&#x152;Ç&#x2021;Î&#x17D;Î&#x17D; Ä&#x201A;Ç&#x20AC;Ä&#x201A;Ĺ?ĹŻÄ&#x201A;Ä?ĹŻÄ&#x17E; on orders over ÂŁ50 (based on a 4-day delivery service). For orders under ÂŁ50 the charge is ÂŁ2.99** (based on a Ď°Ä&#x161;Ä&#x201A;Ç&#x2021; Ä&#x161;Ä&#x17E;ĹŻĹ?Ç&#x20AC;Ä&#x17E;Ć&#x152;Ç&#x2021; Ć?Ä&#x17E;Ć&#x152;Ç&#x20AC;Ĺ?Ä?Ä&#x17E; &Ĺ˝Ć&#x152; EÄ&#x17E;Ç&#x2020;Ć&#x161; tĹ˝Ć&#x152;ĹŹĹ?ĹśĹ? Ä&#x201A;Ç&#x2021; Ä&#x17E;ĹŻĹ?Ç&#x20AC;Ä&#x17E;Ć&#x152;Ç&#x2021; our charges are ÂŁ4.99**. Saturday deliveries are charged at a rate of ÂŁ7.95**. Sunday deliveries are charged at a ZÄ&#x17E;Ĺ&#x2021;Ä&#x17E;Ä?Ć&#x161;Ĺ˝Ć&#x152; Wall rate ÂŁ8.95**.ÍžÎ&#x17D;Î&#x17D;Ä&#x17E;ĹŻĹ?Ç&#x20AC;Ä&#x17E;Ć&#x152;Ĺ?Ä&#x17E;Ć? ŽĨ Ç&#x20AC;Ä&#x17E;Ć&#x152;Ç&#x2021; Ĺ&#x161;Ä&#x17E;Ä&#x201A;Ç&#x20AC;Ç&#x2021; Ĺ?Ć&#x161;Ä&#x17E;ĹľĆ? Ć&#x161;Ĺ˝ E / Ĺ˝Ć&#x152; FlashBender2 Ć&#x152;Ä&#x17E;žŽĆ&#x161;Ä&#x17E; Ä&#x201A;Ć&#x152;Ä&#x17E;Ä&#x201A;Ć? ĹľÄ&#x201A;Ç&#x2021; Ä?Ä&#x17E; Ć?ĆľÄ?ĹŠÄ&#x17E;Ä?Ć&#x161; Ć&#x161;Ĺ˝ Ä&#x17E;Ç&#x2020;Ć&#x161;Ć&#x152;Ä&#x201A; Ä?Ĺ&#x161;Ä&#x201A;Ć&#x152;Ĺ?Ä&#x17E;Ć?  Î&#x2DC; K   FlashBender2 y>WĆ&#x152;Ĺ˝>Ĺ?Ĺ?Ĺ&#x161;Ć&#x;ĹśĹ? DŽƾŜĆ&#x;ĹśĹ?<Ĺ?Ć&#x161; &ŽůÄ&#x161;Ĺ?ĹśĹ? ^Ĺ˝Ĺ&#x152;Ä?Ĺ˝Ç&#x2020; Bracket Prices subject to change. Goods subject to availability. Live From ÂŁ33.99 ÂŁ28.99 ÂŁ61.99 System ÂŁ94.99 ÂŁ37.95 Chat operates between 9.30am-6pm Mon-Fri and may not be available during peak periods. â&#x20AC; Subject to goods KÄŤ Ä&#x201A;ĹľÄ&#x17E;Ć&#x152;Ä&#x201A; being returned as new and in the original packaging. Ĺ&#x2021;Ä&#x201A;Ć?Ĺ&#x161; Ĺ˝Ć&#x152;Ä&#x161; Where returns are accepted in other instances, they may be subject to a restocking charge. â&#x20AC; â&#x20AC; Applies to products From ÂŁ38 Ć?ŽůÄ&#x161; Ĺ?Ĺś Ĩƾůů Ç Ĺ˝Ć&#x152;ĹŹĹ?ĹśĹ? Ä?ŽŜÄ&#x161;Ĺ?Ć&#x;ŽŜ EĹ˝Ć&#x161; Ä&#x201A;Ć&#x2030;Ć&#x2030;ĹŻĹ?Ä?Ä&#x201A;Ä?ĹŻÄ&#x17E; Ć&#x161;Ĺ˝ Ĺ?Ć&#x161;Ä&#x17E;ĹľĆ? Ć?Ć&#x2030;Ä&#x17E;Ä?Ĺ?ÄŽÄ?Ä&#x201A;ĹŻĹŻÇ&#x2021; Ä&#x161;Ä&#x17E;Ć?Ä?Ć&#x152;Ĺ?Ä?Ä&#x17E;Ä&#x161; Ä&#x201A;Ć? /E Ĺ˝Ć&#x152; Ĺ?ĹśÄ?ŽžĆ&#x2030;ĹŻÄ&#x17E;Ć&#x161;Ä&#x17E; ÍžĹ?Ä&#x17E; Ä?Ä&#x17E;Ĺ?ĹśĹ? Ć?ŽůÄ&#x161; Z  Ä&#x17E;Ĺ&#x2021;Ä&#x17E;Ä?Ć&#x161;Ĺ˝Ć&#x152;Ć? for spares only). Wex Photo Video is a trading name of ϹϏÄ?Ĺľ ÂŁ27 Ä&#x201A;ůƾžÄ&#x17E;Ć&#x161; WĹ&#x161;Ĺ˝Ć&#x161;Ĺ˝Ĺ?Ć&#x152;Ä&#x201A;Ć&#x2030;Ĺ&#x161;Ĺ?Ä? >Ĺ?ĹľĹ?Ć&#x161;Ä&#x17E;Ä&#x161; ÍžŽžĆ&#x2030;Ä&#x201A;ĹśÇ&#x2021; ZÄ&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ć&#x152;Ä&#x201A;Ć&#x;ŽŜ ŜŽ  ϳϹÄ?Ĺľ ÂŁ44 ϏϏϰώϹϹϳ! Ä&#x201A;ĹśÄ&#x161; tÄ&#x201A;Ć&#x152;Ä&#x17E;Ĺ&#x161;ŽƾĆ?Ä&#x17E; Ç&#x2020;Ć&#x2030;Ć&#x152;Ä&#x17E;Ć?Ć? >Ĺ?ĹľĹ?Ć&#x161;Ä&#x17E;Ä&#x161; ÍžŽžĆ&#x2030;Ä&#x201A;ĹśÇ&#x2021; Background Urban Collapsible ĎąÄ?Ĺľ ÂŁ69 dĆ&#x152;Ĺ?&ĹŻĹ?Ć&#x2030; <Ĺ?Ć&#x161;Ć? dĹ?ĹŻĆ&#x161;Ĺ&#x161;Ä&#x17E;Ä&#x201A;Ä&#x161; Ä?Ć&#x152;Ä&#x201A;Ä?ĹŹÄ&#x17E;Ć&#x161; ZÄ&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ć&#x152;Ä&#x201A;Ć&#x;ŽŜ ŜŽ Ϗϯϯϲϲ!ϳϲ Î&#x17E;tÄ&#x201A;Ć&#x152;Ä&#x17E;Ĺ&#x161;ŽƾĆ?Ä&#x17E; Ç&#x2020;Ć&#x2030;Ć&#x152;Ä&#x17E;Ć?Ć? >Ĺ?ĹľĹ?Ć&#x161;Ä&#x17E;Ä&#x161; Support ÂŁ145 From ÂŁ79 ÂŁ174 ÂŁ29.95 Ď­ĎŽĎŹÄ?Ĺľ ÂŁ84 2019.*CASHBACKS Ć&#x152;Ä&#x17E; Ć&#x152;Ä&#x17E;Ä&#x161;Ä&#x17E;Ä&#x17E;ĹľÄ&#x17E;Ä&#x161; Ç&#x20AC;Ĺ?Ä&#x201A; Ć&#x2030;Ć&#x152;Ĺ˝Ä&#x161;ĆľÄ?Ć&#x161; Ć&#x152;Ä&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ć&#x152;Ä&#x201A;Ć&#x;ŽŜ with the manufacturer. Please refer to our website for details.



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• Over 20,000 Products • Free Delivery on £50 or over • We can deliver on Saturday or Sunday¹ Follow us on Twitter, Facebook, Instagram and Youtube for all the latest offers, reviews, news and advice! Lenses EF S 17 55mm f2.8 IS USM ........................... £779 EF S 18 200mm f3.5 5.6 IS............................ £479 EF S 55 250mm f4 5.6 IS STM ...................... £299 TS E 24mm f3.5L II ........................................ £1799 TS E 50mm f2.8L Macro................................ £2199 TS-E 135mm f4 L Macro ................................ £2199

CANON LENSES EF 35mm f1.4L II USM................................... £1629 EF 35mm f2 IS USM....................................... £519 EF 40mm f2.8 STM........................................ £199 EF 50mm f1.2L USM...................................... £1239 EF 50mm f1.4 USM ....................................... £349 EF 50mm f1.8 STM........................................ £119 EF 85mm f1.2L II USM.................................. £1849 EF 85mm f1.4L IS USM.................................. £1379 EF 85mm f1.8 USM ....................................... £389 EF 100mm f2.8 USM Macro.......................... £519 EF 100mm f2.8L Macro IS USM .................... £849 EF 135mm f2 L USM...................................... £959 EF 300mm f4 L IS USM.................................. £1269 EF 500mm f4 L IS II USM............................... £8299 EF 11 24mm f4L USM ................................... £2789 EF 16 35mm f2.8L III USM ............................ £1844 EF 16 35mm f4L IS USM ............................... £949 EF 17 40mm f4 L USM .................................. £693 EF 24 70mm f2.8L IS USM II.......................... £1729 EF 24 70mm f4L IS USM ............................... £789 EF 24 105mm f3.5 5.6 IS STM ...................... £414 EF 24 105mm f4L IS II USM........................... £999 EF 28 300mm f3.5 5.6 L IS USM ................... £2289 EF 70 200mm f2.8 L IS III USM...................... £2099 EF 70 200mm f4 L IS II USM.......................... £1299 EF 70 300mm f4 5.6 L IS USM ...................... £1199 EF 70 300mm f4 5.6 IS II USM...................... £464 EF 100 400mm f4.5 5.6L IS USM II ............... £1999 EF S 35mm f2.8 Macro IS STM ..................... £369 EF S 60mm f2.8 USM Macro......................... £439 EF S 10 18mm f4.5 5.6 IS STM ..................... £239 EF S 10 22mm f3.5 4.5 USM ........................ £529 EF-S 15-85mm f3.5-5.6 IS USM ..................... £679

NIKON LENSES 20mm f1.8 G AF S ED.................................... £729 24mm f1.4 G AF S ED.................................... £2179 35mm f1.8 G ED AF S.................................... £489 35mm f1.8 S Lens.......................................... £849 50mm f1.4 G AF S ......................................... £429 50mm f1.8S L ................................................ £599 60mm f2.8 G AF S ED.................................... £579 85mm f1.8 G AF S ......................................... £469 105mm f2.8 G AF S VR IF ED Micro .............. £849 300mm f4E AF S PF ED VR ............................ £1709 500mm f5.6E PF ED VR AF S......................... £3699 8 15mm f3.5 4.5E ED Fisheye....................... £1229 10 24mm f3.5 4.5 G AF S DX ........................ £799 16 80mm f2.8 4E ED AF S DX VR.................. £989 18 200mm f3.5 5.6 G AF S DX VR II.............. £429 18 300mm f3.5 5.6 ED AF S VR DX................£989 24 70mm f2.8 G ED AF S................................£1709 24 70mm f2.8E AF S ED VR............................£2099 24 120mm f4 G AF S ED VR ...........................£1049 28 300mm f3.5 5.6 G ED AF S VR..................£939 70 200mm f2.8E AF S FL ED VR .....................£2549 70 300mm f4.5 6.3 G ED DX AF P VR ............£329 200-500mm f5.6E AF-S ED VR .......................£1315

TAMRON LENSES - with 5 Year Manufacturer Warranty 85mm f1.8 SP Di VC USD ...............................£749 16 300mm f3.5 6.3 Di II VC PZD Macro.........£499 18 200mm f3.5 6.3 Di II VC............................£199 18 400mm f3.5 6.3 Di II VC HLD....................£649 24 70mm f2.8 Di VC USD G2 .........................£1199 70 200mm f2.8 Di VC USD G2 .......................£1289 70 210mm f4 Di VC USD................................£599 70 300mm f4 5.6 SP Di VC USD.....................£329 100 400mm f4.5 6.3 Di VC USD.....................£749 150 600mm f5 6.3 SP Di VC USD...................£799 150-600mm f5-6.3 VC USD G2 ......................£1129

SONY E-MOUNT LENSES FE 24mm f1.4 G Master .................................£1449 FE 28mm f2 ....................................................£399 FE 50mm f1.8 .................................................£179 FE 85mm f1.4 G Master .................................£1649 FE 85mm f1.8 .................................................£599 FE 100mm f2.8 G Master...............................£1499 FE 12 24mm f4 G ...........................................£1449 FE 16 35mm f2.8 G Master............................£2199 FE 24 70mm f2.8 G Master............................£1829 FE 24 70mm f4 ZA OSS Carl Zeiss T* ............. £749 FE 70 200mm f2.8 G Master..........................£2399 FE 70 300mm f4.5 5.6 G OSS......................... £1079 FE 100-400mm f4.5-5.6 OSS G Master ..........£2449


Photo Bags & Rucksacks Pro runner BP 350 AW II Backpack

Flipside 300 AW II

Anvil Slim Professional Backpack

Lifestyle Windsor Messenger S:

• DSLR, with up to 70-200 mm attached lens, or compact drone • 2 extra lenses • Compact tripod • 7” tablet

Purpose-built to organise and protect more gear, and provide more options for manoeuvring in busy airports and crowded streets.

This practical messenger bag features an easily accessible top opening to the main compartment, where a DSLR with 24-70mm f2.8 lens attached

Hadley Pro Original Khaki

PIXMA Pro 100S ....£374 PIXMA Pro 10S ......£499 ImagePROGRAF PRO-1000 ...............................£899

Canvas/Leather: Khaki, Black FibreNyte/Leather: Khaki, Sage, Black. Digital .............................£119 Small...............................£149 Large...............................£179 Pro Original ................... £189 Hadley One.................... £249

Anvil: Anvil Slim.................£119 Anvil Super ..............£134 Anvil Pro ..................£126

Messenger S..................... £84 Messenger M ................... £99 ĂĐŬƉĂĐŬ .......................... £129

Pro Runner: Flipside: W ϯϱϬ t //.................... £174 ϯϬϬ t // ........................ £109 WϰϱϬ t //.................... £189 ϰϬϬ t // ........................ £129

Datacolor Spyder 5 Pro.................£119 i1 Display Pro ColorMunki......£178 Smile ..................£90

Intuos Pro Professional Pen and Touch Tablet Small................... £179 Medium ............. £299 Large................... £439

Digital compact camera accessories are available on our website

Digital Compact Cameras












movie mode




movie mode

PowerShot G5 X


movie mode

PowerShot G1 X Mark II Premium Kit

PowerShot G7 X Mark II


Black or Silver

SIGMA LENSES -with 3 Year Manufacturer Warranty 20mm f1.4 DG HSM Art .................................£699 24mm f1.4 DG HSM .......................................£649 30mm f1.4 DC HSM .......................................£359 35mm f1.4 DG HSM .......................................£649 50mm f1.4 DG HSM Art . ..............................£569 85mm f1.4 Art DG HSM .................................£999 105mm f2.8 APO EX DG OS HSM Macro .......£359 8 16mm f4.5 5.6 DC HSM..............................£599 10 20mm f3.5 EX DC HSM .............................£329 17 70mm f2.8 4.0 DC OS HSM ......................£349 18 35mm f1.8 DC HSM .. ...............................£642 18 250mm f3.5 6.3 DC Macro OS HSM.........£349 18 300mm f3.6 6.3 C DC Macro OS HSM......£369 24 70mm f2.8 DG OS HSM ............................£1199 24 105mm f4 DG OS HSM .............................£599 50 100mm f1.8 DC HSM Art .........................£949 70 200mm f2.8 EX DG OS HSM .....................£899 100 400mm f5 6.3 DG OS HSM.....................£699 120 300mm f2.8 OS.......................................£2699 150 600mm f5 6.3 C DG OS HSM..................£789 150-600mm f5.0-6.3 S DG OS HSM ...............£1329








IXUS 185 HS ................................................. £99 IXUS 285 HS ................................................. £169 PowerShot SX70 HS..................................... £519 PowerShot SX620 HS................................... £179 PowerShot SX730 HS................................... £299 PowerShot SX740 HS................................... £349 PowerShot G9 X II........................................ £379 PowerShot G1 X III ...................................... £1089 PowerShot G3 X........................................... £779

Lumix FZ1000 ........................................... £528 Lumix FZ2000 ........................................... £879 Lumix TZ90 ............................................... £319 Lumix TZ100 ............................................. £490






movie mode

Lumix TZ200

Lumix LX100 II






movie mode

Ricoh WG-60

Stylus TG-5



Lumix DMC-LX15





Theta V Digital Spherical Camera 4K movie mode and ϯϲϬΣ ƐƟůůƐ ............................. £349

Available in black and red

Theta SC Digital Spherical Camera - White ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ ' ŝŶƚĞƌŶĂů ƐƚŽƌĂŐĞ ůŝƚŚŝƵŵ ŝŽŶ ďĂƩĞƌLJ iOS and Android supported ..................................... £179



Coolpix W300


New 16







Coolpix P1000






Cyber-Shot HX90V


FREE delivery on orders over £50**


Cyber-Shot RX10 Mark IV


Cyber-Shot RX100 Mark VI


DJI Mavic 2 from £1099

**Based on a 4-day delivery service, UK only.


01444 23 70 60 Experts in photography 30.4 MEGA PIXELS

Unbeatable stock availability



7 fps


In stock from £2,799.00

Canon EOS 80D

Canon EOS 6D Mark II

Canon EOS R






Body only +18-55


£979.00 £1,099.00 Add a Canon BG-E14 Battery Grip for £179.00

Body only




Add a Canon LP-E6N spare battery for £74.99

Add a LP-E6N battery for only £74.99

Add the RF 35mm f/1.8 IS STM Macro lens for only £449

Prices updated DAILY! Visit us in store, online at or call us on 01444 23 70 60

CANON LENSES 24mm f/1.4L Mk II USM.................£1,419.00 24mm f/2.8 IS USM................................ £519.00 35mm f/2.8 Macro IS STM............... £369.00 50mm f/1.2 L USM ..............................£1,239.00 50mm f/1.4 USM....................................... £339.00 50mm f/1.8 STM........................................ £119.00 100mm f/2.8 USM Macro................. £519.00 100mm f/2.8L Macro IS...................... £849.00 135mm f/2.0L USM ................................ £959.00 180mm f/3.5L USM ............................£1,269.00 200mm f/2.0L IS USM......................£5,439.00 300mm f/2.8L USM IS II.................£5,599.00 8-15mm f/4L Fisheye USM..........£1,149.00 10-18mm IS STM ...................................... £239.00 10-22mm f/3.5-4.5 .................................. £529.00 11-24mm f/4L USM............................£2,789.00 16-35mm f/2.8L III USM.................£2,049.00

16-35mm f/4.0L IS USM .................... £949.00 17-40mm f/4.0L USM........................... £709.00 18-135mm f/3.5-5.6 IS USM.......... £429.00 24-70mm f/2.8L II USM ..................£1,729.00 24-70mm f/4.0L IS USM .................... £789.00 24-105mm f/4L IS II USM................. £949.00 28-300mm f/3.5-5.6L IS .................£2,289.00 55-250mm f/4-5.6 IS STM................ £299.00 70-200mm f/2.8L IS II USM........£1,599.00 70-200mm f/2.8L IS III USM.......£2,149.00 70-200mm f/4.0L IS USM................. £999.00 70-200mm f/4.0L IS II USM........£1,299.00 70-300mm f/4.0-5.6 IS II USM..... £464.00 70-300mm f/4.0-5.6L IS USM...£1,229.00 100-400mm L IS USM II ................£1,999.00 1.4x III Extender......................................... £409.00 2.0x III Extender......................................... £399.00



15 fps





3.2” 9 fps

The new LUMIX S Series Full-Frame Mirrorless cameras are finally here. Industry leading quality and performance designed to capture the creative vision of professional photographers.


Body only

Add a BG-E21 grip for only £195.00




47.3 24.2

12 months 0% finance available. See in store or online to learn more.

UK stock


No matter what you’re shooting, be assured of uncompromising image quality and a thoroughly professional performance.


Competitive low pricing

S1R Body only £3,399.00

S1 Body only £2,199.00

Benefit from up to £600 trade-in bonus & FREE Lumix Pro Platinum support membership worth £179 when pre-ordering! Offer ends 31.03.2019

LUMIX S 50mm

LUMIX S 24-105mm

LUMIX S 70-200mm

f/1.4 (Certified by LEICA)

f/4 Macro O.I.S

f/4 O.I.S (Certified by LEICA)




£200 trade in bonus available! See website to learn more

24 months 0% finance available see website



11 fps

Get ready to experience the newest OM in professional photography. This is the E-M1X – an all new category of OM-D fo the demanding professional.

FREE VF-XT3 BATTERY GRIP WORTH £299! See in store or online for full details. Offer ends 31.03.19

Fujfilm X-PRO2

Fujfilm X H1





from £1,349.00

Claim up to

£530 cashback


£1,299.00 £1,799.00

£1,199.00 £1,299.00

on selected FUJIFILM Lenses.

Add a Fujifilm NP-126s battery for only £49.99

Add a Fujifilm VPB Battery grip for only £319.00

See in store or online to learn more.

Body only

Expected late Feb. ‘19 £2,799.00 £200 trade-in bonus! See in store or online to learn more.


The X-T3 provides you with superb image quality & an enhanced ability to track a moving subject with AF performance improvement & blackout-free burst shoot


£200 trade in bonus available! See website to learn more


Body only

X-H1+ Grip

Ends 31.03.19





Olympus E-M5 Mk II




Body only



+14-42 EZ



Add an Olympus BLS-50 battery for only £49.99




Body only



+14-42 EZ



Spread the cost with our finance options. See web.


Body only





Add an Olympus BLN-1 battery for only £49.00

Sigma 85mm

Sigma 24-70mm

Sigma 70-200mm

f/1.4 DG HSM | Art

f/2.8 DG OS HSM | Art

f/2.8 DG OS HSM | S



Our Price



Available in Canon, or Nikon fits

Add a Sigma 86mm WR UV Filter for only £99.99

Add a Sigma 82mm WR UV Filter for only £54.95

Tamron 18-400mm f/3.5-6.3 Di II VC HLD

Tamron 100-400mm f/4 5-6 3 Di VC USD

In stock!



Available in Canon, or Nikon fits

Add a Hoya 72mm NX-10 UV Filter for only £32.95

In stock!



Available in Canon, or Nikon fits

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

Now in stock!



Available in Canon, Nikon or Sigma fit

Add a Sigma 82mm WR UV Filter for only £54.95

Manfrotto Befree Advanced

Our Price



See website for even more Tripods!

Visit us in store to try this tripod out for yourself!

Joby GorillaPod 5K Suitable for DSLRs & CSC

In stock!



Available in Canon, Nikon or Sony fit

Add a Kenko 95mm UV Filter for only £99.00



£270 TRADE-IN BONUS AVAILABLE! See website for lastest stock availability

MKBFRTC4-BH Available in Canon, Nikon or Sony fit




Introducing the rangefinder style model to the Fujifilm GFX medium format digital mirrorless system! This camera will be ideal for street and documentary photography.

Carbon Fibre Travel Twist Our price


Our Price


See website for more Joby Tripods!

Ideal to hold your DSLR or Mirrorless camera!

All prices include VAT @ 20%. See website for our opening times for both our London and Burgess Hill stores. All products are UK stock. E&OE. *Please mention “Amateur Photographer” for this special price. Prices correct at time of going to press; Prices subject to change; check website for latest prices.

Body only £3,999.00

Manfrotto 055

Manfrotto XPro

4-section Carbo Fibre Tripod

4-section Mono with Fluid Head FLUIDTECH bas



Our Price



See website for more 055 Tripods!

For a range of heads, visit

AP Special!



Normally £149 *Offer ends 28.02.2019

Visit us in store or call 01444 23 70 60 for this offer!

Lowepro Photo Classic BP 300 AW

Lowepro Flipside 400 AW II





See website for more Lowepro bags!

Visit us in store to try this backpack out for yourself!

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

Our Price


See website for more Lowepro bags!

Visit us in store to try this backpack out for yourself!

Limited edition prints of iconic images. Hand printed and framed to order, from ÂŁ59 unframed or ÂŁ89 framed.




Protecting your camera kit at home and away You’ve invested time and money into your photography so why wouldn’t you invest in protecting your camera and equipment? If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of theft is always present. Accidents can also happen, whether its your fault or someone else’s – dropping a lens or knocking over a tripod are easy but can be expensive mistakes to make. As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all have the potential to damage your kit in the pursuit of the perfect shot. Amateur Photographer Insurance Services can be there to help protect against the things that threaten your photography:

Theft (excludes from a vehicle, unless option added to policy)

Accidental Damge

Worldwide cover

(excludes wear and tear)

(20 days during any one period of insurance – options available to extend cover)

To take a closer look or for a quote visit or call 0345

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Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Lloyd’s Broker. Registered in England under No. 00338645 Registered office: Rossington’s Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW. TI Media Limited is an Appointed Representative of Thistle Insurance Services Limited. TPD0769 1 0718

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subscribe 0330 333 4555 I I 16 February 2019


Legends of photography

grandiosely, they divided up the globe between them, though Capa (who seems to have been the originator of the cooperative) reserved the right to roam freely. David Seymour (‘Chim’) took Europe; Bill Vandivert, the USA; CartierBresson, India and the Far East; and Rodger, Africa and the Middle East. A Hungarian, a Pole, an American, a Frenchman and an Englishman walk into a picture agency they’ve just founded...

Hassau chieftains in Chad demonstrate their superb horsemanship in an image by Rodger from 1941

Discovering photography



George Rodger A photographer frequently found in the theatre of war who had empathy and understanding of his subjects, says Roger Hicks


sk most photographers what they know about George Rodger (1908-1995) and they’ll tell you that he was one of the founders of Magnum. After that, they are most likely to recall either his war photographs or his 66

post-war African work. He worked in more theatres of war than most, beginning with the Blitz in London. Thereafter, under the auspices of Life magazine, he covered conflict in West Africa and Burma, the Italian landings, the D-Day landings in Normandy, and

subsequently the liberation of much of Europe including Paris. He was also one of the first photographers into Belsen; which leads directly to his African photography. By his own account, he realised that something had gone badly wrong when he found himself searching for the best compositions when photographing stacks of emaciated corpses in concentration camps. He decided to go to Africa and photograph people who had been unaffected, or only slightly or tangentially affected, by the carnage he had witnessed, experienced and photographed.

Founding Magnum Shortly aftewards, in the spring of 1947, he was one of the five founding members of Magnum. Somewhat

Rodger originally taught himself photography so that he could illustrate his travel writing, but as it turned out, he wasn’t all that good as a writer. Photography was another matter and by about 1936 he was a staff photographer on the BBC’s The Listener magazine, photographing guest speakers for the wireless. In 1936, the BBC launched the world’s first high-definition television service, but with the outbreak of war, Rodger’s job disappeared, leaving him unemployed. Photography was however a reserved occupation (i.e. photographers were not automatically subject to conscription) and so he was able to start working for the Black Star agency – also founded in 1936 – and this rapidly turned into a contract with Life magazine (1936 yet again), with which Black Star had a very close relationship; hence his subsequent career as a war correspondent. It is hard to say whether he had a particular photographic style, because his pictures vary enormously. There are dramatic group action shots such as the one seen here; groups or crowds where one person stands out; and individuals, sometimes very poignant. Often we feel a strange sense of familiarity even if their circumstances are unbelievably different from our own: an air raid warden in the Blitz, perhaps, or a Nuba tribesman half a century and more ago. This, in truth, was his style: enormous sympathy with, and understanding of, his subjects.

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