amateurphotographer14march2020

Saturday 14 March 2020

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Passionate about photography since 1884

Light painting Get creative with long exposures. Six experts share their tips

How I won APOY 2019 Caron Steele reveals the secrets of her success

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A week in photography

COVER PICTURE © KATRINA BROWN

Light painting is a very simple technique – all you need is a tripod, a torch, and a camera capable of long exposures. But the results can be spectacular. It’s unlikely that your first attempts will produce anything as beautiful as that achieved by masters like Eric Paré but follow our expert tips (page 14), give it a go and you never know. This week we also

This week’s cover image

launch the 2020 season of our long-running Amateur Photographer of the Year contest (page 36) in which we give away £10,000 worth of amazing kit courtesy of our friends at Sigma Imaging. To get you inspired we asked the insanely talented Caron Steele, the winner of APOY 2019, for the inside story on how she did it (page 22). She only bought her first proper camera five years ago, so if she can do it, so can you! Nigel Atherton, Editor

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

Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.

Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com.

Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.

This striking light painting was photographed by Katrina Brown, who contributes to this week’s cover feature, on page 14.

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This week in 1971

In this issue

TREASURES FROM THE HULTON ARCHIVE

3 7 days: this week’s news

12 It’s good to share: readers’ pictures 14 The light brigade 20 Inbox 22 Playing to win 26 When Harry Met...

Bob Monkhouse 31 Canon Camera Connect 34 Behind the print 36 Amateur Photographer of the Year 2020: enter Round one now 40 Light up the room

49 Canon RF 24240mm F4-6.3 IS USM: lens test 53 Tech talk 66 Legends of photography

© GETTY IMAGES

42 Sigma fp: full review

Tiger Lady by Central Press AIR STEWARDESS Cynthia Robertson models the new uniform for the American-based National Airlines.

A synthetic-tiger number, the new uniform was rolled out for more than 1,000 stewardesses to wear.

Cynthia is holding an eight-week-old Bengal tiger cub

called Indira. National Airlines was founded in 1934 and ran until 1980 when it was acquired by Pan Am, which itself ceased operation in 1991. Our research was not able to uncover the fate of the tiger-skin uniforms, nor indeed of Indira the tiger.

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

NEWS ROUND-UP

By Geoff Harris and Andy Westlake

Billingham going grey

Premium English bag maker Billingham has introduced a version of its Hadley Small Pro in grey canvas and black leather. Sized to take a rangefinder, mirrorless camera or small DSLR outfit, it’s constructed from triple-layer waterproof canvas and features a removable shoulder strap. It’s available for preorder now for £200 from billingham.co.uk.

Sigma MC-31 on sale

Sigma has declared that its Mount Converter MC-31 is now starting to ship. The MC-31 allows PL-Mount Cine lenses to be used on L-mount camera bodies such as the Sigma fp (see our in-depth review of the fp on pages 42-47). Featuring all-metal construction for durability and a detachable tripod mounting foot, the converter costs £649.99.

Folding grip for E-M1 Mark II and III

STC has announced that it’s making a version of its Fogrip folding grip to fit the Olympus OM-D E-M1 Mark II and III. It features an Arca-Swiss type tripod plate, and a fold-down handgrip extension to provide more stable and comfortable handling with large lenses.

It’ll cost £99.99.

See bit.ly/olyfogrip.

Fujifilm has refreshed its entry-level instant camera, with the Instax Mini 11 now boasting autoexposure, along with a selfie mode that’s activated by pulling out the front of the lens. It comes in a choice of five pastel colours for £69.99. New Instax Mini Blue Marble film and Instax Square White Marble film packs are also available.

Use Nikon F-mount lenses on Fuji GFX

Metabones’ Nikon G Lens to Fujifilm G-mount (GFX) Expander 1.26 enables Nikon F-mount lenses to be used on Fujifilm’s GFX bodies.

Built-in optics expand the lens’s image circle to cover the mediumformat sensor, and aperture operation is manual. UK pricing is to be confirmed, but we’d expect around £500. See bit.ly/FGFX126.

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© SAM ROWLEY/W LDL FE PHOTOGRAPHER OF THE YEAR

Updated Fujifilm Instax Mini 11

BIG

picture

Wildlife POTY People’s Choice winner announced AN IMAGE of mice fighting on a London Underground station platform has scooped the People’s Choice Award at the prestigious Wildlife Photographer of the Year Exhibition at the Natural History Museum in London.

Taken by Bristol-based Sam Rowley, the photograph received 28,000 votes from a

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Words & numbers

At this time, there is no reason to halt a large-scale event like Photokina Christoph Werner

Vice president of the Cologne convention centre which hosts the camera show.

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$258,000

SOURCE: PAGESIX.COM

shortlist of 25 images put to the public to vote on. According to Sam, the mice were ďŹ ghting over a few leftover crumbs, with the encounter lasting just a few seconds. Sam visited multiple platforms over several nights, getting many curious looks from passengers while he lay in wait for the perfect shot. This image, along with the other winning pictures from the WPOTY contest, will be on display until 31 May before touring around the UK.

How much Paul Teutul, mustachioed star of American Chopper, has been ordered to pay a US photographer for copyright infringement

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An upcoming camera may lose some features

Flash memory squeeze may affect Sony plans ‘A Titanium Moon’

by Miguel Claro, was the public’s favourite image

People’s choice is out of this world THE WINNER of the Astronomy Photographer of the Year: People’s Choice Award 2019 has been announced as ‘A Titanium Moon’ by Miguel Claro.

The image is a high-resolution mosaic composed of four panels, each one made from 30 images, combined to reveal a sharp and detailed surface. The colour has been slightly increased to reveal differences in the chemical constitution of the lunar surface and changes in mineral content that produce subtle colour variations in reflected light.

Miguel’s winning image was chosen out of 25 selected by the National Maritime Museum, with the public casting over 22,000 votes online and in the exhibition gallery, between 12 September 2019 and 23 February 2020.

Second place went to Marcin Zajac for ‘Ageless’ and third went to Masoud Ghadiri for ‘Sharafkhane Port and Lake Urmia’. The winners of the Insight Investment Astronomy Photographer of the Year 2020 will be announced at the museum on 10 September.

See www.rmg.co.uk/peopleschoice.

Nik Collection updated by DxO

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Nik Collection 2.5 By DxO has now been released, with the headline improvement being the inclusion of ten new black & white film stocks to Silver Efex Pro 2.0. This black and white editing tool is one of the most popular parts of the Nik Collection, but its colour equivalent, Color Efex Pro, also gets five new simulations.

The new film

stocks simulate film from Fujifilm, Agfa and Lomography, and were designed by Dan Hughes, a lecturer in photography science and a former Nik Software trainer. In addition, the software is now compatible with Serif’s Affinity Photo 1.8 image editing program. You can buy Nik Collection 2.5 By DxO from shop.dxo.com/en for £125, or just £69 for existing DxO users.

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© M GUEL CLARO

ACCORDING to a report on Bloomberg. com, Sony has cancelled some previously planned features for a new mirrorless camera due this year owing to constrained supply of DRAM flash memory.

The article refers to Sony’s efforts to develop its forthcoming PS5 games console and release it at a competitive price – the PlayStation being a major cash cow for the company. ‘Sony’s biggest headache is ensuring a reliable supply of DRAM and NAND flash memory, with both in high demand as smartphone makers gear up for fifth-generation devices,’ the article claims.

At the same time as demand for DRAM from smartphone manufacturers pushes up Sony’s production costs, rival games console manufacturer Microsoft is bringing out its Xbox Series X this year, further piling on the pressure.

The Bloomberg article doesn’t say which mirrorless camera appears to have missed out, but the Sony Alpha 7S II is certainly due for an update.

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‘Rift’, 2018 by Cody Cobb from his series Strange Land

International Photography The world’s longest-running photography exhibition is a great opportunity to see some of today’s best photographers, says Amy Davies

T

he162nd edition of the Royal Photographic Society’s International Photography Exhibition – the world’s longest-running photography exhibition – kicked off at the RPS Headquarters in Bristol in mid-February.

There’s still some time left to see it at RPS House, after which it will then EXHIBITION embark on a nationwide tour for the remainder of the year.

The exhibition is at RPS House, Bristol, until 22 March 2020, then Royal Albert Forty-three different photographers Hall 2 April–27 April, Beverley Art Gallery 13 June–12 September and have been selected to appear in the Oriel Art Gallery, Theatr Clwyd, 28 November–16 January 2021. exhibition, which come from the annual Opening times vary, visit rps.org for full details. competition run by the RPS. Each year, an 8

open call is made to photographers and image-makers of all ages. It has been held almost every year since 1854, the year after the RPS was founded.

In the early years, the exhibition included work from some of the world’s most eminent photographers including Julia Margaret Cameron, Roger Fenton, Edward Steichen and Paul Strand. It’s therefore always a fantastic opportunity to see work from current photographers who one day might be held in the same kind of regard.

Autumn 2020 will see the next open call for IPE 163, so a visit to the show

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© ALAIN GIGNOUX

© CODY COBB

Also out now The latest books and exhibitions from the world of photography © JOHN DAVIES

‘Give Jesus a try’ by Alain Gignoux © CATHERINE HYLAND

BOOK

Retraced 81/19 by John Davies £45, hardback, ISBN 978-1-910401-34-7, GOST Books

FOR THIS book, photographer John Davies has revisited the locations in his early images (taken in the 1980s) to map changes in the landscape.

Taken from the same vantage point, they show the alterations made by human activity and highlight cultural and social change over almost four decades. It features a good spread of locations across the UK – and beyond. Even if you know nothing of each of the destinations, it’s still an interesting look at how you can build a project on a set idea, revisiting imagery from time gone by.

As Martin Barnes points out in an essay at the back of the book, sometimes the differences are subtle, sometimes they’re much more obvious – and dramatic – and it can be fun, and often poignant, to compare and contrast the scenes. ★★★★★ Amy Davies

EXHIBITION From Catherine Hyland’s series – lithium mining in the Atacama Desert

Exhibition 162 might also give you some inspiration to submit your own photographs and projects for consideration.

The overall winner this year is the American photographer Cody Cobb, for images from his series Strange Land (above left). The images in this series were made during periods of extended solitude, during which Cobb immerses himself in the American West for weeks at a time, stripped of basic human comforts and isolated within unfamiliar terrain.

Speaking of his win, Cobb said, ‘The support of the RPS has encouraged me to continue pushing myself and my work

in ways that weren’t possible before. I’m incredibly grateful for this opportunity to share my interpretation of what it means to be human on this strange and fantastic planet.’

Meanwhile, the under-30s award winner Chirag Jindal, from New Zealand, won for his series Into the Underworld – Ngā Mahi Rarowhenua, which reveals a network of lava caves hidden beneath Auckland.

A series of talks and workshops from exhibiting photographers will be bookable throughout the tour. Visit rps.org/ ipe162 for more information.

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A Decade of Moments Focus on… Mark Littlejohn

Runs until 16 May, Monday to Saturday, 9am-5pm. Joe Cornish Galleries, Northallerton, North Yorkshire THE 2014 winner of the prestigious Take-a-View UK Landscape Photographer of the Year contest, Mark Littlejohn is one of the best photographers of the genre currently working in Britain. Working with the Joe Cornish Galleries for its first ‘Focus on…’ exhibition of the year, this is a fantastic opportunity to see some stunning work on display. A former police officer, Mark retired in 2011 having completed 30 years’ service with the Cumbria Constabulary. He has spoken in the past about how his photography has helped him to relax after what at times was a difficult career.

He firmly believes that beautiful images can be found without the need for travel – but in fairness, his local area is Penrith in Cumbria, located between the Eden Valley and Ullswater, so perhaps he is a little biased. Amy Davies 9

In next week’s issue

Viewpoint

On sale Tuesday 17 March © JAMES ABBOTT

John Heywood An Amateur Photographer reader ponders whether a subscription to AP could be a better education than a degree © JOHN HEYWOOD

I used to subscribe to a monthly photographic magazine. Every month it had a certain mature photographer give his four-penneth. One month he described how he had studied for three years for a photography degree at a prestigious London college. He then set about searching for a photographer’s assistant position. He gained an interview with a successful London photographer who

asked him if he knew how to process black & white film. He lied that he did. How can a student from a top London college come away not knowing such basics?

As recently as November, on Remembrance Sunday, I was taking photographs of the ceremony. I noticed a teenager with an old Nikon FM2 taking photographs. I told her that before I retired I had a couple of FM2s. Soon, she came to the end of the film and admitted she was a student at the local college and had been told to use the FM2, but had no idea how to use it and asked me to unload the film. I asked if she knew what the aperture numbers and shutter speed numbers were and how to set the ISO. She hadn’t a clue!

Used & approved Top photographers tell us how they got on with a range of used cameras and lenses

Teaching methods When I enlisted in the RAF as a photographer, over 50 years ago, within the first week we were taught what the aperture numbers and shutter speed numbers meant and how the ASA (now ISO) numbers stated the sensitivity of a film. We were let loose with a camera, light meter and film, then were taught how to load the film into a processing tank and process the film.

From my experiences and horror stories I have been told, universities and colleges are taking the mickey out of photography students. It seems obvious to me, that a subscription to Amateur Photographer magazine will save you a fortune and teach you a hell of a lot more.

John Heywood was a professional photographer until he retired in 2009. He remains an enthusiastic amateur and his favourite subjects are portraits and documentary.

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 20 and win a year’s digital subscription to AP, worth £79.99 10

MONEY-SAVING SPECIAL

Cheap full-frame cameras CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE

The basics of photography

A portrait by John Heywood, who was taught the basics of photography while in the RAF

© ANDREW SYDENHAM

THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED

O

ver the years I have gathered many stories on how university and college courses are wasting students’ money. In the late 1990s, just before I retired, I took on a student who had been studying photography for two years. After the first five minutes I realised she hadn’t a clue about photography. She felt she had wasted a fortune and was going to fail the degree.

I set about giving her simple instructions on portrait lighting using her father as a model, only using the window and room light as light sources, showing the lighting effects on her father’s face depending on his position in relation to the light source.

She stated that I had taught her more in two hours than she had been taught at university for two years.

A while ago I was in a photographic store observing one of the young assistants taking a passport photograph.

He showed the result to the client who insisted it was not her on the screen (what she actually meant that he had made her look ugly). He was using an APS-C digital camera with the kit lens set at 18mm focal length, with the flash aimed straight at the subject. In order to fill the frame he had to be very close to the subject’s face, resulting in gross distortion. No wonder the subject objected to the awful mess he was presenting her with. I asked him if he had any tuition in taking passport photographs. He informed me that his university degree course did not cover portraiture. I quietly told him to set the focal length to 55mm, which made him stand further back, and to bounce the flash off the wall behind him. Bingo! She loved the next shot he took.

Audley Jarvis picks out some of the best second-hand full-frame camera bargains

Meike MK 50mm F1.7 test Andy Westlake tries out an inexpensive manual focus lens for full-frame mirrorless

Best western Photographer Jane Hilton tells us about her projects in the American West

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The best pictures on social media this week

#appicoftheweek 44871 at Dusk by Robert Falconer

Canon EOS 5D Mark II, 24mm, 1/150sec at f/6.7, ISO 160

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This shows Black 5 44871 heading away from Orton Mere railway station. As Robert explains, ‘A friend of mine, who is a driver on the Nene Valley Railway near Peterborough, gave me a tip-off that a visiting engine was going to be working a “driver experience” course. A sunny day was forecast, so I could not resist going. In this picture the train was running an hour late so the golden sunlight on the engine had gone but there was still enough light to create a striking image and I didn’t have to worry about the glare from the sun in the lens.’ Robert uploaded this image onto Flickr using the hashtag #appicoftheweek. See more at www.robfalconerphotography.com.

Chosen by Michael Topham, Reviews Editor, as #appicoftheweek

Each week we choose our favourite picture on Facebook, Instagram, Flickr, Twitter or the reader gallery using #appicoftheweek. PermaJet proudly Win! 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!

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We also likedÉ Lake Minnewanka

by Tim Scott Fujifilm X-T3, 16-55mm, 1/150sec at f/8, ISO 160

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This was taken while Tim and his wife were driving the Lake Minnewanka Loop in Banff National Park in Canada. As he explains, ‘My wife Nic was keeping an eye on the traffic while I nipped out to the middle of the road. I used the flip-out screen on my Fujifilm X-T3 to get low down, focused about a third of the way into the shot and used f/8 to get a fast enough shutter speed while keeping reasonably good front-to-back sharpness.’ Tim uploaded this shot to Twitter using #appicoftheweek.

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SOCIAL MEDIA

Le Barrage Déborde

by Diane Holt

Talisker by Stephen Robbie

Canon EOS 6D, 55mm, 1/50sec at f/4, ISO 100 ‘I took up photography after being given a camera for Christmas in 2017.

I am self taught, learning mostly through trial and error as well as lots of time outside just enjoying the hobby.

This was taken at Booth Wood Reservoir in West Yorkshire – I noticed it on a trip to visit family. I loved the mesmerising wave patterns falling down the dam in zigzags,’ says Diane.

Chosen by Amy Davies, Features Editor

This is Talisker beach on the Isle of Skye, caught as the sun disappears behind the horizon. As Stephen, a musician from central Scotland, tells us, ‘It was a fine way to spend an evening. I was on a family holiday, and was having to be in “Dad mode” and watch my four-year-old jumping off the slippery stones behind me! Focus stacked and exposure blended because of the dynamic range, plus heavy use of a lens cloth.’

Chosen by Geoff Harris, Deputy Editor

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Canon EOS 1300D, 12mm, 1/13sec at f/11, ISO100

Want to see your pictures here? Post them into our Instagram, Twitter, Flickr or Facebook communities or the gallery on our website. See page 3.

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Technique

LIGHT PAINTING

The light brigade Bright ideas come thick and fast for photographers with a passion for light painting. Tracy Calder asks six of the best to share their secrets

L

ight painting – simply put, moving a light source during a long exposure – is often considered something of a dark art. But it doesn’t have to be that way. Some of the most celebrated artists in the genre began with little more than a DSLR, a torch and a general sense of playfulness.

As light painters perfect their art, they often choose to specialise: some like to illuminate a subject or a carefully chosen space, others prefer to ‘write’ with a light source, forming bold, colourful letters or shapes. A few of these set-ups require multiple cameras and 14

teams of assistants, but most start with a simple light source – usually in the form of a torch, acrylic rod, strings or strips of LEDs, plastic tubes, fibre optic brushes or steel wool – a DSLR, a remote shutter release, a tripod, and a willingness to experiment. (Please note: there are dangers involved in using steel wool, so the utmost care must be taken if you decide to use this material.)

Many of the light-painting artists featured here have posted a lot of advice about their techniques and approaches; so check out the social media details at the end of each of their respective biographies.

Eric ParŽ

Eric is a Canadian photographer whose work mostly involves light painting and multi-camera installations. Eric travels the world, sometimes with hundreds of cameras and sometimes with a single light-painting tube. See Instagram: @ericparephoto and kimhenry.dance; YouTube: ericpare; Website: ericpare.com.

LIGHT painting allows you to break out of more traditional approaches to photography – suddenly you are with the subject, instead of watching from behind the camera. There is something healthy and creative about the whole process, and that is what keeps me at it, pushing myself over and over again.

Also, because each picture is lit by hand, every photograph is totally unique, which really appeals to me as an image maker.

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Nikon D750, 38mm, 13sec at f/13, ISO 100

Daniel González García

From Mexico, Daniel González García has always had a passion for self-expression through the arts. He is currently working on a dance portrait project entitled Dancing Lights – the images here feature ballerina Patricia Amezcua. To see more of his work visit Instagram: @dgzzfoto.

LIGHT painting allows you to be very creative, and it helps you to break out of the conventional way of doing things. I see it as a kind of game; playing with lights in the dark. When I’m creating a portrait I like to think about all of the possibilities available to me. You can create many different environments, and you learn a lot about lighting! I really enjoy that brief moment just before you see the picture. It can be a pleasant surprise.

Dim the lights Mount your camera to a tripod, and make sure the room is dark. If it helps, you can keep a very dim lamp on to see, without it affecting the exposure.

Mix different light sources Experiment with combinations of continous light, flash and, of course, the light from a torch (200 lumens works for me, but you might decide you need something brighter). You can also use colour gels.

Experiment with flash

Make yourself invisible

We all know the basics of light painting: mount your camera on a tripod, select bulb mode, and use a light source to paint in front of your subject. However, if you want to get more creative and use tube lighting, you need a bright torch (about 1,000 lumens), a plastic tube, and some creativity. Armed with all of this you can start ‘drawing’ shapes behind your subject.

To make a perfect circle, start and stop behind one of your subject’s legs (to avoid any overlay). Keep your exposure within three seconds, and within that time ask your subject to be completely still.

By keeping good alignment behind your model, you will make yourself completely invisible. Trust me, it’s easier than it looks!

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Make your own light painting tools Take an empty soda bottle and fill it with cellophane, then attach your torch to the bottleneck.

Alternatively, use a roll of baking paper attached to a torch – now you have your own lightsaber.

Nikon D750, 38mm, 15sec at f/13, ISO 100

THIS IMAGE AND ABOVE © DANIEL GONZALEZ GARCIA

© ERIC PARE

Move beyond the basics

Set your camera to rear-curtain sync and use a long exposure so you can paint before the burst of flash comes.

Try 5sec, 10sec, 20sec, and so on.

Technique

LIGHT PAINTING

Katrina Brown

Katrina Brown has been a commercial photographer since 1994 and is passionate about night photography. She loves experimenting with points of light, the Milky Way and light painting. To see more of her work visit Instagram: @redheadkatrina; Website: www.lightpaintedart.com.

Light painting allows me to make something permanent out of something temporary. It is creating a piece of art, only you can’t see it as it’s being made – this uncertainty is very exciting to me. I like to create scenes that tell stories, triggering thoughts and emotions. My pictures involve multiple elements and techniques. This type of photography is unpredictable, and happy accidents are a big thrill when they happen.

BOTH PICTURES © KATRINA BROWN

Canon EOS 5D Mark IV, 24-70mm, 77.3sec at f/13, ISO 250

Dennis Wolff lives in Lüneburg Heath in Lower Saxony, Germany, with his family, a dog and a cat.

When he’s not working as an auditor and supplier developer he enjoys spending time with his family, running, being out in nature and light painting. See Instagram: @1607nightshift.

Turn on the pool lights

RGB pool luminaires are great for providing soft background lighting or adding colour to objects, individual areas or entire rooms. They are For me, light painting is a way of using photography to dimmable and, capture certain moods, events, objects and people. I depending on the love the handicraft element too. It helps to be interested model, the colours can in artistic design because you need to balance colour often be adjusted. and light in a way that conveys a mood successfully.

Twist the Once you have perfected your light-painting tools, and tubes a location has been decided on, the process of creative You can achieve a lovely realisation can begin. effect by twisting two Know your tools tubes with different I started out with a Canon EOS 1000D, and later switched to lighting together. One an EOS 77D. You will need to invest in powerful torches tube can be operated in (1,000-2,000 lumen) for illuminating wider surroundings, stroboscopic mode, while and creating shadows. I also use medium torches (500the other stays in 1,000 lumen), and a stroboscope. Small torches are handy continuous mode. Both for ‘writing’ with light and illuminating people. Pool lamps are tubes have the same good for lighting rooms and objects with colour, and a centre of rotation – to headlamp or construction lamp can be useful. make this easier you can secure the tubes with Wait for a full moon clamps. They are then A full moon creates the most beautiful compositions and turned lying next to each shadows during a full moon. If the moon is hidden behind a other so that no pipe tree, a building or similar, special pictures can be created, covers the other. where the surroundings do not require additional lighting.

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© DENNIS WOLFF

Dennis Wolff

Canon EOS 77D, 10-18mm, 210-250sec at f/10, ISO 200/100

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Don’t use just one light Use a variety of tools, light modifications and colours to ‘paint’ the scene. Think as though you are creating a painting.

In the dark, your camera is like a black piece of paper, so take your time to paint well.

Think before you act Before you start creating your image think about what you want to convey – it might be an emotion, a mood or a statement. With that in mind, think about which colours will convey your message. Next, consider if you need a model or not. With the big decisions made, set the scene and try to recreate what you saw in your mind’s eye.

Kit yourself out

Andrea Riezzo

Andrea Riezzo lives in the city of Lecce, Apulia, Italy.

He collaborates with various artists and uses photography (and light painting) to provide unique experiences to tourists visiting Apulia. To see more of his work visit Instagram: @sublument and @andriezzo; Website: www.sublument.com.

What I love about light painting is the ‘wow’ factor a picture can have. Sometimes it feels as though you are a magician. With a light source, and some carefully considered movements, you can create something unique. But there must be context, a story or a sense of place. For that reason, I don’t like abstract light painting, using too many colours or, worse still, creating too many shapes. For me, less is more. I have been inspired by Eric Paré (see page 14), but over the years I have developed my own style, correcting my mistakes as I go along. It’s not easy to coordinate breath, movements, equipment and a model in one shot, but it is possible!

Select your subject with care This is crucial. Choose materials that allow light to bounce off them properly so you can light a subject or surroundings properly – human skin and stone are two good examples.

Light the subject Use your light painting tools to light your subject, not the background. When you are ‘drawing’ a shape, try to move the light source in a way that creates contrast between these two elements.

Stay focused

Don’t stand next to the camera and paint the scene from this viewpoint – much like onboard flash, the results will appear flat. Instead, move to one side of the camera, or even way behind it, to shape and create varying degrees of depth in the picture.

Perfect your exposures Remember that the best metering system is your eye. Expose the scene for the ambient light and then build the shot by testing your light sources. The brighter the ambient light, the more lumens the torch needs. You can only control your light, not the ambient light around you, so that’s the variable you change when building up the scene. If you really don’t know where to start, begin at ISO 100, f/8, with a 1,000 lumen light source and then take it from there.

Plan ahead Make a list, a storyboard; whatever helps you think through your ideas ahead of time. This way your success rate will be much higher and you will carry less gear to your location.

Also, plan to wear as much black clothing as possible to avoid being seen in the pictures.

Sony Alpha 7 III, 24mm, 4sec at f/4, ISO 400

There are plenty of elements to consider when you are light painting, so keep your mind on the job and try not to get distracted.

Stay local When you’re looking for a location for a light painting shoot, start with your local area. I’m lucky in that I live in a beautiful region of Italy with clear skies and peaceful shores on my doorstep, but use your imagination.

Make connections Go to any hardware store (or search online) and you will find plenty of translucent materials that can be connected, in some way, to a torch.

Your set-up might look ugly, but who cares – light painters work in the dark so no one needs to see your DIY handiwork!

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© ANDREA RIEZZO

Canon EOS 5D Mark IV, 16-35mm, 20sec at f/2.8, ISO 8000

Many light-painting tools can be handmade, but one essential purchase is a dimmable torch that is small enough to fit into tubes or pipe fittings.

I prefer tactical torches that have pressure switch triggers, making it easy to turn them on and off. Homemade tools can be made using fluorescent tube guards, with gels added for colour.

Soda bottles, plastic pool toys, pretty much anything with colour and the space to fit a torch inside it can become a light painting tool! See my website for more about the gear I use.

Consider your positioning

17

Technique

LIGHT PAINTING

Photoshop composite: Canon EOS 650D, 10mm, f/4.5. Stars: 30sec, ISO 3200 mushrooms: 15sec, ISO 100

Rod Evans

Rod likes to explore and capture New South Wales via landscape, astro, 360, time-lapse and light painting photography. To see more of his work visit Instagram: @rod.evans.visual, YouTube: rod.evans.visual, Steemit: steemit.com/@rod.evans.visual and Red Bubble: redbubble.com/people/rodevans/shop.

ALL PICTURES ON THIS PAGE © ROD EVANS

Light painting, for me, is a form of meditation; it keeps me in the moment and allows me to momentarily put my worries aside.

It also forces me to get out and explore my surroundings. I have found so many amazing locations due to my drive to create interesting light painting compositions. The style of painting I prefer – or that I’m most known for – is handdrawn orbs using acrylic rods or tubes. The main thing I love about light painting is saying ‘wow’ when I see what I have captured.

Canon EOS 650D, 12mm, 37sec at f/5, ISO 200 18

Think outside the box When you go into a store and see plastic items, try to see them for their colour and shape and imagine what they would look like if they had light shining through them. Most of my light painting tools are made out of items I have found in dollar stores or found lying around. I very rarely buy purposebuilt light painting tools.

Keep a sketchbook When I head out on a shoot, I always take more tools than I need. When I get to the location I use about two or three of them for the pictures, and then pack up my gear and head home. But when I get home a previously conceived idea pops into my head and I think, ‘Why didn’t I do that while I was there?’ This has happened on numerous occasions, so now I have a book for writing down my thoughts and sketching designs and shapes, which I take with me.

Canon EOS 650D, 18mm, 83sec at f/3.5, ISO 100

Use a remote shutter release

For the first few of years of my light-painting adventures, I set the timer to 10 seconds and then ran to get into position Take heat packs before the shutter opened. At times this was awkward, When I’m shooting long exposures in because there were obstacles I had to navigate in the dark the cold, my lens can start to fog up due (granite boulders, deep watery crevices etc) so one day I to the heat from the camera body. As a invested in a remote-controlled shutter release for my DSLR, result, I am constantly using a lensand I have never looked back. It allows me to open and close cleaning cloth to wipe off the moisture. my shutter from a distance of up to 100m away, which saves To combat this, I attach heat packs for me a lot of hassle when I’m out on location. I highly hands under my lens. recommend this for anyone interested in light painting.

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APS-C bridge

Editorial team Group Editor Nigel Atherton Geoff Harris Deputy Editor Andy Westlake Technical Editor Michael Topham Reviews Editor Amy Davies Features Editor Technique Editor Hollie Latham Hucker Jacqueline Porter Production Editor Chief Sub Editor/Features Jolene Menezes Acting Chief Sub/Features Amanda Stroud Sarah Foster Art Editor Steph Tebboth Senior Designer Andrew Sydenham Studio Manager Photo-Science Consultant Professor Robert Newman Hollie Bishop Office Manager Special thanks to The moderators of the AP website: Andrew Robertson, lisadb, Nick Roberts, The Fat Controller Head of Market Liz Reid 07949 179 200 Senior Account Manager Samuel Shaw 07970 615 618 Production Coordinator Chris Gozzett 0203 148 2694

Publishing team Chief Executive Officer Marcus Rich Group Managing Director Adrian Hughes Managing Director Kirsty Setchell 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 (www.ipso.co.uk/ IPSO/cop.html) as enforced by IPSO. If you have a complaint about our editorial content, you can email us at complaints@ti media.com 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.

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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.

20

LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD. NOTE: PR ZE APPL ES TO UK AND EU RESIDENTS ONLY

Advertising

AS AN enthusiastic user of bridge cameras over the years, I totally agree with John Gordon’s view in his letter ‘Bridge of size’ (Inbox, 4 January). And following his line of thought, I would like to suggest that the following is feasible and could prove very popular: a ‘bridge camera’ with a lesser zoom (say, 28mm to 200mm, even 150mm) to keep size down, but with an APS-C sensor. Personally, I have become more interested in image quality and low light performance than several hundred mm of zoom. I’m currently using a Sony Alpha 7R Mark II with the tiny Samyang prime 24mm, and I do my zooming on the computer!

But if someone introduced an APS-C bridge camera of similar size and weight to my current set-up, I would be

David is an enthusiastic user of bridge cameras but not so keen on changing lenses

very interested. Is this not possible?

Even a more limited zoom range, say 28mm to 120mm, would be attractive. Even 35mm to 100mm! As you can tell, I hate changing lenses. Is what I am suggesting not technically possible? I find that unlikely.

David Boothroyd

Win!

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Adobe betrayal

I refer to the letter from Gerald Peppiatt (Inbox, 18 January) regarding Adobe Lightroom not running under Adobe OSX 10.14.6 Mojave. A problem that began with the release of OSX 10.13 High Sierra in September 2017.

I use a 2009 iMac and have been a Lightroom user since it was first released in 2007. I have progressively updated to the latest version until Lightroom 5. When Lightroom 6 was released I had retired due to ill health and my financial

circumstances no longer allowed me the luxury of purchasing new software applications. Lightroom 6 was not available as a free upgrade, but had to be purchased with a new license. I continued to use Lightroom 5 very happily until Adobe released OSX 10.13 High Sierra.

Once I had installed High Sierra, Lightroom 5 stopped working. It would crash immediately after launch or soon after. Apple made no mention of this and did not warn users of this problem in the High Sierra release notes. As far

as Apple was concerned, it was not its problem, it was an Adobe problem.

Adobe’s response to my complaint was to the effect that Lightroom versions 5 and 6, and all previous versions, were no longer supported and that I should purchase a subscription to Lightroom CC. I was only one of thousands of Lightroom users who had the same problem. The Adobe forums were inundated with posts on the subject.

No solution has ever been offered by Adobe. I am sure that a simple patch

could have been made available by Adobe without ruining some vast eternal plan.

I now feel betrayed by both Adobe, of whom I was a loyal customer for many years, and by Apple.

My only alternative if I wish to continue using Lightroom in my circumstances is to either purchase the Adobe subscription service, which I am not in a position to do, or to replace Lightroom with an alternative application such as ON1.

My current iMac still runs very well and diagnostics do not indicate any hard drive problems yet. When it fails, I will no longer have the ability to access my catalogue of 50,000 images created over a period of 65 years. Most of my final edited images have been exported as either tiff or highresolution JPEG files and are backed up on external drives. These will become assets of my estate on my passing.

I still enjoy my photography and get out with my camera as often as possible, so new material is still being created and downloaded to my computer. My use of Adobe products for post production, however, has come to an involuntary bitter end.

I feel that it has been very unfair of Adobe not to recognise the fact that there are Lightroom 5 and 6 users who, due to personal circumstances, cannot finance a subscription to Lightroom CC or to Adobe Creative Cloud, either due to financial constraints or to administrative restrictions.

These users paid Adobe good money when they made their initial purchase of their Adobe software and deserve better treatment than that which they have received.

Graham Serretta

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filter thread. A good first camera for a youngster.

Bill Houlder

The mystery screw on the front of the Leica M10 Monochrom

Annoying screw

When reading Andy Westlake’s review of the Leica M10 Monochrom (AP, 22 February), I found my eyes being continually drawn towards that large single screw head on the front of the camera body, directly above the lens mount, and the reason why my eyes were drawn to it is because it was squint.

The engineer in me says that the slot in a screw head like that should either be horizontal (preferably) or vertical, but never squint. If I owned this camera, I would be sorely tempted to take a screwdriver and try and square it up to make it look better, which I am sure would horrify a Leica engineer. I imagine that there is a valid reason why the slot is squint, or indeed why an ugly visible screw head is there in the first place. I would love to know.

D Thomson

carry a phone these days and use them for snaps, so who wouldn’t want to know which one has the best camera? My only criticism is you only tested top-ofthe-range models. I’d love to know how the more affordable offerings fare.

Hugh Potter

I think the camera is a Werra. If I am correct, it was a sturdy machine with an unusual method of cocking the shutter. It was made in Germany but I am unsure whether the factory was in the East or the West. The Werra felt good in the hand and was tempting but I was already committed to Nikon.

Michael Kaye

Back in the day A wander through the AP archive.

This week we pay a visit to March 1934

Manual labour

Don Goodman (Inbox, 8 February) provided contact details of a company selling printed copies of manuals for ‘every camera and iPhone’. A quick online search identified several I believe that the mystery such companies. camera on the cover of I can understand your Christmas 1965 manufacturers’ reluctance cover (Inbox, 8 Feb) is a to provide full reference Yashica rangefinder. manuals for every product Probably an MG1 with – including a manual would 40mm f/2.8 lens. Yashica clearly add to the made thousands of 35mm transportation costs. fixed-lens rangefinder I would like to add a word cameras. Many were of caution. Looking at my selenium metered. Later downloaded manuals for ones had CdS metering. my DSLRs they stress that Most had parallax ‘no reproduction in any correction, as my Yashica form of this manual, in Minister III has. Sadly many whole or in part (except for passed through the hands brief quotation in critical of idiots who displayed articles or reviews), may be them in their shop windows made without written where the meter cells were authorisation’. I’m degraded by being left in uncertain what the position strong light. My Minister is about these printed was one such. Fortunately manuals, whether the end This is the cover for the having an uncoupled meter user, or the company that rangefinder’s alignment they can be used with printed and sold them, is mechanism. It simply handheld meters. Most liable if the manufacturer does up until it’s tight. have self-timers, although decides to take action.

Lining up the slot either Jonathan Smith vertically or horizontally many have failed due to would mean unscrewing lack of use. And there’s a It’s inconceivable that a it slightly, which would company would take risk it working loose and legal action against getting lost. On previous someone for printing an M models the screw has instruction manual that is been covered up by the only supplied as a pdf, Leica dot, which and thus making it easier probably explains why for its customers to Leica hasn’t engineered understand how to use the cover so the slot ends its products. Imagine the up vertical or horizontal. flak it would get! But if it did, it would be the I know some readers may supplier of the manuals, question why you test not the end user, who The mystery camera on AP’s phone cameras but we all cover from Christmas 1975 would be in trouble.

Mystery camera

1934

ONE OF the most popular recurring themes on AP covers of the mid 1930s was hand colouring, usually with a single spot colour, and this issue is typical of the period.

Among the Topics of the Week under discussion is the philosophical question ‘Why do we take photographs?’ It was posed to a group of pictorialists by the evocatively named Major PC Bull, who sounds like the kind of man who says ‘poppycock’ a lot. He explained that photography is ‘merely a way of keeping ourselves out of mischief in our spare time’. Furthermore, the correspondent reported, ‘Major Bull’s answer to his own question is that he takes photographs because he jolly well wants to.’ (He didn’t actually say ‘jolly well’ but you can hear it in the tone).

Photographs are not art, he insists. ‘We have no business to make them unlike photographs, and if we do feel a little thrill of pleasure when someone says of our work, “There, now, who would think it was a photograph” we must know that is of the devil.’ It was not recorded whether anyone in the room was brave enough to disagree with him.

Phones for Hugh

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‘Why do we take photographs?’ from Topics of the Week 21

APOY

Playing to

win When did you start taking pictures?

In May 2014 I bought my first DSLR. I had a point and shoot, which I had taken on safari a couple of years earlier. I had an amazing time, but was very frustrated because everyone else kept pushing their much bigger lenses in front of me to get their photos. That was

what made me realise I really wanted to learn about photography and get it right.

It took me another couple of years before I actually bought one, though, and it wasn’t until I’d saved up to go on another safari that I took the plunge, getting a Canon EOS-1D X, which I absolutely adore. I spent the next month out in

ALL PICUTURES © CARON STEELE

Caron Steele led the way from round two of Amateur Photographer of the Year and walked away with the main prize.

Ailsa McWhinnie finds out how she did it

This vibrant image of a frog was taken in Costa Rica Canon EOS-1D X Mark II, 100mm, 1/200sec at f/16, ISO 400

the garden photographing anything that moved before going to Kenya.

After that first safari, were you hooked?

Totally. It meant that the rest of my waking hours were spent making sure my business would earn me enough money to visit amazing countries. Photography gives me a valid reason to travel, particularly as a lone female. It means you can see amazing things with a likeminded group of people. I had barely holidayed much before I took up photography, but since being bitten by the bug I’ve been lucky enough to travel to Mongolia, Costa Rica, Botswana, the Arctic, Antarctica, the Galapagos, Yellowstone and Iceland, among many other places. I’m now cutting down on my flying because of concerns about the environment –

22

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This beautiful shot won Round Eight of APOY – After Dark. A well-deserved win Canon EOS-1D X Mark II, 16mm, 5sec at f/2.8, ISO 4000

and we are planting a lot of trees on the farm to try to compensate! But I’m glad I’ve seen everything I have over the past few years. Sometimes my husband comes with me on the trips, but we have an organic farm so he can’t get away often.

What have been your most memorable trips?

I love everything about the African countries for the wildlife. The Galapagos is amazing – absolutely fascinating. I also loved Japan, as culturally it’s so different from the UK. To be honest, every country has something that blows me away. In Antarctica, I couldn’t get over the scenery. I went there because of my love of wildlife, but the mountain ranges were stunning. Kenya and Botswana are the countries I go back to because I love everything about them.

Caron’s shot of a pelican won Round Three - Animal Magic. Canon EOS-1D X Mark II, 220mm, 1/1000sec at f/8, IS0 1000

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23

APOY

Why do you have such a keen interest in wildlife?

I have a degree in Zoology from Oxford University – I wanted to be the next David Attenborough. I did have an interview with the BBC, but couldn’t afford to live in London on the salary they were offering. I was then offered three times as much to work in banking, and from there, I moved into advertising. I’m afraid I chased the money! I now run my own business – a multi-use venue that hosts conferences and weddings – which means I can spend time doing the things I really enjoy. It’s been great to get back to nature and my zoology roots.

Why did you decide to enter APOY? I became aware of it through entering Bird Photographer of the Year on Photocrowd. Seeing APOY’s varied categories, I knew it would be a good challenge for me. I like to set myself targets, otherwise I can get lazy – I’m definitely a goalorientated person. And having a competition that covers so many different genres gave me a reason to try things that were outside of my comfort zone. I didn’t think I’d necessarily stand much of a chance, but I had some photographs I knew I could work on for the first couple of rounds – and for the rest of them, I just thought I’d have a go.

My family will tell you I was a complete pain over it.

For instance, I hadn’t done any macro photography before the competition. I would run around the garden, trying to photograph insects, and also brought bugs into the house and tried homemade lighting rigs. Although I wasn’t placed high in that category, I managed to get a shot of a beautiful hawk moth that landed on the bathroom window.

I took it and placed it on a log, expecting it to fly away, but it stayed there for about ten minutes while I faffed about trying to get the flash on my camera. There’s still plenty of room for improvement.

Above: A fallow deer takes in its surroundings Canon EOS-1D X Mark II, 400mm, 1/250sec at f/5.6, ISO 1000

As for portraits, typically, I got some nicer ones after the deadline, and I didn’t enter Street Life and hadn’t done anything like that before.

The photograph that won the After Dark category was taken in Mongolia (see page 23). I knew the skies there would be good for the Milky Way. I’d tried some astrophotography in the UK, but hadn’t managed to get anything suitable. I kept asking our guide in Mongolia about astrophotography, and there was so much I didn’t understand about it – such as software that allows you to blend images and get rid of a lot of the noise. The final image was several photographs blended together.

2nd place

© TOM FRANKLIN DE WAART

Airline pilot Tom is in the enviable position of being able to combine travel and work – and the images he takes during his time off in various countries around the world ensured he remained close to the top of the leaderboard throughout our 2019 competition.

He regularly had more than one image placed in each top 30, reflecting the sensitivity and consistency of his work. His talent lies in distilling a scene down to only its essential elements, with little or no extraneous detail to distract the eye.

Visit www.tomfranklinphoto.com 24

© MARCO TAGLIARINO

Tom Franklin de Waart

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APOY

You use cameras by two different manufacturers.

Why is this?

As I mentioned earlier, I have a Canon EOS-1D X, and mainly Canon lenses. However, it got to the point where I really wanted a 50MP camera, so I bought a Nikon D850, because I love the fact it means you can crop in and still have a goodsized image. Sometimes when you’re photographing, say, birds that have a wide wing span in flight, and are using a prime lens, you need a certain amount of distance from your subject because within seconds you can be clipping their wings in the frame as they fly towards you.

Above: Caron took this ethereal shot on a trip to Japan Canon EOS-1D X Mark II, 700mm, 1/3200sec at f/7.1, ISO 800

professional, perhaps, but I don’t want to do photography full time at this stage. But I still have some quite big plans for 2020. In particular, I’d like to raise more than £5,000 for conservation causes through my photography, have a photograph commended in the Wildlife Photographer of the Year competition (I had five shortlisted this year, but didn’t quite make the cut), and start a series of talks in schools on conservation, photography and mindfulness. Then I plan to launch a series of Wildlife and Wine exhibitions, which will focus on my wildlife photography and feature wine tasting with our wines grown on our vineyard in England.

Photography has allowed me to focus on the detail of something There are times when it can be a bit ‘else’, something as raw and confusing. For instance, their zoom beautiful as wildlife. When you lenses rotate in opposite directions, so take pictures, the rest of the world sometimes I have to stop myself for a melts away and falls into split second and remind myself which perspective. Life has a lot of ups camera I’m using. For a lot of my bird and downs, but the downs don’t photography, I use a 200-500mm prevent the ups from being lens on the D850, as it gives me a beautiful. Photography allows you good deal of flexibility. In good light to get out on your own without it’s fantastic, and I’ve had a lot of feeling lonely, and it’s a very success with it. However, when you’re enveloping, positive thing. shooting in low light and typically Even if I’d come last in APOY, I’d British weather conditions, you can’t have learned something from it. fail but do well with the EOS-1D X. Whatever happens next, I know I’m a better photographer for What are your future plans? having entered.

I don’t know if I could go Visit www.caronsteelephotography.com professional. I’d consider semi-

3rd place

4th place

Marco has become a regular fixture in APOY over the years, with precise compositions being his particular talent, not to mention making the most of gorgeous lighting conditions, whether shooting indoors or out. Like Tom, his documentary travel images always stand out in the judging process, and he seems to know intuitively what angle to take on a scene – be it from a low viewpoint or close in with a wideangle.

His processing skills are excellent, too.

Familiar to many regular readers as last year’s winner, Neil demonstrates that you don’t need to enter every category to end in one of the leaderboard’s top spots. By carefully targeting categories such as Setting the Scene (Round Two), Whatever the Weather (Round Seven) and After Dark (Round Eight), he played to his strengths and sailed into the top ten. His highly atmospheric landscapes continue to make an impact, and it’s gratifying to see his work continue to go from strength to strength.

Neil Burnell

Marco Tagliarino

© NEIL BURNELL

Visit marcotagliarino.1x.com

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Visit www.neilburnell.com

25

When Harry Met...

Bob Monkhouse Harry Borden looks back on two shoots with the popular comedian, entertainer and game show host

I

Both shoots were part of a publicity drive for a special TV autobiography Bob had written and performed in, Bob Monkhouse on Bob Monkhouse.

It was widely known that he had been ill for some time, but what hadn’t been revealed was that he had terminal cancer.

He died in December the following year, aged 75.

Bob had enjoyed a long career in show business, starting out as a comedy actor and later combining a career as a stand-up comedian with his role as host of game shows such as The Golden Shot and Family Fortunes. These shows were watched by millions every week. He was a true

‘He had a very expressive face, good to photograph: it was like shooting fish in a barrel’

ALL PICTURES © HARRY BORDEN

n one week in February 2002, I was commissioned to do portrait shoots with the comedian and entertainer Bob Monkhouse by two separate publications. The first, at Bob’s house in Leighton Buzzard, Bedfordshire, was for the Mail’s Night and Day magazine. The second, four days later, was shot in the very different environment of a London studio.

I’ve now lost the negatives for the first shoot, though I have the scanned image files.

In the pre-digital era, negatives often went missing and I was doing so many jobs I often didn’t notice they were gone until years afterwards. I have other photographers’ negatives that were mistakenly sent to me in that period.

Possibly the negs from the first shoot were never returned to me, or were sent to another photographer. That doesn’t happen now.

Harry’s first shoot with Bob was at Bob’s large house in Leighton Buzzard 26

professional, renowned for being very serious about the craft of comedy. Unlike some comics of his generation, he was enthusiastic about younger comics and they in turn respected him as both a writer and performer.

Professional to the end His professionalism extended to having his portrait taken. I remember going to his house, amusingly called ‘Claridges’, which was an impressive 17th-century house. I was given a warm welcome by him and his wife Jackie, who brought us cups of tea during the shoot.

Bob was quite dapper and very conventionally good-looking.

He got ready for the shoot in a dressing room, a bit like one you’d find in a theatre.

On both shoots Bob had his own hair and make-up people and that grooming went on for at least an hour before he was ready to be photographed.

Looking at the pictures now, I remember waiting around for every hair to be put in place.

We did shots both inside the house and in the garden and he was happy to do whatever I requested. He had a very expressive face, so was really good to photograph: it was like shooting fish in a barrel.

Although superficially he was all charm and repartee, there was also noticeable vulnerability and selfawareness about him.

That self-awareness shows in the pictures because he was quite happy to look ridiculous or to act up and play a role for the camera. The fact that the initial shoot was at his home says quite a lot. He wasn’t guarded or putting on a shtick.

The second shoot took place in Red Earth Studios in London EC1. It had a big skylight that let in beautiful light and created its own atmosphere. Most of the shots

Harry asked Bob for an ‘absence of thought’ for this quirky studio shot

I took were only lit by daylight.

It was so easy to get interesting results there; the light took care of itself, so I could concentrate on having a good rapport with the subject and capturing that relationship in the pictures.

Quirky pose I was shooting on my two main cameras at that time, which were both medium format film cameras: a Fujifilm GW690, a 6x9 rangefinder, and a Pentax 67, sometimes described as an SLR on steroids.

Bob was wearing a light grey suit and patterned tie and again was happy to do whatever I asked. I shot him in a range of poses, some with him pulling a surprised face or smiling, and others where I asked him to have ‘absence of thought’. There was a white box in the studio and I asked him to sit on it and look to one side, his feet dangling above the floor. The pose was quirky but a little sad and vulnerable – a side that was very real, but one that TV viewers didn’t often see.

I remember saying to him that it was nice to photograph people like him because he was part of society’s collective consciousness after being watched by millions of people over many years. One of my portraits from this shoot has ended up going into the National Portrait Gallery collection. I’m pleased, because for his professionalism and dedication he deserves to be there.

As told to David Clark

Harry Borden

Harry is one of the UK’s finest portrait photographers and his work has been widely published.

He has won prizes at the World Press Photo awards (1997 and 1999), and was awarded an Honorary Fellowship by the RPS in 2014.

The National Portrait Gallery collection holds more than 100 of his images.

Visit www.harryborden.co.uk 27

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CAMERA CONNECTIVITY

Testbench

The app offers direct control of key shooting settings, including AF modes when it’s used in remote shooting mode

Canon Camera Connect

Want to share shots on the go? We continue our new series looking at how to connect your Canon camera to your smartphone. Matty Graham offers an insight

C

anon has been the number one camera brand for global sales for more than a decade and offers a huge range of mirrorless and DSLR cameras. So, it should come as no surprise that it offers a wellestablished connectivity app that enables photographers to not only transfer images between the camera and a smart device, but also control the camera remotely and attach useful data such as GPS location, too.

The Canon Camera Connect app is available to download for free for both iOS and Android devices from the relevant app stores and requires 73MB of free space. Interestingly, the same app works for both entry-level models like the 200D, right up to Canon’s professional models such as the 5D Mark IV. Android users need Android 5 while iOS users will need at least the iOS 11 version of the platform

to use the functionality. Available in a number of languages in case English isn’t your mother tongue (French, German, Italian, Japanese and more) the app is compatible with smart devices such as iPad and iPod Touch devices as well as your phone, offering more options and accessibility.

The features on offer enable photographers to upload content while they are out in the field – hugely useful for vloggers, news shooters on a deadline or photographers wishing to send images to clients in a rush. Shooting remotely can also open up new creative opportunities that would otherwise be harder to capture when using the camera in a more traditional sense.

Features The great news is that Canon’s Camera Connect app is jam-packed with features and

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For and against

Offers remote-control function Simple, easy-to-navigate user interface Can be used with multiple Canon cameras Gives users the option of a reduced (5MP) file size Good options available when it comes to bulk transfers Heavy use does affect the camera’s battery life Manual focusing via the app is a little slow to use in the field

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Testbench

CAMERA CONNECTIVITY

As these screengrabs illustrate, Canon’s Camera Connect app has a dark user interface. Sliders are used to turn various settings on and off in an instant

it’s not until you experiment with the app that you realise exactly how much you can control from your device. Some of the features are controlled via the camera’s Bluetooth technology while others rely on a Wi-Fi connection. But these days virtually every Canon body is equipped with both these features. Pairing and connecting the app to a camera to get yourself started is surprisingly easy and I found that the connection between my iPhone 7 and Canon 90D was hugely reliable and didn’t cut out at all during testing – a remarkable achievement given that apps from other brands often struggle.

Better still, I experienced no issues caused

by Apple’s latest iOS 13 platform, which has caused problems for apps from other camera brands. For more information on pairing see the panel below. In terms of time, it took less than two minutes, so nobody should lose patience while attempting to establish a connection.

To explain the features further, we’re going to walkthrough the various modes offered, which can generally be split into two groups:

transferring images from camera to device, and using the device to control the camera.

Remote Live View shooting As the name suggests, this mode enables the photographer to control their camera and its settings via the smart device. The interface for the mode is set out in a simple way with a main window relaying a live view of what the camera is seeing with exposure information and adjustment options around the bottom of the screen and extra info like battery life and shots remaining on the memory card above the live view window.

The Remote Live View option works when capturing stills and video, and users can adjust variables such as general exposure settings (shutter speed, aperture and ISO – depending if you are in manual mode or a semi-automatic mode such as aperture priority). However, it doesn’t stop there and the app allows you to also select which focus mode you wish to employ, which drive mode you’d like to shoot with (burst mode or even self-timer) and which white balance you’d like to use too. Hit the

settings wheel icon and you can choose to turn on/off the live view display, lock the screen orientation and even rotate thelive view rotation through 90°. There is an option to magnify the live view feed too for studying scenes or details very closely. All in all, this gives a very high level of control over the camera through your smart device.

Photographers can establish a focus point in the scene by tapping on an area of the live view window on the device and a green square will appear over this area to confirm correct focus has been acquired. This feature works extremely well, reacts quickly and I found it to be reliable, with the focus point matching up with where I intended it to be. If the camera is set to Manual Focus (MF), you can fine-tune the focus zone using the app, and although this feature is incredibly useful, it can be a little slow to use out in the field. One clever last feature of note is the ability to activate a bulb mode trigger by employing a long-tap on the screen.

It should be pointed out though that this feature is not supported by every Canon camera that features wireless connectivity.

HOW TO CONNECT YOUR CANON CAMERA TO YOUR SMARTPHONE 1 Search and download for free

Visit the app store on your phone (App Store for Apple or Google Play for Android) and download the free Canon Camera Connect. When 2 Make Bluetooth and Wi-Fi you open the app, active on your camera enable permissions for the app to access Navigate through your Menu system and head to the connectivity settings. The app set-up your photos. guide will instruct you to select Wi-Fi/Bluetooth connection so find this option and select it.

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3 Select the camera model

The app on your phone will prompt you to select which model of camera you wish to pair with your smart device. In my case it was the 90D, so I typed this in and then selected the OK button.

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The app lets you pick and choose the images you’d like to transfer wirelessly to your phone

Multiple cameras?

No problem

Image transfer

MANY photographers these days have multiple cameras in their backpack. Perhaps you’ve got a small and lightweight mirrorless for the times when you don’t want to lug about the heavier DSLR? Well, the good news is that when you have the Canon Camera Connect App, you can use it with multiple cameras. All you have to do is switch between the camera that is selected on the app interface to control each device.

This feature would prove highly useful if you have set up a multi-camera rig that needs to be controlled remotely. A good example of when this could be used would be setting up multiple cameras to shoot a bird landing on a rigged perch. Moving the cameras to adjust them comes with a risk of scaring off the subject. Having the option to pick and choose which camera you’d like to control can be very useful in some scenarios.

While the Remote Live View Shooting features will help you capture images, the Image Transfer mode will enable you to – you guessed it – send the content from your Canon camera to a smart device, allowing you to upload to social media or send images to clients without needing a computer. What’s really clever about the app is the way you can quickly sort and filter images to find the shots you’re after. For example, you can filter images by date, specific folders or even by the rating attached to the individual files.

Image transfer times are decent; sending a full-size raw file (transferring into JPEG) from the 32-million-pixel 90D I tested the app with took 28 seconds. However, the app does offer an option to send the photo with a reduced file size and when I selected this option, the transfer time dropped dramatically to 3.5 seconds. In reality, for uploading to platforms such as Instagram or Facebook, the 5MB reduced file should be more than enough

resolution. Bulk transfers are also a fairly easy endeavour as multiple files can be selected quickly; with an orange ‘tick’ icon confirming the selection. The app will offer users the option of keeping the GPS data attached to the photo, which will be of interest to landscape photographers who may want to log this information to revisit locations at a later date.

Of course, like any connectivity app, heavy use does impact on battery life, though this can be easily monitored on the app interface and both the app and camera will fall into ‘sleep’ mode if you haven’t touched them for a period of time so this will help prevent you running out of juice. Lastly, one final cool feature of note is that the Canon Camera Connect app will let you transfer JPEGs captured on other cameras to your phone. So, say you’ve been on a camera club outing and have used your memory card to try out a few of your friend’s cameras? Well, just pop the card back into your Canon, fire up the app and transfer over the images. It’s as easy as that.

4 Set-up wizard

5 Complete the connection 6 Choose your mode

A grid of options will appear and the app set-up wizard will instruct you to select smartphone (identified by the phone icon).

Navigate to the Shooting Menu and then select the Wireless communication option, which will then attempt to connect your camera and smartphone together so that the Live View and Image Transfer modes can be used.

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With your mobile device and camera now paired and connected, you can select which feature or mode you would like to use directly from the app.

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Technique

Behind the

print Claire Gillo shares her top tips and tricks for getting her documentary monochrome image ready for print To make the most of this image I am going to convert it to black & white.

1

I will also reduce the noise in the image as it was shot at a high ISO.

2

Claire Gillo

I need to bring out the detail in the shadows to create a subtle blend from dark to light.

3

I don’t want to push the highlights too far so they overexpose but I also need to exaggerate the strip of light.

4

Claire is a very experienced photography journalist and a former Technique Editor on AP. She now works as a freelancer from her base in Devon and enjoys taking and editing a wide range of images. For more information see her website at www.clairegillo.com

C

ollectively around the globe we shoot trillions of images annually.

Although many images are not worthy of printing there are some that will benefit greatly, and will transform from being a nice image on screen to a great work of art.

The problem with printing your images is that it

GETTING IT JUST RIGHT

1 The basics

To make the basic edits to my image I imported it into Adobe Lightroom Classic. I then converted it to black & white, and boosted the Exposure, Contrast, Highlights and Shadow sliders to ensure the highlights and shadows had enough detail. I finally tweaked the Clarity to boost the midtone contrast.

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2 Noise

As my image was a tad noisy I scrolled down to the Noise Reduction panel and played around with the Luminance slider. When you reduce noise it comes at the expense of losing detail, so keep zooming in and out until you are happy. It’s often a compromise between keeping the image a little grainy and maintaining fine detail.

3 Soft proofing

I don’t have a printer at home that will do my images justice, so I send my images to an external printing service. However you still need to soft proof them. Check the Soft Proofing box (in the Develop module on the bottom bar). Press Create Proof Copy so you can work on a duplicated copy and save your original.

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IN ASSOCIATION WITH

Top tips for printing

1

Don’t print for the sake of it

Printing your images is an investment and there is no point in doing it just for the sake of it. Think about how you want your printed image to be viewed. Is it part of a series or a standalone piece?

Is your image going to be framed, or mounted? Is it for yourself or for a client? Answer all these questions first before you splash out.

still need to 2 You calibrate your screen

Although you might not think you need your screen correctly colour calibrated for black & white printing, you do. If your screen is too light you won’t see the highlight detail and if it’s too dark you won’t get accurate shadows.

3 Which paper?

requires thought and cost, even if you are doing it yourself from home. What paper are you going to use?

Are you going to frame it?

Do you want a mount?

Glass? However, if you invest time into printing your images (even if it’s just one a year) you will pick up new skills and have something to hang on your wall and show

for all your hard work. I rarely print more than one or two images a year, however I’m a great believer in quality over quantity. If I’m going to turn one of my images into a material object – I want to do it well.

I love capturing people and this image was taken at a festival last year. I decided to convert the image to black &

white at the editing stage and make a few basic adjustments to tweak the end result. See my top tips and step-by-step workflow for advice on how to print in monochrome.

You can find out more about me and my work at www.clairegillo.com or follow me on Instagram @clairegillophotography.

When picking the right paper for black & white there are many things to consider, from the weight of the paper to the final finish (do you want it matte, glossy, silk). For black & white printing it’s also crucial to look at the paper’s Dmax rating (this is the deepest tone of black available to your paper/printer/ink combination). Matte papers absorb more ink, whereas glossy papers don’t and have a higher Dmax rating. This means on a glossy print the blacks will be deeper.

4

ICC profile

Whether printing from home or sending your image to a lab you’ll need to use the correct ICC profile for your paper. An ICC profile basically tells your printer how to handle the colour space to get the colours or tones in a black & white image correct.

WhiteWall recommends

4 The right profile Companies such as WhiteWall enable you to download ICC profiles for your paper. Once they are downloaded and installed on your computer you can select it from the Profile list on the side bar. Also check Simulate Paper and Ink, and tweak your image until you are happy with the tone and look of the end result. Export out.

‘Claire Gillo’s black & white image above perfectly captures the intimate atmosphere of a concert. In order to underline the original grunge look, I would recommend going with WhiteWall’s Direct Print on Aluminium Backing.

Another option would be our Baryta Paper.

This heavy black & white photo paper has a glossy surface and a silky shimmer because of the baryta texture. And as a finishing touch, adding our solid wood frame Hamburg in black oak and a white passe-partout gives the picture an elegant, high-class and extraordinary look.’

Jan-Ole Schmidt, Product Manager WhiteWall.com

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CLOCKWISE FROM BOTTOM LEFT © MARCO TAGLIARINO, MAGGIE BULLOCK, CARON STEELE, MICHAEL FARLEY, HELEN TRUST, SIRSENDU GAYEN, NAF SELMANI

COMPETITION

Enter today!

Amateur Photographer of the Year Competition

£10,000

Enter our annual competition for the chance to win some fantastic prizes and be crowned Amateur Photographer of the Year 2020 36

OF PRIZES TO BE WON 14 March 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

In association with

N

ow going strong for an incredible 29 years, the Amateur Photographer of the Year (APOY) is the first contest of its kind and – we believe – the best. There’s a wide variety of categories, so no matter what you like to shoot, there should be a round for you. You might choose to enter just one category, but if you want to go for all the glory, enter them all with the aim of taking home the main prize and, of course, the title of ‘A mateur Photographer of the Year 2020’.

The competition is open to all amateur photographers* and we have again teamed up with Photocrowd who will be hosting the competition on a simple and intuitive platform.

Not only will your work be seen by a panel of experienced judges, but it’s also a brilliant way of getting your photos in front of a wider audience.

Providing an amazing £10,000 worth of prizes once more is Sigma Imaging (UK). Once again, the winner of each round can choose what they like from Sigma’s wide range of products, up to a total value of £1,000 (based on Sigma’s recommended retail price). The overall winner has £2,000 to spend on Sigma products of their choice.

This means that whether you shoot full-frame or APS-C, are lusting after a wideangle zoom or a telephoto prime, there will be something for you – and you won’t be restricted by a set prize that might be less useful for your favourite type of photography.

Each category’s Crowd Vote winner (the image which receives the most votes from Photocrowd members) wins a one-year digital subscription to Amateur Photographer.

Turn over for details on how to enter round one

About Sigma SIGMA is once again generously offering prizes to the winners of the Amateur Photographer of the Year (APOY) 2020 competition. Sigma’s mission is to provide exceptional products at an affordable price. All its products are manufactured exclusively in the company’s own dedicated factory in Aizu, Japan.

Sigma’s reputation for advanced cutting-edge lens design is demonstrated by its series of lenses, ranging from 8mm right up to 800mm. These lenses are designed for enthusiast and professional photographers alike, and all of them are backed by a three-year UK warranty when imported by Sigma Imaging (UK) Ltd. Sigma’s Global Vision range of cameras and lenses incorporates the latest in optical technology, with unique innovations such as the ultra-fast 18-35mm f/1.8 Art lens and USB dock that allows unrivalled customisation of Global Vision lenses by the photographer using Sigma Optimization Pro specialist software. This groundbreaking range is winning praise and awards for its quality and innovation.

To find out more, visit www.sigma-imaging-uk.com.

To enter visit www.amateurphotographer.co.uk/apoy *FOR THE PURPOSES OF THE COMPETITION, THE DEFINITION OF ‘AMATEUR’ REFERS TO A PERSON WHO EARNS LESS THAN 10% OR LESS OF THEIR ANNUAL INCOME FROM PHOTOGRAPHY OR PHOTOGRAPHIC SERVICES

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37

COMPETITION

Amateur Photograp Your chance to enter the UK’s most prestigious com

Round one Points of view

,000 £10 of

According to our recent reader survey, landscape photography is by far the most popular genre, so what better way to kick off the APOY 2020 year? The brief here is purposefully loose, as we’re keen to see as many different interpretations of ‘landscape’ as possible.

We’re happy to receive anything which might be considered ‘landscape’ – from architecture to grand mountain vistas.

The possibilities truly are endless – don’t be afraid to be abstract in your approach either. Last year’s winner was far from a ‘classical’ scene, which is exactly why it caught our eye.

prizes to be won

Plan your APOY 2020 year Below is a list of all this year’s rounds including when the rounds open, when they close and the dates the results will be announced in AP.

THEME

SYNOPSIS

ANNOUNCED CLOSES RESULTS

Points of View

Landscapes

14 Mar issue

03 Apr

30 May issue

Monochrome Magic Black & White

11 Apr issue

01 May

27 Jun issue

Up Close & Personal Macro

02 May issue

22 May

25 Jul issue

Keep On Moving

Sports & Action

06 Jun issue

26 Jun

29 Aug issue

City Life

Street & Documentary

04 Jul issue

24 Jul

26 Sep issue

Natural World

Nature & Wildlife

01 Aug issue

21 Aug

31 Oct issue

Light & Shadow

Various genres

05 Sep issue

25 Sep

28 Nov issue

About Face

Portraits

03 Oct issue

23 Oct

19 Dec issue

YOUR FREE ENTRY CODE

APOY34630681

© MICHAEL EPEL

Enter the code below via Photocrowd to get one free entry to Round one – Points of view

To enter visit www.amateurphotographer.co.uk/apoy ROUND ONE: LANDSCAPE TIPS Advice and ideas to help you to capture the best view Coastal areas offer the best opportunities to shoot beautiful minimalist landscapes, a popular sub-genre.

Keep as few elements in the frame as possible and consider the interaction between sea and sky.

© CHRISTINA DRAPER

© DOMINIC BEAVEN

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Try minimalism

Capture the night

Don’t limit your landscape shots to the daylight hours. Look for beautifully illuminated nightscapes to add a point of difference to your portfolio.

Experiment with different shutter speeds for different effects, too.

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her of the Year

petition for amateur photographers

In association with

PRIZE WORTH

£1,000

Choose your prize Pick from Sigma’s vast choice of lenses – including wideangles for landscapes

Consider all aspects of the foreground and the background

Most landscapes are shot in the classic 3:2 format, so using other crops will make your images stand out straightaway. Think about square, 16:9 or 4:3 as alternative ideas, depending on the subject.

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© NICK BOARD

© SIMON TURNBULL

Consider your crop

We are delighted that Sigma has once again offered prizes totalling £10,000.

Each category winner can choose products of up to £1,000 in value (based on Sigma’s RRP), and if the winner’s choice of lens is above this price, they can choose to pay the difference. If you own an APS-C camera and shoot landscapes, you might want to consider the 10-20mm F3.5 EX DC HSM (RRP £649). For full-frame shooters, the 14-24mm F2.8 DG HSM Art (RRP £1,129) is an excellent option.

Lead the way There’s ho harm in shooting classically composed scenes.

When they’re done well they’re extremely striking. Keep things balanced and harmonious in the frame, try to shoot low and look for depth and texture.

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ADVERTISEMENT FEATURE

Light up

the room

Rotolight’s Illuminator produces a large soft light source that’s perfect for portraiture

Rotolight’s solution Rotolight has created its own solution in the form of the Rotolight Illuminator.

Whether you are shooting stills or video, Rotolight’s Illuminator modifier is a circular softbox that measures 51 inches in diameter, that has the ease of use of a shoot-through umbrella. Simply slide the umbrella mechanism like you would a regular umbrella and the Illuminator opens up and is ready to use. Best of all the Illuminator can be mounted like a standard umbrella, meaning that via the Rotolight Umbrella Bracket, the Illuminator can be used with virtually any flashgun, the Rotolight NEO 2, AEOS or Anova PRO 2, or a third-party studio light. Simply mount 40

your light to the Umbrella Bracket, open the zipped opening at the bottom of the Illuminator, thread the umbrella stem in to the bracket and pop-up the modifier around the light.

To create the softest light possible for portraits, the closer and softer the light the better, so for headshots it’s great to be able to use the Illuminator up close to the subject, just out of the shot. The diffusion material maximises diffusion whilst allowing as much light to pass through as possible, helped by the rear reflective. The diffusion also retains a neutral colour, making white balancing straightforward.

Perfect for working on location Unlike a traditional square softbox, or even an octagonal softbox, the Illuminator’s circular shape creates a flattering natural-looking catchlight in the subject’s eyes.

Like an umbrella, the Illuminator collapses down in seconds and comes with its own lightweight case so that it can be easily carried with an accompanying light stand. It is a great option if you want to quickly set up a large light source on location and it pairs very nicely with the Rotolight NEO 2 providing a small, highlight portable studio flash kit.

KEY FEATURES Size 51in diameter Price £124.99 ex VAT Illuminator Umbrella Bracket £20.82 ex VAT Illuminator Bundle (Modifier + Bracket) £131.24 ex VAT See rotolight.co.uk for more details or to purchase

© LUKE AND MANDY WOODFORD

I

f there is one thing that every portrait photographer wants it is a large, soft, light source. The low-contrast light source is a flattering way to light a person, softening facial features and skin texture thanks to the subtle shadows that are created. The result is a very natural-looking portrait.

One way to achieve a large soft light source is to use natural window light, particularly on a bright, but overcast day; however, that isn’t a practical solution when you are working on location, or in an enclosed studio space. Window light also isn’t flexible; you can’t move a window, and are at the mercy of ever-changing weather conditions, which can change the available light quite dramatically.

When photographers, or filmmakers, want to replicate a natural ‘daylight’ look, they will use a large diffuser in front of their lighting, be it a flashgun, studio flash or an LED light. The most commonly used forms of diffusion are large softboxes or shoot-through umbrellas. Both of these light modifiers diffuse and soften hard artificial light sources, and the larger the diffusion the softer and more flattering it is when lighting a portrait.

The Rotolight Illuminator was used to capture this ethereal fine-art image

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© ROCCO ANCORA

Here we see the Rotolight Illuminator being used with the Rotolight Anova PRO 2

Rotolight Illuminator in use

©ANTONY MEADLEY

A creative team who have benefited from using the Rotolight Illuminator are Luke and Mandy Woodford. The husband and wife team have worked together since 2014, creating ethereal fine-art images which they’ve sold to private buyers and luxury interior designers around the world.

‘One of the key features that we love the most about the Illuminator, coming from a natural light background, is the fact that it replicates daylight very closely,’ says Luke. ‘The softness of the shadows and the way it wraps around the subject makes it ideal for portraits.

In addition it’s really lightweight and easy to set up; it’s a great bit of kit that you can take anywhere.

‘It’s absolutely fantastic, and phenomenal to use – it makes the whole shooting experience really easy.’

More of Luke’s thoughts can be found at youtu.be/L6tNeVNAGzw.

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Testbench

CAMERA TEST

At a glance

£1,999 body only £2,399 with 45mm f/2.8 DG DN lens ● 24-million-pixel full-frame sensor ● ISO 6-102,400 ● 18fps shooting ● 3.1in, 2.1m-dot fixed touchscreen LCD ● 4K video recording

Sigma fp

It’s the world’s smallest full-frame mirrorless camera by far, but does this mean it’s compromised in realworld use? Andy Westlake takes a detailed look For and against Small size and light weight for full-frame Excellent build quality Well-designed user interface Impressive image quality in raw Great integration of still and video shooting Handles poorly without an add-on handgrip Lack of either a viewfinder or tilting screen is awkward for composition ALL PR CES ARE APPROX MATE STREET PR CES

Sluggish touchscreen AF-area selection No smartphone connectivity Very limited range of well-matched lenses currently available 42

Data file Sensor

24.6MP back-illuminated CMOS, 35.9mm x 23.9mm Output size 6000 x 4000 Focal length mag 1x Lens mount Leica L Shutter speeds 30-1/8000sec Sensitivity ISO 100-25,600 (standard), ISO 6-102,400 (extended) Exposure modes PASM Metering Evaluative, spot, average Exposure comp +/-5 EV in 0.3 EV steps Continuous 18fps shooting Screen 3.2in, 2.1m-dot touchscreen Viewfinder None AF points 49 Video 4K (3840 x 2160), 30p External mic 3.5mm stereo Memory card SD, SDHC, SDXC (UHS-II); USB 3.0 SSD Power BP-51 rechargeable Li-ion Battery life Not specified Dimensions 112.6x69.9x45.3mm Weight 422g

S

igma is best known as one of the finest third-party lens makers, but it’s always had an interest in making cameras too. The firm long ago learned that there’s little point in competing directly with the likes of Canon and Nikon by making identikit DSLRs, so its digital models have always been slightly off the beaten track. It was the first to make a compact camera with a large sensor for higher image quality, with the DP1 in 2008, and has developed this concept ever since. Its latest model follows a similar theme, but takes another step up: it’s the world’s smallest interchangeable-lens camera with a full-frame sensor.

The fp name comes from the musical notation ‘forte-piano’ meaning ‘loud and soft’, suggesting high performance in a discreet, unassuming package.

Indeed according to Sigma CEO Kazuto Yamaki, the design

concept was very simple: to make the smallest possible full-frame camera for travel. To this end, the firm has removed everything but the essentials needed to make the camera work. So there’s no viewfinder, with just a fixed rear LCD for composing your images.

The mechanical shutter has also been left out, leaving the camera reliant on an electronic shutter, and if you want to use an external flash, this requires bolting a hotshoe adapter onto the side. Indeed the fp is designed to be modular, with the option to add various grips and accessories to meet each user’s needs. It’s a really interesting concept, and quite unlike anything else you can buy.

But just how small is the Sigma fp, really? The basic body is a rectangular box measuring 113x 70x45mm, making it broadly comparable to a Sony Alpha 7 III with the viewfinder removed from

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The Sigma fp and 45mm f/2.8 lens make a great lightweight combination Sigma 45mm F2.8 DG DN, 1/1600sec at f/2.8, ISO 100

the top and the handgrip from the front, and 14mm taken off one side. It’s similar in size to compact APS-C models such as the Canon EOS M6 Mark II, Fujifilm X-T30, or Sony Alpha 6400. But of course you need a lens, with the matched Sigma 45mm F2.8 DG DN adding 46mm to the depth and giving a total weight of 640g. This combination is small by full-frame standards, but is still larger and heavier than the fixed-lens Sony RX1R II, which sports a 42.4MP full-frame sensor, 35mm f/2 lens, pop-up viewfinder and tilting screen, but costs £600 more.

Features As Sigma’s first camera born of its alliance with Leica and Panasonic, the fp is based around the mirrorless Leica L mount. Not only can it use native lenses from all three companies, but also adapted Canon EF or Sigma SA-mount lenses via the Sigma MC-21

adapter. Officially, only the firm’s Global Vision-series lenses made since 2012 are fully compatible with the MC-21, but in practice, every Canon EF lens I tried worked fine, although autofocus tends to be slow. As with all mirrorless cameras, a huge array of manual-focus lenses can also be used via mount adapters.

In contrast to all of the company’s previous models, which used multi-layer Foveon sensors for full-colour sampling at each pixel location, the fp’s 24MP full-frame sensor employs a conventional Bayer colour filter array. This should massively broaden the fp’s appeal, as it delivers considerably higher dynamic range and lower highISO noise. The sensor employs a back-illuminated architecture to increase light-gathering sensitivity, while detail rendition is maximised by the omission of an optical low-pass filter.

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The standard sensitivity range of ISO 100-25,600 is par for the course these days, as are the extended high settings up to ISO 102,400. But at the other end of the scale, Sigma has added a unique set of ‘composite’ settings down to ISO 6. Unlike on other cameras, these aren’t ‘pulled’ low ISOs with reduced highlight range; instead the camera takes a series of exposures at ISO 100 and adds them together. It’s a really neat trick that allows you to use long shutter speeds without needing a neutral density filter, while delivering raw files with ludicrous dynamic range that can easily be pushed five stops with no visible noise. The catch, as with other composite modes, is that anything moving within the scene will give multiple ghost images.

Autofocus uses contrast detection, with three different size AF areas that can be placed freely across approximately 80% of the

frame width and 75% of its height.

When moving the AF point using the physical controls rather then the touchscreen, it’s easiest to switch to a 49-point set-up, arranged in a 7x7 grid. Naturally you can enable face- and eyedetection, at which point the camera will outline your subject and track them as they move around the frame.

In terms of shooting speed, the fp is capable of up to 18 frames per second, although with a buffer of just 12 frames. The shutter provides settings up to 1/8000sec, and being electronic, is entirely silent. Rolling shutter artefacts can be apparent if you pan the camera while shooting, but Sigma has done a decent job of suppressing the banding that can be caused by the flickering of LED or fluorescent lights when shooting indoors.

Raw files are recorded as 14-bit DNGs, so they should 43

Composite low-ISO settings allow extreme lifting of shadow detail without any hint of noise Sigma 35mm F1.4 DG HSM on MC-21, 1/10sec at f/11, ISO 6

open easily in your existing raw converter, if perhaps without a perfect colour profile.

Sigma has also included a good range of options for adjusting the camera’s JPEG colours, accessed using a dedicated button on the back. Alongside a conventionalsounding set of modes such as portrait, landscape etc, there are some more creative options with names like Teal & Orange, Sunset Red and Forest Green, each of which can be tuned in-camera.

Another button allows you to adjust the tone curve, with highlights and shadows set independently, and the impressive Fill Light feature familiar to users of Sigma’s raw processing software has been transposed into the camera itself. All of these options can also be applied retrospectively using the incamera raw converter.

Other handy features include an intervalometer and a comprehensive array of bracketing options (exposure focus, white balance, colour mode and fill light).

One thing that’s conspicuous by its absence, though, is any form of smartphone connectivity – neither Wi-Fi nor Bluetooth is included.

Likewise image stabilisation needs to be provided by the lens: a form of electronic stabilisation is built-in, but only for JPEG shooters.

Videographers will find a lot to 44

like, with the fp promising to be an excellent little camera for use in a rig or on a drone. It’s capable of recording 4K (3840x2160) video at 30fps, and can output raw video in the 12-bit CinemaDNG format to an external recorder.

One especially neat trick is that the camera can record directly to an external SSD, simply by plugging one into the USB-C port.

This is such a useful idea that you have to wonder why the bigger camera firms haven’t adopted it before. The full scope of the camera’s movie capabilities goes far beyond what it’s possible to cover in a stills-focused review, but suffice to say, it has a lot of videographers very excited.

Build and handling When you first pick up the fp, it’s clear that this camera is built to withstand less-than-gentle conditions. Its die-cast aluminium body feels completely solid, and is sealed at 42 points against dust and moisture. The various buttons, dials and switches are large and well-spaced, and I rarely found myself operating anything inadvertently. Indeed despite the camera’s small size, it’s quite usable when you’re wearing gloves.

That brick-shaped camera body does, however, fit into your hand just as awkwardly as you might

expect. It desperately needs something – anything – on the front plate to afford your fingers some purchase. Thankfully Sigma makes two accessory handgrips, with the smaller HG-11, which bolts onto the side of the body and wraps around the front and back, being the bare minimum you need. I used it as a matter of course with the 45mm f/2.8 and found it improved the handling immeasurably, the catch being that it adds £60 to the price.

Meanwhile the larger HG-21 attaches to the baseplate, and is a better option with heavier lenses, but costs £100.

In contrast, the control layout and user interface is mostly excellent. Two large switches on top turn on the camera and select between the Still and Cine modes, with entirely independent settings and optimised interfaces for each.

A pair of electronic dials on the top and back set exposure parameters, with the rear one controlling exposure compensation in the P, A and S modes; however the dial functions can be exchanged if you prefer. This allows you to repurpose the larger top dial to exposure compensation when shooting with lenses that have physical aperture rings, such as the 45mm f/2.8. The rear dial also serves as a d-pad for navigating menus and changing settings.

Other key settings are changed using Sigma’s excellent onscreen Quick Set menu, which is accessed by a press of the QS button. Here you’ll find such things as ISO, white balance, metering and drive modes, along with image quality, aspect ratio and fill light options.

There’s no exposure mode dial; instead this is changed using a button at the camera’s base.

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CAMERA TEST

Viewfinder and screen Another drawback becomes apparent when it comes to composing your images. With just a fixed rear screen, you’re forced to hold the camera out in front of you to take pictures, smartphone style. But with the fp being much heavier than a smartphone or

conventional compact, it’s not a particularly stable pose, and this is exacerbated further if you fit a large lens. It’s a camera that’s crying out for a tilting LCD. Thankfully the screen itself is excellent: at 2.1-million-dots it’s sharp and detailed, and bright enough to see clearly outdoors in daylight. It previews colour and exposure, and you can overlay useful information such as gridlines, an electronic level, a live histogram and zebra pattern overexposure warning. Pressing a small button beneath the LCD allows you to cycle through up to four display modes with userdefinable levels of information. But one disappointing quirk is that, as with its L-mount cousin the Leica SL2, there’s no apparent way to preview depth of field.

If you really want to shoot with the camera at eye level, Sigma offers the LVF-11 LCD View Finder accessory for £289. This is a massive hood for the rear screen with a magnifying eyepiece, which attaches via either the BPL-11 baseplate that’s supplied with it, or the large HG-21 handgrip. It gives a huge view that surpasses any built-in electronic viewfinder by far, making it fantastic for fine-tuning focus and composition.

Indeed the magnification is so extreme that you can see the fine dividing lines between the LCD panel’s pixels. But it also makes the onscreen graphics

Focal points The compact-bodied, modular Sigma fp is quite unlike any other full-frame mirrorless camera

Connectors

On the side you’ll find USB-C, microphone and micro-HDMI ports, alongside a connector for the add-on hotshoe accessory.

The mic socket also accepts the CR-41 cable release.

Weather-sealing The fp is designed to be dust- and splash-proof, with seals arranged at 42 points around the camera body.

Processing

Color and Tone buttons on the back provide an access to a broad range of in-camera image-processing effects.

Storage

There’s a single UHS-II type SD card slot, but you can also record files to an SSD connected to the USB-C port, which should be especially handy for videographers.

45.3mm

On the whole, the controls operate with satisfying precision, aside from slightly ill-defined click-stops on the rear dial which can hinder changing settings quickly. Very little hardware control customisation is on offer, aside from defining whether the movie record button should be active in Still mode, and specifying how the AEL button should behave. But with an interface that’s this well thought-out, you don’t necessarily need it.

One area where the fp is let down, though, concerns focusarea selection. Usually you’re expected to use the touchscreen, but when you tap on the subject, the response is disconcertingly laggy, with the camera taking almost a second to register the new AF point. Things are no better using the physical controls: you need to tap the down button of the d-pad, then AEL, and then use the d-pad, which is unnecessarily long-winded and requires a lot of thumb movement. It’s a shame the d-pad can’t simply be used to set the focus area directly.

Testbench

¼in threads

Sigma’s BP-51 battery is also used by the dp Quattro series, and is identical to the Panasonic DMWBLC12, so spares are easy to find. It’s charged via the USB port, with a 1.8A supply included in the box.

Heat dissipation

A large heat sink behind the LCD screen provides a means of preventing the camera from overheating during video recording.

69.9mm

Along with the usual tripod thread on the baseplate, there’s another on each side.

They’re used for attaching accessories, handgrips and even the removable strap lugs.

Power

Autofocus is sufficiently responsive and accurate to get quick candid shots Sigma 45mm F2.8 DG DN, 1/100sec at f/2.8, ISO 400 subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 14 March 2020

112.6mm 45

Thanks to its backilluminated full-frame sensor, the fp offers fine high-ISO image quality Sigma 45mm F2.8 DG DN, 1/100sec at f/2.8, ISO 16,000

look clunky and obtrusive (and the levels display in particular), which is compounded by the fact that the button for switching through display modes for a cleaner view becomes awkward to reach when you’re shooting at eye level.

The LVF-11’s biggest drawback, though, is that it has the unfortunate effect of turning the world’s smallest full-frame camera into one of the world’s bulkiest. It’s also impossible to remove quickly or hinge away from the screen, so you’re obliged to use it all the time, including for reviewing images, changing settings and navigating menus. This also means that it blocks any possibility of using the touchscreen, which forces you into using that tortuous method of selecting the AF-area.

So if you really want to shoot using a viewfinder, you’d be better off buying a camera that’s got one built in.

light it perhaps has a greater tendency to hunt than its peers, but that can often be fixed by switching to a larger focus area.

Moving subjects pose more of a challenge. If you set the camera to AF-S and face detection, it’ll make a decent attempt to keep your subject in focus as they move, but not surprisingly, you can’t expect to get the same speed and hit-rate as you’d get from a high-end phase-detection system like that on the Sony Alpha 7 III. Having said that, the fp’s form factor lends itself far more to casual, across-the-table social shooting than anything that looks like action photography, and for this purpose it’ll do fine.

If you prefer to focus manually, the fp has some neat tricks up its sleeve. When using a native lens, turning the manual focus ring activates a detailed ‘picture-inpicture’ magnified view for accurate focusing. Focus peaking is also available, in a choice of Autofocus colours, and the camera can With the fp relying on contrast display either a basic distance detection for AF, it’s never going to scale or the current focus be the best choice for fast-moving distance. With an adapted lens, action. But with static, or only pressing the button in the centre slowly moving, subjects it generally of the rear dial toggles magnified works just as well as we’d expect view, which is temporarily from a modern camera. It’s rapid, dismissed by a half-press of the silent and inherently accurate, and shutter button for clearer has no problems focusing composition. It all works very well, correctly on off-centre subjects making the fp a fine vehicle for with large-aperture lenses. In low using small manual-focus primes.

46

‘If you demand full-frame image quality and interchangeable lenses in the smallest possible package, this is it’ Performance Previous Sigma models have tended to suffer from obvious operational flaws of one sort or another, but with the fp, the firm has created a camera that generally works very well. It does take noticeably longer than its peers to turn on when you flick the power switch, at about two seconds, and this will irritate those wishing to use it for quick grab shots. But once it’s up and running, it responds snappily to the controls, and doesn’t often leave you waiting while it goes about its business. The only exception is when using composite low ISO settings, which tie up the camera for up to six seconds while they’re processed and stored.

The fp isn’t the best choice if you wish to shoot and use JPEGs easily. Its metering is distinctly cautious, often giving underexposed images, and its auto white balance frequently veers towards the cool side.

Its default Standard colour palette is also somewhat neutral and uninspiring, and as a result, its JPEGs often look dull and muddy. If you want attractive files directly from the camera

with minimal effort, you’d be better off looking into cameras from the likes of Canon, Fujifilm or Olympus.

Raw files are, however, a different matter, and on the whole every bit as good as those from larger cameras with 24MP full-frame sensors, given a little bit of work in your favourite raw converter. There’s lots of fine detail thanks to the lack of a low-pass filter, dynamic range is excellent at low ISOs, and you can easily lift the shadows by three or four stops without any problem. Likewise, noise is kept impressively under control at high ISOs. The conservative metering also means that you rarely end up with highlight detail being irretrievably lost.

It’s worth noting that the fp’s battery life is nothing to write home about. Even obsessively managing the power, and switching the camera off whenever I wasn’t using it, I struggled to get 200 shots from a single charge. So if you tend to take a lot of pictures in a session, it’s best to make sure you have a spare or two, and maybe carry a powerbank to top up while you’re not shooting.

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CAMERA TEST

Lab results

Verdict

Andrew Sydenham’s lab tests reveal just how the camera performs

Our cameras and lenses are tested using the industrystandard Image Engineering IQ-Analyser software.

Visit www.image-engineering.de for more details The whole point of full frame is image quality, and the fp’s 24MP back-illuminated sensor delivers this impressively well. Without an optical low-pass filter it records plenty of detail, while keeping noise extremely well under control and delivering impressive dynamic range. I’d be perfectly happy shooting at ISO 1600 without a moment’s hesitation, and up to ISO 12,800 if necessary. Perhaps the biggest limitation on the fp’s image quality is its fully electronic shutter, which can give motion distortion and banding artefacts in some situations under artificial light.

Resolution At low sensitivity settings, the Sigma fp cleanly renders very close to the 4,000 lines per picture height (l/ph) that its sensor is theoretically capable of delivering. Noise only starts to have any real impact at ISO 1600, at which point resolution drops to 3,600 l/ph.

RAW ISO 100

Files stay remarkably clean at higher settings, with 3,500 l/ph still recorded at ISO 6400. Even at ISO 25,600, the sensor delivers an impressive 3,200 l/ph, Remarkably, even at the top ISO 102,400 option, resolution still surpasses 3,000 l/ph.

RAW ISO 1600

RAW ISO 25,600

RAW ISO 102,400

On the right we show details from our resolution chart test pattern (above). Multiply the number beneath the lines by 200 to give the resolution in lines per picture height.

Noise Wonderfully crisp, clean images are seen at ISO 100, with no hint of noise.

Indeed there’s no immediately visible benefit to shooting at the low composite settings; instead they’re all about the ability to capture noise-free detail right down into the deepest shadows. Image quality also holds up impressively at ISO 1600, with just the slightest hint of noise creeping into files when viewed close-up onscreen. Detail and colour saturation continue to hold up well to ISO 12,800, but beyond this things The crops shown below are taken take a turn for the worse. I’d use ISO 25,600 at a push, but avoid the higher from the area outlined above in red extended settings due to faded colour and the lack of shadow detail.

RAW ISO 100

RAW ISO 1600

RAW ISO 6400

RAW ISO 12,800

RAW ISO 25,600

RAW ISO 51,200

Testbench

Recommended

ON THE simplest level, the Sigma fp is a straightforward camera to assess. If you demand full-frame image quality and interchangeable lenses in the smallest possible package, this is it. As long as you can live with the fixed screen and lack of a viewfinder, it’ll do the job and deliver excellent images. Indeed with the 45mm f/2.8 lens onboard, it’s a fine little camera that’s a lot of fun to shoot with. But it’s less successful when paired with larger lenses, so desperately needs more small primes of the same ilk to realise its full potential, perhaps a 28mm and a 90mm. Thankfully Sigma is a firm that fundamentally understands photography, so you can bet your bottom dollar it’s working on such lenses right now.

The bigger question, though, is whether it’s worth sacrificing so much for the size reduction compared to more mainstream models such as the Sony Alpha 7 III or Nikon Z 6. These boast built-in viewfinders, tilting screens, faster, more sophisticated AF systems, in-body image stabilisation, and better handling with a wider range of lenses, all for less money than the fp. Alternatively if size is crucial, a small APS-C camera like the Fujifilm X-T30 might be a better option, coupled with some compact primes. For most photographers either of these options would probably make more sense; the fp is something of a niche choice.

That said, Sigma has to be applauded for not only trying something different, but also making a first-generation product that realises its concept very well. I’m sure we’ll see the camera’s best new ideas, such as composite low ISO settings and the ability to record directly to SSD, widely copied in the near future. Personally, I really wish the fp had a tilting LCD and some kind of finger grip, but hopefully those will come on a successor model. Even so, it’s an impressive first effort at full-frame from Sigma with its own unique charms.

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LENS TEST

The zoom was used at 240mm to capture this silhouette of a photographer on Camber Sands in East Sussex Canon EOS R, 1/400sec at f/6.3, ISO 250

Testbench

Canon RF 24-240mm F4-6.3 IS USM

For a travel zoom to be successful, size, portability and weight are ultimately key. The RF 24-240mm F4-6.3 IS USM has a thinner barrel than many of the L-series lenses Canon has released into its RF lineup. With a diameter of 80.4mm, a retracted length of 122.5mm and weighing a respectable 750g, it balances nicely and is well proportioned with Canon’s EOS R models for which it’s designed.

Internally, the lens features an optical out sports or wildlife subjects, it’s currently the construction that consists of 21 elements in 15 groups, with seven diaphragm blades. To offset longest and most versatile zoom Canon has handshake and prevent handheld images at made since entering the mirrorless market. telephoto lengths being susceptible to blur, Before analysing its optical performance lets Canon has equipped the lens with a highly take a closer look at its key features. effective five-stop image stabiliser – an Features essential feature given that no available EOS R The RF 24-240mm F4-6.3 IS USM is model at the time of writing features in-body compatible with Canon’s EOS R and EOS RP image stabilisation (IBIS). The lens doesn’t full-frame mirrorless cameras. As well as being benefit from Canon’s latest electronic floating sold on its own, it’s available as part of a bundle focus control mechanism that we’ve seen with the EOS RP (£1,649), but not the EOS R. recently in the RF 70-200mm F2.8L IS USM, This, combined with the fact it’s not an L-series but it still promises fast focusing with its lens, emphasises that Canon is targeting it at near-silent single Nano Ultrasonic (USM) motor. amateurs and enthusiasts who already own, or In contrast to existing RF lenses, which who are considering, the EOS RP. include an additional click-stopped

All-in-one zooms have their benefits. Michael Topham discovers if Canon’s example for its EOS R series is a good one with a gruelling test

I

t was around this time last year that Canon revealed plans to strengthen its lineup of four lenses that were initially released for the EOS R system by adding six lenses that would arrive over the course of 2019. One of these six was the RF 24-240mm F4-6.3 IS USM – an opticallystabilised10x superzoom that addresses one concern surrounding the system, namely the unavailability of an all-in-one lens.

The benefit of a zoom like the one we’re looking at in this review is that it covers most bases for trips away when space might be limited or you want to travel light and take only one lens with you. Wide enough to capture stunning landscapes and long enough to pick

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49

The lens is prone to fringing along high-contrast edges, but it’s an easy fix in JPEG images by ensuring lens aberration corrections are turned on Canon EOS R, 1/80sec at f/22, ISO 200

control dial, the lens has a dual control ring that can be switched between manual focusing and setting exposure parameters via a selector on the barrel. Other points of interest include its 0.5m minimum focus distance at full telephoto, a variable minimum aperture range of f/22-f/38 and acceptance of screw in filters and adapters via a 72mm filter thread at the front.

The lens comes with front and rear lens caps as you’d expect, however a hood and lens case/ pouch aren’t bundled in the box. These are optional accessories, with the EW-78F hood and the LP1219 case adding £35 and £25 to the price respectively.

Build and handling The lens looks at home paired with Canon’s EOS R cameras. The dark silver surround to the mount blends nicely with the mount of

Telephoto 240mm

EOS R models and the matte black barrel has a similar texture and finish to the top plate of the EOS RP and EOS R. To prevent the zoom extending inadvertently it has a lock switch that can be engaged at 24mm. Unlike some zoom locks that can be disengaged with a sharp twist of the zoom ring, it does require you to flick the switch back again to unlock it.

On the opposite side you’ll find the stabiliser switch that has on/off positions. Above it is the focus/control switch that lets you choose whether the diamond knurled control ring is used to focus manually or change a userspecified setting. Enter the customise dials option in the menu and the control ring can be set to adjust aperture, shutter speed, ISO or exposure compensation, either directly, or by holding the metering button if you’d like to avoid accidental or unintentional changes. It

Wideangle 24mm

‘It’ll cover most bases for amateurs and hobbyists’ should be pointed out that the control ring is quite sensitive though and doesn’t need to be rotated far before settings start to change.

Despite not having a red ring, which denotes Canon’s professional L-series lenses, the overall build quality is good. The zoom ring is rubberised just as it should be and the plastics used in the construction of the barrel are of high quality. The switches operate positively and the clickless aperture control when shooting movies will be welcomed by videographers. Best of all, the zoom has a short throw through 100 degrees, meaning you can get from 24mm to 240mm, or vice versa, very easily in one quick movement. It offers sufficient resistance to prevent zoom creep when the camera is pointed down and it’s consistently smooth throughout its zoom range with no change in fluidity.

Extending the lens to its maximum focal length does increase its overall length to 192mm, which is 69.5mm longer than when it’s retracted; however the front of the lens doesn’t rotate, which is good news for those who work with filters and don’t want to be forever readjusting them between shots.

Image quality Superzooms have their work cut out when it comes to resolving excellent image quality across their extensive focal ranges. Unlike primes, which are optimised to produce the finest optical quality at one particular focal length, a compromise in optical performance usually has to be made choosing an all-in-one lens. Studying real-world

LENS TEST

Testbench

Canon RF 24-240mm F4-6.3 IS USM Resolution

100%

Our Image Engineering Tests tell us the lens is sharpest in the centre when it’s used at the wide end of the zoom, with corner sharpness improving as you start to zoom in. The best edge-to-edge sharpness is resolved around 70mm at f/8, with good centre sharpness being maintained at 240mm between f/6.3 and f/11. Sharpness drops off quickly beyond f/11 owing to the introduction of diffraction.

A magnified view of centre sharpness with the zoom set to 160mm Canon EOS R, 1/800sec at f/6.3, ISO 100

images taken with peripheral illumination correction and the digital lens optimiser turned on from the lens aberration correction settings revealed no barrel distortion or vignetting towards the corners in JPEGs captured at 24mm. It’s not the same story for raw files though, which are subject to barrel distortion at 24mm, turning to pincushion distortion at longer focal lengths.

The image circle doesn’t fully cover the sensor at 24mm either so you get very dark corners at the edges. Thankfully, a lens profile is available in the latest version of Adobe Camera Raw and Lightroom, which does a fine job of correcting this, though you should still expect the corners at wide angle to be soft compared to the centre of the frame, even when stopped down.

Reviewing my images also revealed that uncorrected raw files are prone to exhibiting green and purple fringing, but this was removed effectively by ticking the Remove Chromatic Aberration box or taking manual control of the defringe sliders. It goes without saying: if you regularly shoot JPEGs you’ll want to double check that all lens aberration corrections are turned on within the camera before you shoot. If you prefer to work with raw files, applying a lens profile during post processing to correct its optical flaws is a must.

The results from real-world testing are consistent with those we recorded in the lab.

Though sharpness in the centre at 24mm resolves the highest figure, users should note sharpness towards the edge is considerably softer. Zoom in to 70mm and a noticeable improvement in corner sharpness becomes obvious right across the aperture range, with the best edge-to-edge sharpness in the mid point of the zoom range being recorded at f/8.

Sharpness does drop off again at the edge when you push to longer telephoto lengths, however sharpness in the centre at 240mm at its maximum aperture of f/6.3 is impressive.

Overall, my lasting impression is that sharpness holds up rather better at telephoto lengths than other 10x zooms I’ve tested. subscribe 0330 333 1113 I www.amateurpho

Verdict

CANON was lacking an all-in-one lens for its EOS R system and it has delivered a respectable example with the RF 24240mm F4-6.3 IS USM. It’s not optically perfect and you do need to be prepared to make some compromises when it comes to the sharpness that’s resolved in the corners.

As is often the case with superzooms, it’s not immune from curvilinear distortion, vignetting or chromatic aberration either, however these optical flaws are brilliantly corrected for in-camera and can be remedied easily in raw files by applying the relevant lens profile.

It’ll cover most bases for amateurs and hobbyists who are looking for one lens to do it all, or like the idea of travelling light. Its image stabilisation suppresses handshake Data file commendably, it focuses quickly, and provides Price £845 good control of manual Filter diameter 72mm focus or exposure Lens elements 21 variables from the same Groups 15 control ring. Having a Maximum aperture hood supplied in the box f/4-6.3 would have been the Minimum aperture f/22-f/38 icing on the cake.

Minimum focus 50cm Dimensions 80.4x122.5mm Weight 750g Lens mount Canon RF Included accessories Lens cap, rear cap

24mm centre 70mm centre 240mm centre

24mm corner 70mm corner 240mm corner

Shading Users shooting in the JPEG format can correct for corner shading in-camera by enabling the peripheral illumination setting within the lens aberration correction settings from the camera’s menu. Raw files benefit from having a lens profile applied to remove corner shading automatically.

24mm f/4

240mm f/6.3

Curvilinear distortion With the digital lens optimiser turned on, curvilinear distortion is effectively dealt with and removed in JPEG images. Shooting in raw and inspecting uncorrected images reveals that the lens exhibits severe barrel distortion at 24mm that quickly turns to pincushion distortion.

SMIA TV = -8.7%

Recommended

24mm

SMIA TV =3.1%

240mm 51

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Tech Talk

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Right: The Peco Junior with Xenar105mm f/4.5 lens in a Synchro-Compur shutter and equipped with a120 roll film back for eight 6x9cm exposures

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BLAST FROM THE PAST

Plaubel Peco Junior

John Wade looks at an unusually small monorail camera LAUNCHED 1958

available here to explain the full significance of such movements.

Suffice to say they allow a camera to perform almost any task from shooting high buildings to wide-open landscapes, even extreme close-ups with control over focus and the convergence of parallel lines. There’s a great website that explains it all in detail at https:// en.wikipedia.org/wiki/View camera.

Traditionally, monorail cameras are for large, or at least medium, format film, making them big and unwieldy. The Peco Junior is different. All metal and made by the German Plaubel company, it’s extremely compact. With the bellows fully extended, it measures just 28x19x14cm. The lens panel offers rise and fall plus shift movements; the rear standard offers swing and tilt movements. Focusing is carried out on a ground-glass screen under a flip-up hood.

When focus and composition are complete, the screen is swapped for the film holder.

PRICE AT LAUNCH £70 (according to lens) GUIDE PRICE NOW £250-300 (according to lens) THE MONORAIL is perhaps the purest form of camera design. It incorporates no more than a lens with built-in apertures and shutter at the front, a film holder at the back and bellows in between, all mounted on a rail that allows both to move back and forth in relation to each other.

Most monorail cameras also incorporate certain movements: rise and fall, shift, tilt and swing. It would take more space than is For 35mm operation, the 35mm back and, in its own lens panel, a Super-Angulon 47mm f/1.8 lens

I

p

g p

.uk I 14 March 2020

Below: Demonstrating its movements – lens panel shifted to the left, the back tilted vertically and swung horizontally

magazinesdirect.com/55AW

According to what kind of film back is fitted, the camera shoots on plates or cut film (not really practical today) or with more workable 120 roll film for 6x9cm, 6x6cm or 6x4.5cm images.

Particularly unusual for a monorail camera, the Peco Junior can also be equipped with a 35mm film back. Monorail cameras are not the most practical for use today, but for the film camera purist, small models like this can be a lot of fun.

What’s good Can be used with a

wide variety of lenses, shutters and film backs; versatile camera movements.

What’s bad Needs a tripod, slow

0330 333 1113 Quote code : 55AW Monday to Saturday from 8am to 6pm (UK time)

Offer closes 31 March 2020.

For full details visit www.magazinesdirect.com.

to use, bulky compared to a traditional film camera.

53

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Lenses

CANON LENSES EF 35mm f1.4L II USM............................. £1528 EF 35mm f2 IS USM ................................. £510 EF 40mm f2.8 STM .................................. £190 EF 50mm f1.2L USM ................................ £1269 EF 50mm f1.4 USM................................... £339 EF 50mm f1.8 STM ................................... £99 EF 85mm f1.2L II USM............................. £1849 EF 85mm f1.4L IS USM ........................... £1269 EF 85mm f1.8 USM ................................... £365 EF 100mm f2.8 USM Macro.................. £448 EF 100mm f2.8L Macro IS USM.......... £899 EF 135mm f2 L USM ................................. £959 EF 300mm f4 L IS USM.......................... £1269 EF 16-35mm f2.8L III USM..................... £1649 EF 16-35mm f4 L IS USM ...................... £949 EF 17-40mm f4 L USM ............................ £569 EF 24-70mm f2.8L IS USM II................ £1477 EF 24-70mm f4L IS USM ....................... £799 EF 24-105mm f3.5-5.6 IS STM ............ £359 EF 24-105mm f4L IS II USM.................. £998 EF 28-300mm f3.5-5.6 L IS USM....... £2289 EF 70-200mm f2.8 L IS III USM.......... £1739 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. £1749 EF-S 35mm f2.8 Macro IS STM .......... £369 EF-S 60mm f2.8 USM Macro ............... £399 EF-S 10-18mm f4.5-5.6 IS STM ........... £199 EF-S 17-55mm f2.8 IS USM ................... £599 EF-S 18-200mm f3.5-5.6 IS.................. £475

EF-S 55-250mm f4-5.6 IS STM........... £299 TAMRON DSLR LENSES TS-E 50mm f2.8L Macro ....................... £2199 with 5 Year Manufacturer Warranty TS-E 135mm f4 L Macro ......................... £1799 85mm f1.8 SP Di VC USD....................... £699 16-300mm f3.5-6.3 Di II VC PZD ....... £449 18-200mm f3.5-6.3 Di II VC ................. £189 18-400mm f3.5-6.3 Di II VC HLD ...... £589 24-70mm f2.8 Di VC USD G2............... £1099 70-200mm f2.8 Di VC USD G2 ........... £1199 70-210mm f4 Di VC USD ....................... £599 70-300mm f4-5.6 SP Di VC USD....... £329 NIKON LENSES 20mm f1.8 G AF-S ED ............................. £699 100-400mm f4.5-6.3 Di VC USD ...... £699 24mm f1.4 G AF-S ED ............................. £1799 150-600mm f5-6.3 SP Di VC USD .... £799 35mm f1.8 G ED AF-S ............................. £479 150-600mm f5-6.3 VC USD G2.......... £1099 50mm f1.4 G AF-S .................................... £389 60mm f2.8 G AF-S ED ............................ £579 85mm f1.8 G AF-S..................................... £449 105mm f2.8 G AF-S VR IF ED.............. £799 300mm f4E AF-S PF ED VR ................ £1659 500mm f5.6E PF ED VR AF-S ............ £3699 SIGMA DSLR LENSES 8-15mm f3.5-4.5E ED Fisheye............. £1229 with 3 Year Manufacturer Warranty 10-24mm f3.5-4.5 G AF-S DX ............. £809 20mm f1.4 DG HSM Art .......................... £699 16-80mm f2.8-4E ED AF-S DX VR.... £989 24mm f1.4 DG HSM .................................. £629 18-200mm f3.5-5.6 G AF-S DX VR II£449 30mm f1.4 DC HSM .................................. £359 24-70mm f2.8 G ED AF-S...................... £1399 35mm f1.4 DG HSM .................................. £649 24-70mm f2.8E AF-S ED VR................ £1799 50mm f1.4 DG HSM Art.......................... £569 28-300mm f3.5-5.6 G ED AF-S VR .. £789 85mm f1.4 Art DG HSM .......................... £919 70-200mm f2.8E AF-S FL ED VR...... £1999 105mm f2.8 APO EX DG OS HSM ...... £359 70-300mm f4.5-6.3 G ED DX AF-P £339 10-20mm f3.5 EX DC HSM .................... £329 200-500mm f5.6E AF-S ED VR......... £1199 17-70mm f2.8-4.0 DC OS HSM............ £339 18-35mm f1.8 DC HSM ............................ £629 18-300mm f3.6-6.3 C DC OS HSM.... £369 24-70mm f2.8 DG OS HSM ................... £1099 24-105mm f4 DG OS HSM ..................... £579

Photo Bags & Rucksacks

Hadley Pro Original Khaki

Think T Airport Interna

Flipside 300 AW II Pro Tactic BP 450 AW II

Pro Light RedBee 310

Available in Khaki, Black, Sage.

Flipside: Pro Tactic: BP 350 AW II.......£149 300 AW II ...... £84 BP 450 AW II ......£189 400 AW II...... £109

Pro Light RedBee: 110 ...................................£89 310 ..................................£119

Digital Compact Cameras

Pro 2020 ....................£240 Airport: Small Pro....................£199 Int. V3.0...............£349 Large ...........................£175 Take Off V2.0....£359 Pro Original ............. £199 Security V3.0....£319 Hadley One .............. £265

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........ £679 120-300mm f2.8 OS ................................ £2699 150-600mm f5-6.3 C DG OS HSM .... £759 150-600mm f5.0-6.3 S DG OS HSM £1329

SONY E-MOUNT LENSES FE 85mm f1.4 G Master .......................... £1549 FE 85mm f1.8 .............................................. £599 FE 100mm f2.8 G Master....................... £1439 FE 12-24mm f4 G ....................................... £1449 FE 16-35mm f2.8 G Master ................... £2099 FE 24-70mm f2.8 G Master .................. £1799 FE 24-70mm f4 ZA OSS C.Zeiss T .... £699 FE 70-200mm f2.8 G Master............... £2375 FE 70-300mm f4.5-5.6 G OSS ........... £1079 FE 100-400mm f4.5-5.6 OSS GM..... £2399

Computing PIXMA Pro 100S ............ £359 PIXMA Pro 10S .................£479 X-Rite i1Display Studio..................£139 Datacolor SpyderX Pro..................£109 X-Rite i1 Display PRO .....................£178 Intuos Pro Professional Pen and Touch Tablet Small v2.......................................................................... £159 Medium........................................................................... £259 Large ............................................................................... £349

Digital compact camera accessories are available on our website

20.1 mp 4K 5x

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24.3 mp 1080p 3.0x

optical zoom

PowerShot G5 X Mark II ....... £799

optical zoom

PowerShot G7 X Mk III............. £699

PowerShot G1 X III................ £949

IXUS 185 HS ............................................£99 IXUS 285 HS ...........................................£169 PowerShot SX70 HS...........................£449 PowerShot SX620 HS ........................£179 PowerShot SX730 HS ........................£289 PowerShot SX740 HS ........................£347 PowerShot G9 X II ...............................£369 PowerShot G3 X ...................................£699

Lumix FZ1000 ...............................£449 Lumix FZ2000 ...............................£699 Lumix TZ200 ...................................£549 Lumix LX15 .......................................£369

Black or Silver

24.3 mp 1080p Fujifilm X100F......... £899

17.0 mp Lumix LX100 II...... £599

20.3 mp Lumix TZ95......... £379

Ricoh GR III

Tough TG-6

£419

20.0mp Lumix FZ1000 II......... £649

Ricoh WG-60

£799

£230

Available in black and red

Coolpix P1000

£899

Cyber-Shot HX90V

£299

Theta Z1 Digital Spherical Camera 4K video, 23MP stills and image stabilisation

Theta V Digital Spherical Camera 4K movie mode and 360° stills

.......................... £899

.......................... £349

Cyber-Shot RX10 Mk IV Cyber-Shot RX100 Mk VI

£1549

FREE delivery on orders over £50**

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DJI Mavic 2 from

£1099

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

Canon Digital SLR EOS 1D II Body Only�������������������������������������E+ £169 EOS 1DS III Body Only������������������������������� E++ £649 EOS 1DX Body Only ��������������E+ - E++ £1799 -2199 EOS 350D Body Only �������������������������������������E+ £49 EOS 400D Body Only �������������������������������������E+ £59 EOS 500D + BG-E5 Grip ������������������������������E+ £129 EOS 500D Body + BG-E5 Grip����������������������E+ £129 EOS 50D Body Only �������������������������������������E+ £119 EOS 5D II Body + BG-E6 Grip�����������������������E+ £479 EOS 5D III Body + BG-E11 Grip��������� E+ - E++ £949 EOS 5DS Body Only �����������������������������������E+ £1249 EOS 60D Body Only �������������������������������������E+ £199 EOS 6D Body Only ���������������������15D - E+ £349 -459 EOS 70D Body Only ������������������E+ - E++ £329 -349 EOS 750D Body Only �������������������������������� E++ £315 EOS 7D + BG-E7 Grip ����������������������������������E+ £249 EOS 7D Body Only ���������������������������������������E+ £199 EOS 7D II Body Only������������������E+ - E++ £639 -679 EOS 800D Body Only �������������������������������Mint- £449 EOS 80D Body Only ���������������������������������� E++ £539 Canon Auto Focus Lenses 100-400mm F4�5-5�6 L IS USM E+ - E++ £499 -649 100mm f2 USM ���������������������������������������� E++ £229 100mm F2�8 USM Macro�������������������������Mint- £319 10-22mm F3�5-4�5 EFS�������������������������������E+ £189 14mm F2�8 L USM II��������������������������������� E++ £859 15mm F2�8 EF Fisheye ���������E++ - Mint- £349 -449 16-35mm F2�8 L USM ���������������������������������E+ £599 16-35mm F4 L IS USM ����������������������������Mint- £715 17-40mm F4 L USM �����������������E+ - E++ £269 -319 17mm F4�0 L TSE����������������������������������� E++ £1299 18-135mm F3�5-5�6 IS STM EF-S��� E+ - E++ £179 -199 18-135mm F3�5-5�6 IS USM EF-S ������������ E++ £199 18-150mm F3�5-6�3 IS STM EF-M�����������Mint- £289 18-55mm F3�5-5�6 IS STM������������������������� E++ £69 200-400mm F4 L IS USM with Internal 1�4x Extender Lens����E++ £6989 24-105mm F4 L IS USM �����������E+ - E++ £349 -429 24-105mm F4 L IS USM II������������������������� E++ £689 24-70mm F2�8 L USM ������������������������ E+ £499 -649 24-70mm F2�8 L USM II�������������������������� E++ £1049 24mm F1�4 L USM������������������������������������ E++ £549 24mm F1�4 L USM II����������������E+ - Mint- £679 -819 24mm F2�8 STM EFS���������������������������������� E++ £89 24mm F3�5 L TS-E������������������������������ E+ £499 -549 28-135mm F3�5-5�6 IS USM���15_Day_Approval £99 28-70mm F2�8 L USM ��������������������������������Exc £289 28mm F2�8 IS USM����������������������������������� E++ £299 300mm F2�8 L IS USM���������Exc - E++ £1479 -1699 300mm F2�8 L IS USM II������������������������� E++ £3489 300mm F2�8 L USM����������������E+ - E++ £999 -1449 300mm F4 L IS USM�����������������E+ - E++ £449 -549 300mm F4 L USM����������������������������������������E+ £349 35mm F2 IS USM�������������������������������������� E++ £389 35mm F2�8 Macro IS STM EF-S���������������Mint- £269 400mm F4 DO IS USM�������������������� E+ £1489 -1499 400mm F5�6 L USM������������������E+ - E++ £549 -639 40mm F2�8 STM��������������������������������������� E++ £109 45mm F2�8 TS-E �����������������������������������������E+ £549 500mm F4 L IS USM������������������������������� E++ £2989 500mm F4 L IS USM II���������������������������� E++ £5699 500mm F4�5 L USM�������������Exc - E++ £1189 -1599 50mm F1�8 EF II ����������������������������������������� E++ £59 55-200mm F4�5-5�6 IS STM (M)��������������� E++ £179 55-250mm F4-5�6 EFS IS������������������������������E+ £69 600mm F4 L IS USM������������Exc - E++ £3299 -3989 600mm f4 L IS USM II����������������������������� E++ £6489 600mm F4 L USM�������������������������������������Exc £1799 60mm F2�8 EFS Macro ����������������������������Mint- £219 65mm F2�8 MP-E Macro��������������������������� E++ £649 70-200mm F2�8 L IS USM ��������E+ - E++ £649 -799 70-200mm F2�8 L IS USM II�������������������� E++ £1099 70-200mm F2�8 L USM ���������������������������� E++ £839 70-200mm F4 L IS USM �����������E+ - E++ £419 -599 70-200mm F4 L USM ���������������E+ - E++ £299 -309 70-210mm F3�5-4�5 USM��������������������������� E++ £59 70-300mm F4�5-5�6 DO IS USM��15D - E++ £199 -329 70-300mm F4-5�6 L IS USM + Collar�������� E++ £789 75-300mm F4-5�6 IS USM���������������������������E+ £179

75-300mm F4-5�6 USM III�������������������������� E++ £59 80-200mm F4-5�6 EF��������������������������������� E++ £29 8-15mm F4 L Fisheye USM����������������������Mint- £749 85mm F1�2 L USM II��������������������������������� E++ £849 85mm F1�4 L IS USM���������������������Mint- £999 -1089 90mm f2�8 TSE Shift��������������������������������� E++ £599 Sigma 10-20mm F4-5�6 EX DC HSM �������� E++ £159 120-300mm F2�8 EX HSM APO DG ����������� E++ £699 12-24mm F4�5-5�6 EX DG HSM���������������� E++ £249 150-600mm F5-6�3 DG OS HSM Sport ��������E+ £849 15mm F2�8 EX DG Fisheye������������������������ E++ £299 17-35mm F2�8-4 EX HSM������������������������������E+ £99 17-50mm F2�8 EX DC OS HSM ����������������� E++ £209 180mm F2�8 Apo Macro ��������������������������� E++ £159 18-35mm F1�8 DC HSM���������������������������� E++ £489 18-50mm F2�8 EX DC������������������������������� E++ £119 20mm F1�8 EX DG ������������������������������������ E++ £249 28mm F1�8 EX DG ������������������������������������ E++ £159 300mm F2�8 APO EX DG HSM���E++ - Mint £1299 -1349 300mm F4 Apo AF ���������������������������15D - E++ £159 30mm F1�4 EX DC HSM A������������������������Mint- £259 35mm F1�4 DG HSM A -���������������������������� E++ £479 500mm F4�5 APO AF������������������������������������E+ £449 500mm F7�2 Apo�����������������������������������������E+ £149 50-500mm F4-6�3 Apo DG HSM ������������������E+ £289 50mm F1�4 EX DG HSM�������������������15D - E++ £129 70-200mm F2�8 Apo EX DG HSM�������������� E++ £219 70-210mm F2�8 Apo AF�������������������15D - E++ £119 70-300mm F4-5�6 Apo����������������������������������E+ £39 70mm F2�8 EX DG Macro�������������������������� E++ £219 80-400mm F4�5-5�6 EX Apo DG OS�������������E+ £249 8mm F3�5 EX DG Fisheye�������������������������� E++ £389 Tamron 10-24mm F3�5-4�5 Di II LD Asph�� E++ £199 150-600mm F5-6�3 SP Di VC USD������������ E++ £549 17-50mm F2�8 XR Di II VC LD Asph��������������E+ £179 180mm F3�5 Di 1:1 Macro AFE++ - Mint- £299 -349 18-270mm F3�5-6�3 DI II VC PZD���� E+ - E++ £119 -159 24-70mm F2�8 Di VC USD������������������������Mint- £459 28-300mm F3�5-5 6 LD Asph��������������������Mint- £79 28-300mm F3�8-6�3 Di VC PZD ���������������Mint- £449 70-200mm F2�8 Di VC USD G2 ����������������� E++ £849 70-300mm F4-5�6 Di VC USD����������������������E+ £169 90mm F2�8 SP AF Macro �����������������������������E+ £129 90mm F2�8 SP Di Macro�������������������E++ £159 -179 Tokina 12-24mm F4 ATX PRO SD�������������� E++ £159 12-24mm F4 ATX PRO SD II���������������������Mint- £199 12-28mm F4 ATX PRO SD������������������������Mint- £199 16-50mm F2�8 ATX Pro DX ����������������������� E++ £199 20-35mm F2�8 ATX Pro�������������������������Unused £199 Zeiss 100mm F2 ZE Macro ����������������������� E++ £799 18mm F3�5 ZE������������������������������������������ E++ £599 21mm F2�8 Distagon ZE �����������E+ - E++ £475 -599 50mm F2 T* Makro-Planar ZE Macro�������� E++ £889 85mm F1�4 ZE���������������������������������������������E+ £499 Nikon Digital SLR D300 Body Only�������������������������������������������E+ £139 D300S Body Only����������������������E+ - E++ £199 -249 D3400 Body Only�������������������������������������� E++ £189 D3X Body Only��������������������������E+ - E++ £749 -799 D4 Body Only���������������������������������������������E+ £1499 D4S Body Only������������������������������E++ £1899 -2089 D500 Body Only������������������������E+ - E++ £779 -899 D5100 Body Only���������������������������E++ - Mint- £139 D5300 Body Only�������������������������������������Mint- £259 D5500 Body Only���������������������������������������Mint £319 D600 Body + MB-D14 Grip��������������������������E+ £459 D600 Body Only���������������������15D - Mint- £339 -499 D610 Body Only�������������������������������������������E+ £519 D70 Body Only�������������������������������������������� E++ £59 D700 Body Only�������������������������������������������E+ £329 D7000 + 18-55mm �������������������������������������E+ £219 D7000 Body Only�������������������������������������� E++ £189 D70S Body Only���������������������������������������������E+ £59 D7100 Body Only�������������������������������������� E++ £319 D7200 Body Only������������������E++ - Mint- £449 -499 D750 Body Only����������������������15D - E++ £499 -749 D80 Body Only�����������������������������������15D - E++ £79 D800 Body Only��������������������������Exc - E+ £559 -589 D800E Body Only����������������������E+ - E++ £719 -749 D810 Body Only �������������������������������������������E+ £949

Nikon Auto Focus Lenses 10�5mm F2�8 G AF ED DX Fisheye����E++ - Mint- £229 -239 10-24mm F3�5-4�5 G AFS DXE++ - Mint- £279 -319 105mm F2�8 AFS G VR Micro���Exc - E++ £299 -449 12-24mm F4 G AFS DX ED���������������� E+ - E++ £249 135mm F2 D AF DC�������������������������������������E+ £649 14-24mm F2�8 G AFS ED����������E+ - E++ £649 -749 14mm F2�8 AFD������������������������E+ - E++ £549 -599 16-35mm F4 G AFS ED VR�������E+ - Mint- £549 -619 16-80mm F2�8-4 E VR N��������������������������� E++ £599 16-85mm F3�5-5�6 G ED VR AFS DX��������� E++ £199 16mm F2�8 AFD Fisheye��������������������������� E++ £379 17-35mm F2�8 ED AFS������������E+ - Mint- £249 -499 17-55mm F2�8 G AFS DX IFED���������������������E+ £349 180mm F2�8 ED AFD �������������������������������Mint- £449 18-105mm F3�5-4�5 G AFS ED DX VR����E+ - Mint £99 -139 18-135mm F3�5-5�6 G AFS DX ����������������� E++ £109 18-140mm F3�5-5�6 AF-S G ED VR DX������ E++ £169 18-200mm F3�5-5�6 G AF-S DX ED VR II����E+ - E++ £189 -249 18-200mm F3�5-5�6 G AFS DX VR ���������������E+ £159 18-300mm F3�5-5�6 G ED AFS DX VR����������E+ £399 18-35mm f3�5-4�5 AFD ������������E+ - E++ £159 -169 18-35mm F3�5-4�5 AFS��������E++ - Mint- £369 -429 18mm F2�8 AFD�������������������������������������������E+ £399 200-400mm F4 G VR AFS IFED ������������������E+ £1639 200-500mm F5�6 AFS VR ED �������������������� E++ £899 200mm F2 G AFS VR������������������������������� E++ £2499 200mm F4 ED AFD Micro�������������������������Mint- £949 20-35mm F2�8 AF ���������������������������������������E+ £239 20mm F2�8 AFD���������������������������������������Mint- £299 24-120mm F3�5-5�6 ED AFD ����15D - E++ £79 -139 24-120mm F4 AFS G ED VR������E+ - E++ £349 -439 24-50mm F3�3-4�5 AFD������������������������������ E++ £99 24-70mm F2�8 G AFS ED����������E+ - E++ £599 -679 24-70mm F2�8E AFS VR ED �������������������Mint- £1349 24-85mm F3�5-4�5 G AFS VR�������������������� E++ £259 24-85mm F3�5-4�5 G ED VR ������������������������E+ £199 24mm F1�4 AFS G ED ��������������Exc - E++ £649 -799 24mm F1�4 G AFS ED ������������������������������� E++ £799 24mm F1�8 AFS G ED �����������E++ - Mint- £449 -479 24mm F2�8 AFD���������������������������������������� E++ £229 24mm F3�5D ED PC-E�����������������������E++ £799 -899 28-100mm F3�5-5�6 AFG�������������������������������E+ £39 28-300mm F3�5-5�6 G ED AFS VR������������� E++ £469 28-70mm F3�5-4�5 AFD���������������������������������E+ £49 28-85mm F3�5-4�5 AF�����������������������������������E+ £49 28mm F1�4 AFD���������������������������������������� E++ £899 28mm F1�4 AFS E ED������������������������������ E++ £1189 28mm F1�8 G AFS������������������������������������� E++ £279 28mm F2�8 AFD������������������������E+ - E++ £119 -139 28mm F2�8 AFN������������������������������������������ E++ £99 300mm F2�8 D AFS�������������������������������������Exc £999 300mm F2�8 D AFS IFED������������������������� E++ £1799 300mm F2�8 D AFS II���������������������������������E+ £1749 300mm F2�8 G AFS ED VR ���������������������� E++ £1949 300mm F2�8 IFED AF������������������Exc - E+ £649 -699 300mm F2�8 IFED AF-i���������������������������������E+ £989 300mm F4 AFS IFED������������������������������������E+ £399 300mm F4 E PF ED VR AFS��������������������Mint- £1329 400mm F2�8 AFi IFED ��������������������������������E+ £1949 45mm F2�8 D PC-E ED Micro�������������������� E++ £899 500mm F4 AFS IFED����������������������� E+ £1749 -1849 50mm F1�4 AFD�������������������������������������������E+ £139 50mm F1�4 G AFS���������������������E+ - E++ £189 -219 50mm F1�8 AFD���������������������������������������������E+ £59 50mm F1�8 G AFS������������������������������������� E++ £139 55mm F2�8 AF Micro �����������������������������������E+ £199 600mm F4 AFi ED D�����������������������������������E+ £1999 60mm F2�8 AFD Micro������������������������������ E++ £199 60mm F2�8 AFS G ED Micro�������������������������E+ £279 70-200mm F2�8 G AFS ED VR�15D - E++ £399 -749 70-200mm F2�8 G AFS ED VRII ����E+ - Mint- £779 -1099 70-200mm F4 G AFS ED VR��E++ - Mint- £589 -669 70-210mm F4 AF ����������������������������������������E+ £149 70-210mm F4-5�6 AF��������������������������������� E++ £49 70-300mm F4�5-5�6 G AFS VR��E+ - E++ £229 -299 70-300mm F4-5�6 AFG�����������������E+ - E++ £39 -49 70-300mm F4-5�6 ED AFD �����������E+ - E++ £69 -79 70-300mm F4-6�3 G AF-P VR ������������������� E++ £219 75-240mm F4�5-5�6 AFD���������������������������� E++ £79

80-200mm F2�8 ED AF ��������������������������������E+ £199 80-200mm F2�8 ED AFD�������������Exc - E+ £259 -299 80-400mm F4�5-5�6 G AFS ED VR������������� E++ £989 85mm F1�4 AFD������������������������E+ - E++ £379 -499 85mm F1�4 AF-S G�������������������E+ - E++ £649 -699 85mm F1�8 AF-S G���������������E++ - Mint- £259 -319 85mm F2�8 D PC Micro���������������������E++ £699 -729 Samyang 8mm F3�5 IF UMC CS II Fisheye� E++ £149 Sigma 10-20mm F4-5�6 DC HSM ����������������E+ £139 120-300mm F2�8 DG OS HSM������������������ E++ £879 150-600mm F5-6�3 DG OS HSM C ����������� E++ £589 15-30mm F3�5-4�5 EX DG ���������������������������E+ £159 170-500mm F5-6�3 Apo�����������E+ - E++ £179 -199 100-300mm F4 Apo IF - Nikon AF����������������E+ £249 10-20mm F3�5 EX DC HSM - Nikon AF������ E++ £199 10-20mm F4-5�6 EX DC HSM - Nikon AF�����E+ £159 105mm F2�8 EX DG Macro - Nikon AF���������Exc £119 12-24mm F4�5-5�6 EX DG HSM - Nikon AFE++ £249 150-500mm F5-6�3 APO DG OS HSM - Nikon AF����Exc - E++ £239 -449 150mm F2�8 Apo DG HSM Macro - Nikon AF��������E++ £499 15mm F2�8 EX DG Fisheye - Nikon AF��E+ - E++ £249 -299 17-50mm F2�8 EX DC OS HSM - Nikon AFE++ - Mint- £209 18-50mm F2�8 EX - Nikon AF ��������������������� E++ £99 4�5mm F2�8 EX DC Fisheye HSM - Nikon AF �� E++ £349 400mm F5�6 AF - Nikon�������������������������������E+ £159 50-150mm F2�8 Apo EX DC HSM - Nikon AFE+ £199 50mm F1�4 DG HSM - Nikon AF���������������� E++ £189 70-300mm F4-5�6 DG - Nikon AF ��������������� E++ £49 85mm F1�4 EX DG HSM - Nikon AF����������Mint- £419 20mm F1�8 EX DG ���������������������������������������E+ £249 24-105mm F4 DG OS HSM����������������������� E++ £429 24mm F1�4 DG HSM A������������������������������ E++ £489 300mm F2�8 APO EX DG HSM��������������������E+ £1099 85mm F1�4 DG HSM Art���������������������������Mint- £739 Tamron 10-24mm F3�5-4�5 Di II LD Asph�Mint- £219 15-30mm SP F2�8 Di VC��������������������������Mint- £639 16-300mm F3�5-6�3 Di II VC PZD Macro��Mint- £229 24-70mm F2�8 Di VC USD������������������������� E++ £459 70-300mm F4-5�6 Di���������������������������������� E++ £49 70-300mm F4-5�6 LD��������������������������������� E++ £49 85mm F1�8 SP Di VC USD������������������������� E++ £539 Tokina 10-17mm F3�5-4�5 DX Fish Eye ATX��E++ £279 11-16mm F2�8 ATX Pro DX ����������������������� E++ £199 12-24mm F4 ATX PRO SD����������������������������E+ £159 35mm F2�8 ATX Pro DX Macro������������������ E++ £229 Zeiss 135mm F2 Apo ZF�2����������������������� E++ £1049 135mm F2 Milvus ZF�2 ��������������������������Mint- £1199 15mm F2�8 ZF�2 �����������Mint- - Unused £1249 -1649 21mm F2�8 Milvus ZF�2 ���������������������������Mint- £869 21mm F2�8 ZF������������������������������������������ E++ £649 21mm F2�8 ZF�2 ������������������������������������������E+ £679 25mm F2�8 ZF���������������������������������������������E+ £329 35mm F2 Milvus ZF�2 ������������������������������Mint- £599 35mm F2 ZF Distagon ������������������������������ E++ £449 50mm F1�4 Milvus ZF�2 ���������������������������Mint- £689 50mm F2 ZF�2 Macro�������������������������������� E++ £649 Fujifilm X Series X-A2 Body Only - Silver�����������������E+ - E++ £89 -99 X-A5 + 15-45mm������������������������������������Mint- £299 X-E1 Black Body Only ������������������������������������E+ £99 X-E1 Silver Body Only����������������������������������E+ £149 X-E2 Black Body Only ���������������E+ - E++ £189 -219 X-E3 Body Only - Black���������������������E++ £399 -429 X-M1 + 16-50mm ������������������������������������ E++ £199 X-M1 Silver Body Only�������������������������������� E++ £99 X-Pro2 Body + Handgrip��������������������������� E++ £659 X-Pro2 Body Only�������������������������������������� E++ £689 X-Pro2 Body Only + Case�����������������������������E+ £599 X-T1 Body + VPB-XT1 Vertical Grip ��15D - E+ £199 -249 X-T1 Body Only����������������������������������� E+ £219 -249 X-T10 Black Body Only ������������E+ - Mint- £149 -199 X-T2 Black Body Only ���������������E+ - E++ £529 -539 X-T2 Body + MHG-XT2 Handgrip �������������� E++ £549 X-T20 Body Only - Black��������������������������Mint- £329 X-T20 Body Only - Silver��������������������������Mint- £339 X-T3 Body Only - Black����������������������������Mint- £899 10-24mm F4 XF R OIS������������������������������ E++ £639 14mm F2�8 XF����������������������E++ - Mint- £399 -439 15-45mm f3�5-5�6 OIS PZ XC - Black ������� E++ £119 16-50mm F3�5-5�6 OIS XC ����������������������� E++ £129

16-55mm F2�8 R LM WR XF ��������������������� E++ £649 16mm F1�4 R WR XF��������������������������������Mint- £629 18-135mm F3�5-5�6 LM OIS WR XF��E+ - E++ £399 -479 18-55mm F2�8-4 R LM OIS XF�Exc - E++ £179 -299 18mm F2 XF R����������������������������������E++ £239 -259 23mm F1�4 XF R�������������������E++ - Mint- £479 -529 27mm F2�8 XF����������������������E++ - Mint- £189 -199 35mm F1�4 XF R�����������������������E+ - E++ £279 -319 35mm F2 XF WR - Black��������������������������Mint- £289 50-140mm F2�8 WR OIS XF���������������������� E++ £879 50-230mm F4�5-6�7 OIS XC ��������������������� E++ £159 56mm F1�2 R APD XF ������������������������������� E++ £699 60mm F2�4 XF R Macro��������������������E++ £299 -339 90mm F2 WR XF�����������������������E+ - E++ £549 -599 Samyang 16mm F2�0 ED AS UMC CS�������Mint- £219 Sony Digital Alpha 6300 Body Only ��������������E+ - E++ £419 -459 Alpha 7 Body + VG-C1EM Grip������������������ E++ £459 Alpha 7 II Body Only���������������������������������� E++ £699 Alpha 7R Body + VG-C1EM Grip���������������� E++ £649 Alpha 7R Body Only ��������������15_Day_Approval £469 Alpha 7R II Body Only������������������������E++ £949 -999 Alpha A7 Body Only����������������������������������� E++ £449 Alpha A7 II Body Only�����������������������������������E+ £639 Alpha A7R III Body Only��������������������������� E++ £1949 12-24mm F4 G FE ���������������������������������Mint- £1089 16-35mm F4 ZA OSS FE T*����������������������� E++ £729 16-70mm F4 ZA OSS���������������������E++ - Mint- £399 18-55mm F3�5-5�6 SAM����������������������������� E++ £39 24-105mm F4 G OSS FE��������������������������� E++ £899 24-70mm F2�8 GM FE G Master ��Mint- £1389 -1399 24-70mm F4 FE ZA OSS��������������������������� E++ £449 24mm F1�8 ZA E�������������������E++ - Mint- £369 -399 28mm F2 FE��������������������������������������������Mint- £259 30mm F3�5 Macro E��������������������������������� E++ £119 35mm F1�4 FE T* ZA��������������������������������Mint- £849 35mm F2�8 FE ZA������������������������������������Mint- £399 50mm F1�8 FE�����������������������������������������Mint- £149 55-200mm F4-5�6 DT SAM ������������������������ E++ £49 55-210mm F4�5-6�3 OSS �����E++ - Mint- £129 -139 70-200mm F4 G OSS FE�������E++ - Mint- £899 -939 85mm F1�4 GM FE G Master��������E++ - Mint- £1049 90mm F2�8 Macro G OSS FE��������������������� E++ £719 100-400mm F4�5-5�6 OSS GM FE ���������� E++ £1799 400mm F2�8 OSS G Master �������������������Mint- £9489 Zeiss 12mm F2�8 Touit - Sony E���������������Mint- £549 135mm F2�8 Batis Apo-Sonnar T*������������Mint- £979 18mm F2�8 Batis Distagon T* ����������Mint- £779 -799 25mm F2 Batis Distagon T* ��E++ - Mint- £679 -779 32mm F1�8 Touit��������������������������������������Mint- £279 35mm F2 Loxia���������������������E++ - Mint- £549 -599 40mm F2 Batis Distagon T* ���������������������Mint- £849 50mm F2 Loxia Planar T*������E++ - Mint- £419 -449 85mm F1�8 Batis Sonnar T*���������������������Mint- £699 85mm F2�4 Loxia Distagon T*������������������Mint- £679 Zhang 20mm F2 Super Macro �������������������� E++ £89 Samyang 12mm F2�8 ED AS NCS FE Fisheye����E++ £239 20mm F1�8 ED AS UMC FE ����������������������Mint- £299 35mm F1�4 AF FE������������������������������������� E++ £399 105mm F1�4 DG HSM Art�������������������������Mint £1099 135mm F1�8 DG HSM Art�������������������������� E++ £799 16mm F1�4 DN C - Black�������������������������Mint- £279 40mm F1�4 DG HSM Art���������������������������� E++ £749 85mm F1�4 DG HSM Art�����������������������������Mint £699 Olympus M4/3rds OM-D E-M5 Body Only - Silver������������������ E++ £179 OM-D EM-1 Body Only + HLD7 Grip�������������E+ £349 OM-D E-M1 II Body + HLD-9 Grip ������������� E++ £839 OM-D E-M1 II Body Only����������Exc - E++ £649 -819 OM-D E-M10 III Body Only - Black ������������ Mint £339 OM-D E-M5 Silver Body + HLD-6 Grip ������ E++ £199 12-100mm F4 M�Zuiko Pro����������������������� E++ £749 12-40mm F2�8 M�Zuiko��������E++ - Mint- £449 -529 12mm F2 ED M�Zuiko - SilverE++ - Mint- £319 -339 14-42mm F3�5-5�6 EZ M�Zuiko����������������Mint- £109 15mm F8 Body Cap Lens����������E++ - Mint- £39 -45 17mm F1�8 M�Zuiko Black������������������������ E++ £229 17mm F1�8 M�Zuiko Silver�����������������������Mint- £259 25mm F1�2 M�Zuiko PRO �������������������������Mint- £649

25mm F1�8 M�Zuiko - Black ��������������������� E++ £189 300mm F4 IS M�Zuiko ED Pro���E+ - Mint- £1489 -1499 30mm F3�5 M�Zuiko Macro����������������������Mint- £159 40-150mm F2�8 M�Zuiko ED Pro���E+ - Mint- £659 -789 40-150mm F4-5�6 ED M�Zuiko ����������������������E+ £69 45mm F1�2 M�Zuiko ED Pro���������������������� E++ £739 45mm F1�8 M�Zuiko - Silver ����E+ - Mint- £109 -139 60mm F2�8 ED Macro M�Zuiko���E++ - Mint- £259 -269 7-14mm F2�8 M�Zuiko ED Pro��E+ - Mint- £579 -679 75-300mm F4�8-6�7 ED II M�Zuiko������������ E++ £279 75-300mm F4�8-6�7 ED M�Zuiko - Black �Mint- £299 75mm F1�8 ED M�Zuiko - Silver���������������� E++ £399 9-18mm F4-5�6 M�Zuiko ED ��������������������� E++ £279 9mm F8 Fisheye Body Cap - Black ( BCL-0980 )���Mint- £55 Panasonic 100-300mm F4-5�6 G OIS���E+ - E++ £179 -239 100-400mm F4-6�3 Power OIS����������������Mint- £939 12-32mm F3�5-5�6 OIS G ��������������������������Mint- £99 12-60mm F2�8-4�0 Leica DG Vario�����������Mint- £449 14mm F2�5 Asph ������������������������������E++ £109 -119 200mm F2�8 Power DG OIS ���������������������� E++ £979 200mm F2�8 Power DG OIS + 1�4x DMW-TC Converter��E++ £1489 20mm F1�7 ASPH II����������������������������������Mint- £179 25mm F1�7 ASPH ��������������������������������������Mint- £99 35-100mm F2�8 GX OIS VarioE++ - Mint- £479 -499 42�5mm F1�2 Leica Nocticron DG Asph OIS� E++ - Mint- £749 -789 45mm F2�8 DG Asph Macro���������������������� E++ £299 50-200mm F2�8-4 Asph P OIS���������������Mint- £1079 DMC-TC14E 1�4x Teleconverter ���������������Mint- £259 DMW-TC20E 2x Teleconverter������������������Mint- £299 SLR Magic 10mm F2�1 Hyperprime Cine��� E++ £399 26mm F1�4 - Micro 4/3rds�������������������������� E++ £39 Lensbaby 5�8mm F3�5 Circular Fisheye ���Mint- £119 56mm F1�6 Velvet������������������������������������Mint- £229 Composer Pro + Sweet 35�����������������������Mint- £149 Pentax Auto Focus Lenses 14mm F2�8 SMC DA��������������������������������� E++ £399 16-50mm F2�8 A* DA SDM�����15D - E++ £249 -549 16-85mm F3�5-5�6 ED DC WRE++ - Mint £299 -379 17-70mm F4 DA AL (IF) SDM������������E++ £239 -249 200mm F2�8 DA* ED (IF) SDM���E++ - Mint- £499 -549 24-70mm f2�8 D FA HD ED SDM WR��������Mint- £749 28-105mm F4-5�6 FA��������������������������������� E++ £79 28-200mm F3�8-5�6 FA IF AL���������������������� E++ £59 28-70mm F2�8 SMC AL FA*�������������������������E+ £549 28-70mm F4 FA AL�����������������������E+ - E++ £39 -49 28-80mm F3�5-5�6 FA�������������������������������� E++ £49 28-80mm F3�5-5�6 FAJ AL�������������������������� E++ £49 35mm F2�4 DA AL��������������������������������������� E++ £79 35mm F2�8 DA Macro HD��������E+ - Mint- £299 -389 40mm F2�8 SMC DA XS�����������E+ - Mint- £149 -159 50-135mm F2�8 DA* ED SDM������������������� E++ £449 50-200mm F4-5�6 DA ED WR������������E+ - Mint- £79 50mm F1�4 SMC FA�������������������������������������E+ £149 50mm F1�8 SMC DA�����������������E++ - Mint- £49 -79 50mm F2�8 SMC D FA Macro�������������������� E++ £199 55-300mm F4-5�8 DA ED�����������������E++ £149 -159 55-300mm F4-5�8 DA-L ED���������������������� E++ £159 70mm F2�4 DA Limited Edition ��������������������E+ £249 75-300mm F4�5-5�8 FA J AL����������������������� E++ £39 80-200mm F4�7-5�6 FA���������������������������������E+ £49 85mm F2�8 SMC FA Soft Focus����������������� E++ £349 Samyang 10mm F2�8 ED AS NCS CS �������Mint- £249 16mm F2�0 ED AS UMC CS����������������������Mint- £199 24mm F1�4 AE ED AS UMC ����������������������� E++ £299 8mm F3�5 IF UMC CS II Fisheye���������������� E++ £149 8mm F3�5 UMC Fisheye���������������������������� E++ £219 Sigma 10-20mm F4-5�6 EX DC HSM �������� E++ £139 18-200mm F3�5-6�3 DC Macro OS HSM C E++ £169 300mm F2�8 EX APO������������������������������������E+ £999 150-500mm F5-6�3 Apo DG OS HSM�������� E++ £349 17-50mm F2�8 EX DC HSM����������������������������E+ £99 35mm F1�4 DG HSM A���������������������Mint- £399 -479 Tamron 10-24mm F3�5 Di II ASph������������Mint- £239 17-50mm F2�8 XR Di II ����������������������������� E++ £129 70-300mm F4-5�6 Di LD ���������������������������� E++ £39 90mm F2�8 SP Di Macro ��������������������������Mint- £159

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Ensuring excellent G Lens resolution and bokeh, this compact, lightweight, ultra-wide prime gives Sony’s full-frame users more freedom to shoot stunning landscapes and starscapes as well DUE MARCH! as capturing impressive video. .00

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65

Legends of photography

© MITCH EPSTEIN / COURTESY OF STEIDL

South Beach dredging site, Fort Pierce, Florida, 2005

© PATRICK MCMULLAN / GETTY IMAGES

Mitch Epstein Epstein’s work shows him as one of the great documentarians of post-war America, says Oliver Atwell

A

merica, as we know it today, is more than a country. When the first white settlers ‘discovered’ the land and set up camp on its shores, a process of ideology and philosophy began to take root. This seemingly feral land became a symbol of the pioneer spirit and what would eventually become known as manifest destiny, the belief that the settlers were ordained by God to conquer the land and anything and anyone they found within.

66

Further down the line, America (or more specifically, the United States) became a prison for the immeasurable number of people snatched from Africa and sold into human chattel enslavement.

For Mexican migrants, it later became a land of hope, a place where they could either start a new life or work tirelessly to send money back to their families. The fact is, there is no one true America – it can at once be a place of dreams and nightmares.

Mitch Epstein, born in Massachusetts in 1952, recognises all too well that America is both a place and an idea, and has spent the best part of five decades attempting to rectify these two notions.

Sunshine Hotel, published by Steidl, brings together 175 of Epstein’s images (taken between 1969 and 2015) and acts as perhaps the best survey, not just of Epstein’s work, but of America’s most defining years. In the 1970s, Epstein became a student of the photographer Garry Winogrand. You can see that clear influence of Winogrand in Epstein’s almost anthropological studies of the cultural and political events that shook up post-war America. It was his early adoption of colour that made his images stand out back then.

He took to the medium eagerly, recognising its potential to draw the viewer in and show them a world they recognised, rather than the romanticised version they had become so

accustomed to in the previous years of documentary work.

Actually, that term – ‘documentary work’ – doesn’t entirely do Epstein’s work justice. Whether covering the white supremacy movement, surveillance after 9/11 or the results of Ronald Reagan’s economic ideology during the 1980s, Epstein’s work carries the weight of much more than detached documentation. Each image is laser-focused and direct in its ability to engage us on an artistic level. The presence of narrative and vibrant colour suggest someone concerned with creating images that belong on gallery walls.

Epstein, in photographs such as the one above, forces us to confront the reality of our world. Through his images, we find that there is no one clear path to the future. There will always be winners and there will always be losers.

Sunshine Hotel by Mitch Epstein is published by Steidl and priced at €69.

ISBN 978-3-95829-609-1

14 March 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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V E R S AT I L I T Y M E E T S A G I L I T Y

From fast-moving action to rich 4K HDR video, the new Nikon D780 helps your vision take flight. Its unique combination of autofocus systems offers the best of both worlds. Optical viewfinder shooting gives you fast and accurate AF with flagship tracking capabilities. Whilst live view shooting brings all the advantages of focal-plane phase-detection AF technology, including eye-detection AF and 273 focus points. Combined with shutter speeds from 1/8000 to 900 seconds, and advanced video and time-lapse features, the D780 embodies true versatility.

24 . 5 M P | I S O 10 0 - 51 20 0 | 51 - P O I N T A F | 27 3 - P O I N T H Y B R I D A F | 4 K U H D, H D R ( H LG) V I D E O For more information visit www.nikon.co.uk