amateurphotographer21032020

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Saturday 21 March 2020

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s s a l g e s e n i h C p a Che 50mm f/1.7

£2.99

We test the £140 Meike ap’n’nasty? che r o in a rg a b e m ri p st fa a ED – ST TE

MONEY-SAVING SPECIAL

Bag a bargain

We pick the best used full-frame deals available right now

£639

Second-hand challenge How did four top pros get along with the cheap used kit we gave them?

On edge

Passionate about photography since 1884

4 6 £7

Get the best out of Sony’s free viewing, editing and camera control suite Imaging Edge

Go west Jane Hilton talks to Peter Dench about photographing the American West

£ 79 9

Plus Cartier-Bresson’s China ● Stephan Zirwes’ aerial pools ● Cullmann tripod test



7days

A week in photography

COVER PICTURE © ANDREW SYDENHAM

This issue is all about saving money, and the benefits of buying ‘pre-loved’ gear. The UK’s second-hand camera trade is apparently worth around £60 million a year and growing fast. As technology matures and image quality now improves only incrementally between generations, the benefits of buying older used models become greater. This week we look at

the best used offerings for those looking at full frame. We also thought it would be fun to give four accomplished photographers, in different genres, an older second-hand model to see what they could do with it. Their results will hopefully silence those who think that photographers who succeed in photo competitions, or professionally, do so due to their expensive kit, rather than their skill and talent. Nigel Atherton, Editor

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

This week’s cover image

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.

AP’s studio manager Andrew Sydenham took our cover image this week to highlight our moneysaving special issue

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This week in 1958

In this issue

TREASURES FROM THE HULTON ARCHIVE

3 7 days: this week’s news

12 It’s good to share: readers’ pictures 14 Used and approved? 20 Inbox 22 Best western 30 Sony Imaging Edge tutorial 34 Low budget? No problem 36 In at the deep end 38 Join the club 41 Second-hand full-frame bargains 44 Meike MK 50mm F1.7: lens test 53 Tech talk 66 Final Analysis

© GETTY IMAGES

50 Accessories

Point-to-point judges by J Wilds Judges at the Household Brigade’s first point-topoint fixture since before the Second World War watch the event through binoculars at Thame in Oxfordshire. For those of you not in the know, point-to-point is a form of amateur horse racing over fences held at a

variety of racecourses throughout the UK. All meetings are run by volunteers, with the judges responsible for placing the first four horses past the winning post and giving the distances between the placed horses.

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

Affinity Photo upgraded

Affinity Photo, a low-cost photo editor, has been updated, with version 1.8 now offering improved support for Photoshop PSD files. The latest software is also compatible with the new Nik Collection 2.5 by DxO plug-in suite. There is an iPad version available as well. Affinity Photo 1.8 costs £48.99 from affinity.serif.com.

Epson’s black magic?

Coronavirus supply-chain woes

Canon closed five Japanese camera-manufacturing plants for two weeks until 13 March owing to problems getting parts from China, according to a report from Nikkei. The plants hit by the supply chain headaches are based in the Oita, Miyazaki and Nagasaki prefectures. Ricoh, owner of Pentax, is also closing some plants for a short time, according to the report.

No place like home

Canon boosts PIXMA portable range

Canon has announced a new portable colour printer, the PIXMA TR150. As well as a compact size and optional battery, the printer has Wi-Fi connectivity, a 1.44in highresolution monitor which shows the amount of ink and battery juice left, and there are five user presets. Available from April, the battery-powered model costs £249.99, while the standard one costs £219.99.

Meero, a start-up designed to help photographers develop their businesses, has launched ‘The Nicest Place on Earth,’ a call for projects that celebrate your home. You have until 31 March to enter up to three images; the best will be exhibited in France and the US. To enter, you need to create an account at app.unbounce.com. 4

© LOR N X AND KATHLEEN GERBER MAGE COURTESY OF THE ART STS AND WEX

Epson has announced two higher-end printers, the SureColor SC-P900 and SC-P700. Both the SC-P700 (up to A3+) and SC-P900 (up to A2+) feature black enhance overcoat technology for deeper blacks, three different paper paths to accommodate a wide media range and a 4.3in LCD touchscreen. They will be available from April, price TBC. See www.epson.co.uk.

BIG

picture

This Wex Photo Video exhibition is on until the end of the month THE CITY and Other Stories, by US artists Lori Nix and Kathleen Gerber, is currently on display at Wex Photo Video’s London gallery until 31 March. Working collaboratively at their studios in Brooklyn and Cincinnati, Lori and Kathleen have been constructing and photographing meticulously detailed model

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Words & numbers

Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society Peter van Agtmael Magnum photographer

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1.8

SOURCE: NASA

environments for the past 19 years. Both are inspired by their urban surroundings and childhood experiences of natural disasters. Each diorama takes between one and 15 months to construct. All of the work in this exhibition – which is on show in the UK for the first time – was created between 2005 and 2017. See this image and many more at Wex Photo Video Gallery, 37-39 Commercial Road, London, E1 1LF. Entrance is free.

gigapixels

The resolution of a picture of the surface of Mars, captured by NASA’s Curiosity rover. It’s a composite of nearly 1,200 images

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© DIGITAL CAMERA

Tokina 2020 lens roadmap revealed WITH the CP+ camera show cancelled owing to coronavirus fears, Tokina has gone ahead and announced its lens roadmap for the rest of 2020. For Canon EF and Nikon F-mount (APS-C), Tokina highlights an 11–20mm F2.8 CF lens, expected in the summer. This is in addition to the previously announced 11-16mm F2.8 CF and 100mm F2.8 CF Macro lenses. Meanwhile, three new APS-C lenses are mentioned for Sony E-mount and Fujifilm X-mount, a 23mm F1.4, a 33mm F1.4 and a 56mm F1.4. The E-mount lenses are scheduled for the summer and the X-mount ones for the autumn. Tokina also has two new lenses in the pipeline for Sony full-frame mirrorless cameras, again scheduled for the autumn; a 35mm F1.8 FE and the 50mm F1.8 FE. These sit alongside the 85mm F1.8 FE, which is already on sale. We will share more details as soon as we get them.

The Photography Show is postponed to September FEWER than five days before The Photography Show was supposed to start at the Bimingham NEC, organisers Future plc announced that it would be postponed owing to the dramatic increase in coronavirus cases in Europe. It will now take place on 19-22 September 2020. ‘We understand how important the show is both from an industry and community point of view,’ said Future’s Head of Events, Jonny Sullens. ‘Postponing until September, when we hope the threat of Covid-19 will have significantly reduced, will allow us to deliver the show everyone deserves. We are now working through the ramifications of this challenging situation.’ Tickets can be transferred to the new show date or a refund will be given, Future confirmed. For further ticketing information and updates, visit the event website at www. photographyshow.com.

Several new Tokina lenses are set to be released, which will join the 85mm F1.8 FE

Little respite for big camera makers © CANON

IT’S NOT Easter yet but 2020 is looking like it could be another annus horribilis for the big camera makers. According to the latest January report from Japanese trade body CIPA, global sales of interchangeable-lens digital cameras have fallen by 100,000 units year-on-year, now sitting below the psychologically important 500,000 mark (446,330 in total). Sales of ‘Built-in Lens DSCs’, which includes fixed-lens compacts and bridge cameras also went south, falling from 455,210 units last year to 358,316. The true picture could be much worse, however, as these latest figures don’t take into account the impact of coronavirus. Attempts to AP Deputy Editor Geoff Harris recently met the control the spread of the disease have not only top team from Canon, who are just one of the big makers affected by coronavirus hit factory productivity and supply chains, but there are fewer customers out and about, though this may be less of an issue for onlinecoronavirus denting consumer confidence, the dominated camera and lens retailing. As well as threat from smartphones is as strong as ever.

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You can’t buy iconic new. A true icon earns its status. A powerhouse when launched, the M9 was the world’s smallest, fullframe digital system camera - proving that small can truly pack a big punch. See our current stock of this Icon at www.mpb.com

Buy. Sell. Trade. Change gear.


Celebrations for the ninth anniversary of the People’s Republic, Beijing, 1 October 1958

Henri Cartier-Bresson China 1948-1949, 1958 W It’s the definitive account of one of the world’s greatest documentary photographer’s adventures in the Middle Kingdom, says Geoff Harris BOOK

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Henri Cartier-Bresson: China 1948-1949, 1958, Thames & Hudson, 288 pages, 978-0500545188, £50 ★★★★★

hile Henri CartierBresson is famous for having a strongly Euro-centric sensibility and choice of subject matter – one of his most famous collections is called The Europeans – he had a great affinity for, and experience of, East Asia. China in particular proved a rich hunting ground for HCB as he hit his prime as a photographer during some of the most tumultuous events in the Middle Kingdom’s history, including the civil war and Communist victory. Like many leftleaning European intellectuals of his era, he was drawn to the great Maoist experiment to

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ALL PICTURES © FONDATION HENRI CARTIER-BRESSON / MAGNUM PHOTOS

Also out now The latest books and exhibitions from the world of photography © LOTT E DAV ES

Gold Rush. The last days of Kuomintang, Shanghai, 1948

EXHIBITION

Quinn: A Journey, Lottie Davies Runs until 31 May at Herbert Art Gallery & Museum, Coventry. Entry free. Mon-Sat 10.00-4.00, Sun 12.00-4.00

Based around the fictional story of William Henry Quinn, who walks from the south west of England to the far north of Scotland in post-Second World War Britain, this intriguing new exhibition makes use of a number of different mediums. As well as large-format photographs, there is video, ephemera and text vignettes. It reflects on the changes imposed on a generation through conflict and global socioeconomic collapse, as well as personal tragedy. Although Quinn is fictional, the project draws on real-life experiences. This show feels more like reading a novel, visiting the theatre, going to the cinema and viewing a traditional photography display all at the same time. It’s a fantastic opportunity to see one of Britain’s most-eminent art photographers at the moment. Amy Davies A local who escorts brides in a sedan chair, Beijing,1948

transform this massive, almost unfathomably historic nation. But disillusionment eventually set in as it became clear how much the population was suffering under Mao’s grandiose schemes. This monumental new volume from Thames & Hudson includes the greatest images from HCB’s trips to China in 1948-9, and 1958, a period of huge change. I have quite a few books about HCB but haven’t looked at them for a while. Coming to this latest book, I am struck again by his almost supernatural ability when it comes to composition. The iconic Gold Rush in Shanghai (above top), for example, almost seems staged, with the jostling crowd, who are desperately trying to empty their bank accounts before the Communists arrive, carefully choreographed like a still from a movie. Of course, the shot wasn’t staged at all (the crowd had much bigger worries than

keeping some big-nosed foreign devil of a photographer happy). Then there are the less dramatic, but still highly poetic, shots of the denizens of old Beijing, a world with roots in the Qing dynasty which was about to disappear forever. Moving into the 1950s we get more shots of happy factory workers and young pioneers, which seem naively optimistic knowing what we now know about the subsequent mayhem of the Cultural Revolution, but again, you can’t fault HCB’s photographic technique and compositional genius. Accompanying the images is a highly authoritative text, co-authored by Taiwanese curator Ying Lung-su to give a wider cultural perspective. This book is required reading for fans of HCB or anyone interested in the history of China – now a global superpower for better or worse. Geoff Harris

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BOOK

Tony Ray-Jones

RRB Photobooks/Martin Parr Foundation, 128 pages, hardback, £48, ISBN 9791096575114 An essay in the middle of this fantastic book starts with the sentence, ‘Tony Ray-Jones was born in June 1941 and died in March 1972 – the arithmetic alone makes it remarkable that his small but distinctive body of photographs, created in less than a decade, lives on as a significant marker in the history of British photography.’ There’s probably no better way to put how someone with such a short life holds a fascination and reverence – especially for fans of documentary and black & white photography. The recent show at the Martin Parr Foundation, who have co-produced this book, was a triumph. The book is perhaps even better, given that you can keep it. It’s a masterclass in documentary photography, observing the human condition and much more besides. ★★★★★ Amy Davies 9


In next week’s issue

Viewpoint Jon Bentley

On sale Tuesday 24 March © CLAIRE GILLO

A documentary about the portrait photographer Platon is a near-perfect body of work that gets right to the heart of the artistic process

because he thinks that with digital you’re constantly looking at images on a screen and you lose the intimacy between the photographer and the subject. He likes to work with the same type of film, the same Hasselblad camera and identical lights because keeping them constant ‘allows the message to change’. One of his most cherished pieces of technology is, perhaps surprisingly, his film scanner. It ‘was built by NASA in the eighties. It does something beautiful to the grain that you just can’t get with other scanners’.

Aperture

Powers of observation There’s also the influence of his upbringing in Greece where we see him shooting personal photos on his Leica M6 while revealing how his life there, and walks with his architect father, shaped his powers of observation. We learn about his experiences of racism growing up in London, his work embedded with the US military and, perhaps most movingly, we see him photographing women who are rape victims of war in the Congo. In short, the programme is instructive, insightful, powerful and comprehensive. It should be a template for profiles of other photographers. If you’re in search of a subject on which to try out your camera’s video capabilities, consider profiling a friend who’s a keen photographer. They may not have the profile and picture-taking prowess of Platon but they could still make an absorbing and thought-provoking film.

secrets

Old aperture ‘rules’ may no longer apply. We bring you up to date in our in-depth feature © ANGELA NICHOLSON

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

Skylum Luminar 4

The Netflix series Abstract: the Art of Design features an episode on the photographer Platon 10

CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE

THE V EWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED

I

’m sometimes frustrated by the quality of photography programmes on the telly, but the other day I was stunned by a show that I think is near perfect. As it’s somewhat remote from mainstream primetime, buried in a Netflix series on graphic design called Abstract: the Art of Design, I think it would be remiss of me not to draw it to your attention. The subject of the 46-minute documentary, directed by Richard Press, is celebrated Greek-British portrait photographer Platon Antoniou, who normally goes by the single name Platon. He’s created some of the most iconic images of this generation’s global figures. A theme running through the programme is a portrait session with former US Secretary of State Colin Powell in Platon’s New York studios. The photographer is astonishingly articulate talking about how he captures those memorable portraits. ‘Having a portrait taken is a collaboration or a dance or a battle. Before a shoot I’m not thinking how can I get a good picture. I’m thinking what can I learn from this person,’ he says. He begins with a long lens shooting headshots in colour. ‘Then I break through a tiny bit. And instead of taking it, absorbing it, I give it right back x1,000. And I normally yell at their face “Amazing!” The shock of that destroys all walls they thought they were building.’ Then it’s black & white with a black background ‘because I want a sense of closed intimacy’. Platon makes a few sage comments about his equipment, but not too many. We learn that he still shoots with film

This software will help you perfect your shots. We explain the key features

Get your images noticed

Instagram and Facebook have their flaws. Is it time to give Flickr another go?

Fujinon 16-80mm F4 R

Michael Topham tries out Fujifilm’s latest 5x zoom lens in the X-series

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The best pictures on social media this week

#appicoftheweek At Manchester Art Gallery by Daniel Carson Canon EOS 5D Mark III, 50mm, 1/3200sec at f/1.8, ISO 250

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

‘This image was taken inside Manchester Art Gallery and was in fact only my second portrait shoot. In the beginning, I found it nerve-wracking and having people in front of the camera and posing the models was very difficult. I find having a conversation with the model before I start shooting helps make them feel relaxed and more confident.’ Daniel uploaded his image to Instagram using the hashtag #appicoftheweek. See more @danielcarsonphotography. Chosen by Nigel Atherton, Editor as our #appicoftheweek

Win!

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

We also likedÉ An Idleyld Fall By Joe FrugŽ Sony Alpha 7R II, 17mm, 13sec at f/11, ISO 50 ‘I started getting into photography about three years ago. My main focus is landscape as well as street photography but over the last year I have branched out into whitewater sports as well as band photography – both have been extremely rewarding. The settings I chose for this picture allowed me to get the creamy and dreamy look that I wanted in the falls while also keeping focus throughout the scene, with little noise. Hiking with my tripod for a mile was essential in getting the shot that I had envisioned.’ See more at www. instagram.com/frugephoto. Chosen by Andy Westlake, Technical Editor 12

Last Light on the Seven Sisters By Edd Allen Nikon D810, 18mm, 2.5sec at f/9, ISO 200, Benro tripod, LEE filters ‘I’m a photographer from Eastbourne. I love exploring the local coastline and woodland looking for new photographic opportunities. This was taken at Birling Gap in East Sussex. Conditions were looking promising, so I made a quick dash to catch the sunset. I was rewarded with some wonderful light breaking through and illuminating the Seven Sisters. The moment only lasted a few minutes, but I was glad I’d made the effort. I used various filters to control the intense light and a tripod to steady my camera against the incoming tide.’ Edd uploaded this to Twitter using #appicoftheweek. Chosen by Geoff Harris, Deputy Editor 21 March 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


SOCIAL MEDIA

Wisley Glow By Jeremy de Souza Canon EOS R, 24mm, 1/30sec at f/4.5, ISO 4000

Jeremy recently transitioned into mirrorless with a Canon EOS R, which he loves. He says, ‘My wife is a Royal Horticultural Society member, and we knew the “Glow” illumination event at Wisley would be good for images. I arranged to visit just after sunset, for a bit of “blue hour” colour in the sky. A couple of other photographers were there with tripods, but I knew the EOS R Want to see your pictures here? Post them into would cope handheld.’ See more at our Instagram, Twitter, Flickr or Facebook www.jeremydesouza.com. Chosen by communities or the gallery on our website. See page 3. Michael Topham, Reviews Editor subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21 March 2020

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Technique

MONEY-SAVING SPECIAL

Used and app We sent four eminent, experienced photographers a range of used cameras and lenses. They tell Geoff Harris how they got on out in the field

U

sed cameras are big business at the moment, with secondhand specialists such as MPB, Ffordes, Wex Photo Video, Park Cameras and Grays of Westminster reporting brisk trade. You can put this down to great customer service, combined with the natural desire of photographers to want to save money, particularly with economic pressures pushing up the price of new camera gear. With this in mind, we thought we’d see how some of our regular AP contributors got on with some older cameras and lenses, now available at a great price. Our four contributors are all

well-respected photographers in their chosen fields: landscape photographer James Abbott, wildlife and nature photographer Andrew Fusek Peters, macro expert Tracy Calder and street/ travel photography guru (and Nikon Ambassador) Mark Seymour. As you’ll see, their experiences were generally positive, so if you’re looking to buy used, their experiences make interesting reading, as well as giving some pointers on things to look out for with older gear.

A huge thanks to MPB for supplying the cameras and lenses for this article. Visit www.mpb.com for great used deals.

A good example of the Sony A7R’s still decent ISO performance. James took this at ISO 800 and the image is clean and very usable

Mount the A7R on a tripod and the camera still delivers relatively high-resolution images

For landscape photographers where fast AF is not so important, James reckons the A7R is a solid used choice

Landscapes

ALL PICTURES ON PAGES 14-15 © JAMES ABBOTT

James Abbott

James is a landscape and portrait photographer based in Cambridge. He’s also a freelance photography journalist and editor specialising in photography techniques, tutorials and reviews. See more of his work at jamesaphoto.co.uk.


roved?

JAMES borrowed a Sony Alpha 7R, which you can currently pick up second-hand for about £500 to £650, depending on condition. He used a range of lenses with the body, including the 16-35mm f/2.8 GM and a 70-200mm f/4. ‘I was immediately struck by how small the A7R is. In fact, it’s not much smaller than newer Sony models, but it just felt more compact. The whole idea with mirrorless cameras was that they were going to be so much smaller than DSLRs but that doesn’t seem to be the case any more, even with Olympus.’

Image quality ‘Considering the camera is seven years old, the image quality is really good. You can push and pull the raw files and although the dynamic range could be wider, image quality is still impressive. I didn’t notice a huge difference between its 36MP sensor and the 42MP chip in the A7R II. In some ways the A7R is easier to use than the newer cameras as the menus are a bit simpler. There are fewer options so it’s easier to find key settings.’

Autofocus and ISO

horizon it’s only available in the camera ‘Higher ISOs generate noticeably noisier settings view, so you can’t see your images than the A7R III, as you’d expect, composition when levelling up – it makes but it’s not that bad. The AF however is it tricky but not impossible. Also, the LCD definitely slower. It doesn’t lock on as didn’t feel as accurate as those on newer snappily and changing AF points was hard cameras. When using exposure work, with lots of button pressing and compensation, the histogram wasn’t moving AF points up and down. moving as much as I expected, but again Fortunately, I mostly focus manually for that might just have been the conditions. landscapes, so it wasn’t a major issue. If ‘I reviewed this camera when it first came you were shooting action, wildlife or even out, and the position of the shutter button portraiture, were you to want to move the still bugs me – it’s too high, positioned on AF point to the eye closest to the camera, top of the camera. Battery life, meanwhile, it could be a bit of a fiddle. Returning to is not great. We are talking about half a ISO, I pushed one shot, up on Derwent day of shooting on a full charge, compared Edge in the Peak District, to ISO 800 at to two days with my A7R III. f/4 and the results weren’t too bad. It may ‘I would still recommend the original have been the subject, but the image did A7R for landscape photography, though have blue sky in, and blue is the noisiest of the sluggish AF performance makes it less three RGB channels. The image was taken suitable for other genres. Still, if you put a in near pitch darkness except for the gun to my head and said I could only use moonlight hitting the rocks.’ this camera for the next few years, I wouldn’t lose any sleep over it. Sony lenses Handling and battery life are not particularly cheap, but they are ‘The A7R is well built, but there are some exceptionally sharp. There is also a good handling niggles. When using the virtual choice of glass from third-party makers.’

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Technique

MONEY-SAVING SPECIAL

Wildlife Andrew Fusek Peters

Regular contributor Andrew is a highly regarded wildlife and landscape shooter whose work regularly appears in national newspapers. He has been highly commended twice for British Wildlife Photographer of the Year. www.andrewfusekpeters.com.

Image quality ‘The 16.3MP Micro Four Thirds sensor is quite long in the tooth now but you can still get quite a lot of detail from the raw files. It’s the in-body image stabilisation (IS) that really stands out, however, it’s still extraordinary. I could go as low as 1/8sec and still get sharp shots of a roosting tree creeper (though the camera was also on a dodgy tripod which I was also having to secure by hand). The IS also came in very useful when taking pictures of starling murmurations in a strong wind. This is still one of the camera’s strongest selling points.’

Autofocus and ISO ‘On the negative side, the AF system really shows its age, especially with fast-moving subjects or in low light. It’s just slow, and using multiple AF points is not very intuitive, which is not what you need as a wildlife photographer. I did manage to get 16

some good shots for this project, such as the ones of the starlings and woodpecker, and I would be happy to send these to my newspaper and magazine clients. But it was a lot of effort. For every sharp shot I got, there were lots of unacceptably soft ones. The E-M1’s AF system doesn’t always lock on as reliably as you’d hope, and requires a disproportionate amount of effort to get good results. It’s also a shame that Pro Capture never made it to this camera, as it enables a “shoot burst” of 60 frames per second – a godsend for wildlife photographers. The ISO performance was better and I managed to get a relatively clean shot of a long-tailed tit at ISO 1600, which is not bad for a 2013 camera. In many ways, the ISO technology is ahead of the AF.’

The AF system on the camera was hard work, reckons Andrew, making action shots of wildlife a frustrating process

Handling and battery life ‘This being an Olympus, the build quality is really solid, but the battery life goes down quickly. To conclude, this camera could pass muster as a reasonably priced second-hand pick-up for landscapes, or other genres where you don’t need such fast AF, but for wildlife I really need a camera that gives me that extra bit of help. With the release of the E-M1 Mark III, the Mark II is now plunging in price, so it would seem a better second-hand buy than this original model.’

ALL PICTURES ON THIS PAGE © ANDREW FUSEK PETERS

ANDREW borrowed an original Olympus E-M1 Mark 1 body, which he used with the Olympus M.Zuiko 300mm f/4 lens. You can pick up the E-M1 for around £250. ‘That is a great price for what is still a capable camera in many ways,’ he explains. ‘But the E-M1 does feel like a prototype for the Mark II, as some of its ideas weren’t fully developed.’

Andrew pushed the ISO to 1600 for the image of this long-tailed tit and the image is still very usable for print, with relatively little noise

For every sharp shot Andrew had a lot of duffers, but the camera delivers with this image


Macro Tracy Calder

TRACY borrowed a Fujifilm X-T1, which you can now buy second-hand for around £220-£250. She used it with the 80mm macro f/2.8 lens, which costs about £800 second-hand. She says, ‘Basically I still really like this camera, and it’s very well suited to macro work. Most of the advances in the range have centred on AF or video, and are not so relevant to me as a manual focus macro specialist. The solid SLR-type body and design is reassuringly sturdy and there is a good balance of auto and manual controls. Although the camera is six years old, it’s still got plenty of appeal, with some important caveats.’

Image quality ‘It stands the test of the time. You can get a lot of detail back from raw files, and using a macro lens I don’t tend to crop in so much anyway. Photographers in other genres, however, might want more resolution. With higher-quality JPEGs, you generally get good and accurate exposure, white balance and colour rendition. I also really like the film simulation modes, which definitely add to your creative arsenal.’

Autofocus and ISO ‘The AF is not super-fast by today’s standards, but this is not such an issue for me. There are several really useful options for manual focusing as you can use dual view (shows full screen, plus a magnified view in a small window to the side), along with split screen and focus peaking. I only pushed the ISO to 800, and it was fine at that level. Some might want more advanced low-light technology, but it’s good enough for my purposes.’

ALL P CTURES ON TH S PAGE © TRACY CALDER

Tracy is a former Technique Editor of AP and is an accomplished macro photographer, having written several books on the subject. She now runs the Close-up Photographer of the Year competition. For details see www.cupoty.com.

For macro work, where you often focus manually or use a tripod, Tracy reckons the X-T1 is a solid used buy

Handling and battery life ‘The X-T1 has a really solid feel, as it’s made from magnesium alloy and is very grippable. The handgrip feels great, as I don’t have big hands. As for the tiltable LCD, it’s ok, but not particularly practical for shooting in portrait format, and the 4-way controller is too flush to the camera’s body. As a result it’s spongy and awkward to operate. The EVF is workmanlike, featuring 2.36 million dots compared to the 3.69 on the X-T4, and you need to take your eye away from the viewfinder to use some of the controls. Having six customisable function buttons comes in very handy, however. I also like having the exposure and ISO dials on the top of the camera, although they can be fiddly to operate against your eye. Battery life, meanwhile, is so-so by modern standards. As for the 80mm macro lens, I find it a bit plasticky and over-priced, though it is consistently sharp. I do wish Sigma and Tamron were able to make lenses for Fujifilm mount, as I really like their macro lenses!’

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Straight out of the camera JPEGs are well exposed, white balance is accurate and the level of detail is good 17


Technique

MONEY-SAVING SPECIAL

ALL PICTURES ON THIS PAGE © MARK SEYMOUR

Mark was impressed by the ISO performance. He pushed it to ISO 6000 and still got a very usable shot

Image quality ‘That sensor size, 24MP full frame, is something of a sweet spot,’ says Mark. ‘The camera generates a great raw file, with lots of detail, but doesn’t clog up all your storage, so it’s an ideal size. To be honest, even as a professional photographer, your images aren’t printed bigger than A4 very often. Landscape and advertising photographers might need more resolution but it works for me.’

Autofocus and ISO

Street/documentary Mark Seymour

Mark is a highly successful wedding photographer, and Nikon UK’s first ambassador in this genre. He is also a keen street and travel shooter as well as a workshop leader doing street photography workshops. See www.shootthestreet.co.uk.

MARK borrowed a Nikon D750 DSLR, which he used with a 35mm f/1.8 Nikkor lens. You can pick up a used D750 with a warranty for about £600, so it’s a solid second-hand full-frame choice (see Audley Jarvis’s budget full-frame round-up on page 41). ‘It is still a bloody good camera,’ Mark enthuses. You only notice its shortcomings because we have got used to the D850 and the latest Nikon mirrorless models in the Z series. For a pro or enthusiast, the D750 is ideal as a back-up as it’s so reliable and stable. You know it won’t let you down.’ 18

‘I didn’t have any problems with the AF. It is nowhere near as fast as the D850 or the latest Z-series mirrorless models, but is certainly no slouch. I used back-button focusing and the camera coped well with most situations during the shoot. ISO performance is still pretty good – after all, the D750 is not a particularly “old” camera, and came out in 2014. I could push the ISO up to 6400, shooting at f/5.6 and 1/60 second inside the Tate Modern gallery, and still get decent images.’

Handling and battery life

A classically composed image from inside the Tate Modern, again making use of higher ISOs

‘The handling was fine, and Nikon menus are consistent through the range so you don’t need to waste time figuring things out. The build quality is sturdy; although it’s not up to the Nikon D5 or D6 standard, the camera still feels like a decent bit of kit. What really impresses me about the D750, however, is the battery life. Whether I am shooting weddings or street, it just seems to go on forever, and it’s even better on the newer DSLRs and mirrorless models. The biggest downside of the D750 is live view because this function is not as good as the latest models in terms of Mark reckons the D750’s 24MP full-frame sensor hits a ‘sweet spot’ for resolution and file size resolution and ease of focusing.’ 21 March 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


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Subscriptions Enquiries and orders email help@magazinesdirect.com Telephone 0330 333 1113 Overseas +44 330 1113 (lines open Mon-Fri GMT 8.30am-5.30pm excluding bank holidays) One year (51 issues) UK £155.50; Europe e259; USA $338.99; Rest of World £221.99

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LETTER OF THE WEEK

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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

Advertising 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. All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the right to shorten or modify any letter or material submitted. TI Media Limited or its associated companies reserves the right to re use any submission sent to the letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered trademark of TI Media Limited © TI Media Limited 2020 Amateur Photographer (incorporating Photo Technique, Camera Weekly & What Digital Camera) Email: amateurphotographer@ ti media.com Website: www.amateurphotographer.co.uk. 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.

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LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

Email samuel.shaw@ti-media.com Inserts Call Mona Amarasakera, Canopy Media, on 0203 148 3710

Wild about Harry

I’ve been a subscriber for many years and look forward to each issue. I enjoy reading all the articles, but often one stands out as something special and among those When Harry Met... is always among the best. When Harry Met the Spice Girls (AP 15 February) was extra special. A bit of history, a good description of the girls themselves that showed their characters, an insight into

the working life of the photographer, lessons in how to set up a shoot and get the best out of the subjects. And at the end a great description of how all the elements of composition and lighting came together to make a really special image. It’s an article I’m sure no one could fail to enjoy and learn something from. Simon Warren

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Who’s the ‘sparkling character’? I believe that the gentleman in the straw hat pictured on the front cover of the February 1959 issue of Amateur Photographer (Back in the day, 8 February) is Walt Disney, creator of the legendary cartoon character Mickey Mouse. Douglas Thomson That’s a great suggestion Douglas, but having studied a few pictures of Walt we don’t think it is him. You did, however inspire us to try to find his real identity and our resident super-sleuth Amanda has, I believe, solved the mystery. He appears to be the actor Alan Dudley, who starred in a string of West End musicals including The Boyfriend and My Fair Lady (where he was Stanley Holloway’s understudy).

Among his many film and TV credits was a part in Chariots of Fire. He passed away in 2013.

Open windows

Flickr pricing

Few people seem to have a good word for Windows 10, and everyone seems to praise iOS. But Microsoft bends over backwards to accommodate older software. I know someone who recently upgraded to Windows 10, and was delighted to find that he was able to install and run

Pentax hits the spot

Around two years ago I sold my Pentax Spotmatic F, which I regretted as the quality of the SMC Takumar lens was excellent. I’d given up hope of finding another one but while visiting a charity shop recently I was thrilled to discover not only a Spotmatic F but also 35mm f/2 and 135mm SMC Takumar lenses, plus minor accessories, for £75. I purchased the lot, and I gave a cash donation. I’ve sourced an M9 adapter from the Small Battery Company, to replace the obsolete 625 cell. The Spotmatic is a joy to use and I’m delighted to own one again. Pat Whelen

Affecting image his paid-for copy of Photoshop 6. My copy of Lightroom 5 also runs well on the current version of Windows 10. If you can’t run your favourite version of Lightroom/Photoshop on iOS, then perhaps Microsoft could be your saviour?Although in all honesty, I now rarely use my aging copy of Lightroom, because I have upgraded to ON1’s Photo Raw, and I have never had any reason to regret doing so. David Price

We reckon we’ve worked out who this cover star was

previous two-year periods. How can SmugMug, which owns Flickr, justify this? Ian Pratt

I have over 30,00 photos on Flickr Pro. I see that Flickr intends to raise the subscription to £55.88 per year (News, 8 February). I have been on Flickr Pro since 2007 and I only paid £36.04 for a two-year subscription in 2018. Prior to that it was £27.53 for the two

The most affecting picture I have ever seen. Across pages 26 and 27 in your interview with Tom Stoddart (Golden Era, 15 February), as the caption puts it ‘a well-nourished man takes maize from a starving child’. I won’t be able to sleep tonight, that image will fill the darkness. Well done Tom Stoddart. I just wish the situation hadn’t been there for the taking. Bill Winward

Ticking all the boxes

I much enjoyed Adrian Gray’s article on box cameras (Boxing Clever, 22 February). Perhaps I could add a couple of points: First, up to about the 1930s, cameras with meniscus or doublet (i.e. non-colour corrected) lenses were focused on the UV image, as that is what black & white films were sensitive to. Today that means they are focused further away than they should be. Secondly, the very common Kodak 620 Brownie cameras take

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Pat Whelen finds the Pentax Spotmatic F a joy to use

620 film, which is similar to 120, but is now no longer available. Hence, I would recommend the (Post-war, 120) Coronet Consul he shows, and other very similar Coronets. Carry on with the black tape, as the hinged cover over the red window is inadequate, and allows slight fogging with black & white film, or reddish fogging with colour. However, I think that exposure numbers on the negatives arise from the film being undeveloped for a long time. David Bowater

...and more

Just when I had begun thinking that AP had gone much too upmarket for my taste, you go and print an interesting article on the humble box camera. I shall cut out and keep Adrian Gray’s excellent article, Boxing Clever. Something that the box camera gave us was images taken from a lower level than is common nowadays. Almost all handheld pictures taken with smartphones and compact cameras are taken at head height, thus giving an adult’s view of the world. But the box camera with its Albada viewfinder must be held at the waist and thereby makes a picture from a much lower level, just the way a child would view the world. This adds a certain charm to the pictures, don’t you think? I regularly use digital cameras that have an all-moving screen; I

deliberately use this type of camera because I can fire the shutter at waist height, thus giving a similar view to a box camera. I have three such cameras – a Canon PowerShot A630, a Pentax Optio 750Z and a Nikon Coolpix 5700. And yes I even own a box camera as well: an Agfa Clack from circa 1955. John Woodgate

Bridge question

After reading your excellent and informative magazine on and off for many years, I eventually signed up for a two-year subscription at Christmas, as my nearest newsagent, six miles away, kept running out of them. Now I wait for the Saturday post instead, which is great. Working as a lowly groundsman on an large country estate I read the reports on camera bodies and lenses costing £5,000, £10,000 and more. I currently use a Fujifilm X-S1, bought eight years ago for £550. If money was not a problem I would have a Fujifilm X-T3, X-Pro3, a Sony Alpha 7R IV or perhaps even a

Fujifilm GFX100, with a selection of lenses to cover what my bridge camera can do – but not up to your pro-standards. I would like to know if the Sony RX10 1V is worth the money or would you recommend something else? I still use medium-format film occasionally, with a Fujifilm GF670, 670w and GX617 but it is a hassle with the processing, so I’m thinking of selling those and getting something digital. Tim Patrick The Sony RX10 IV is probably the finest bridge camera you can buy, but you won’t get a lot of change out of £1,700. It’s a great all-in-one solution with a superb zoom, but if you really hanker after a Fujifilm X-T3 or Sony A7R IV and can live without the long end of your zoom, why not consider getting one of the older models second-hand? You could buy a Fujifilm X-T1 and 18-55mm lens for under £500, for example. Or you could buy one of those and a used Sony RX10 Mark III (still a fine bridge camera) and have the best of both worlds for little over £1,000.

Back in the day A wander through the AP archive. This week we pay a visit to March 1934

1934 WELCOME to the ‘Spring and Empire Number’ 1934, a bumper-sized issue in which the colonies get to enjoy the limelight. First, the results of the annual AP Overseas and Colonial Competition. The award for best collective entry went to the Johannesburg Photographic Society. Runners-up included the Camera Pictorialists of Bombay, Poona Camera Art Circle and Dunedin Photographic Society of New Zealand. One of the Silver Plaque winners, JN Unwalla of Bombay, was given the coveted weekly How I make my Exhibition Pictures spot, which included a fine portrait of a lady called Roda (below). Also in this issue, an evocative illustrated feature on the challenges of photography in the heat of colonial India: Photography Out East – Ice, Mosquitoes and Snakes, for Successful Development by WC Fox. ‘Developing was done at night,’ he explained, ‘to the steady whine of hunting mosquitoes, and mysterious rustlings, scufflings and squeaks from the roof, where snakes, mongoose and rats played a deadly hide-and-seek.’

The Sony RX10 IV bridge camera

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How I make my Exhibition Pictures from March 1934 21


ALL PICTURES © JANE HILTON

JANE HILTON

Best western Photographer Jane Hilton has a penchant for the American West. She tells Peter Dench about her travels

ÔI

’ve never ridden a horse,' says Jane Hilton, matter of factly. The framed portraits of John Wayne and Clint Eastwood stare out from the bookshelf. Jane was ten years old when she first straddled a horse on a wet week in Wales, as school trips often were. While her friend Lynn bolted away and others trotted triumphantly around, Jane’s horse, Jet, stood firm. ‘Give it a good hard kick,’ suggested an instructor. Jane obliged and Jet took off with speed. Jane’s body didn’t and involuntary back-flipped on to the ground leaving her severely winded. For this wanna be cowboy, it wasn’t 22

a good equine introduction. Jane’s fascination with cowboy culture began wedged between her family on their suburban home counties sofa, watching Westerns Bonanza and The Virginian. It culminated over three decades later with her 2010 book (published by Schilt), Dead Eagle Trail. Looking out of the Farrow and Ball blue painted studio across a grotty, grey north London morning, Jane explains: ‘Whilst on a road trip in the United States, I was commissioned by The Times Magazine in 2006 to photograph a 17-year-old cowboy called Jeremiah Karsten. He had travelled 4,000

Top left: Allan Randolph, Gun Collector, Beulah, Colorado

miles on horseback from his native Alaska to Mexico which took him two and a half years to complete. Immediately after, I met him in Cortez, Colorado, where he had returned to spend time with a young girl he had fallen in love with. He was then nineteen. I took a photograph in Shiprock, New Mexico, an evocative image of Jeremiah riding along the roadside: barriers and fencing made it difficult for him to go cross country. Wild horses trail behind him which he used to sell to local ranches after he had broken them in. The photograph re-introduced me to a love of landscape photography and

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Jeremiah introduced me to some inspiring old cowboys whose homes were overflowing with Western artefacts. I then set off on my own four-year pilgrimage criss-crossing the cowboy states of Nevada, Arizona, Utah, Texas, New Mexico and Wyoming to capture America’s 21st century cowboys. I’d always had a fascination with cowboy culture and the American dream, but this solidified it for me. I could have easily continued photographing this project forever.’ The photographs in Dead Eagle Trail ooze information: there are guns, hats, boots, skulls, crucifixes, spurs, living animals, stuffed

Above: Shiprock, New Mexico

animals, animal skins, horns and a surf board. And they’re chock-full of characters: there’s a Chuck, Ron, Bill, Ed, Bobby, Kim, Dave, Gary, Gave, Jake, Bud, Ted and Herman. The names are short and the portraits are sumptuous. The Wista 4x5 mahogany film camera with standard 90mm lens that took them, gorgeous. The Wista was also deployed to shoot Jane’s second book, Precious (Schilt 2013), a collection of intimate nude portraits of working girls in brothels across Nevada, the only state in America where prostitution is legal. ‘I’d never photographed a nude before and it

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wasn’t intentional,’ she says, handing me a rose pink mug of Sainsbury’s bought, Colombian blend coffee, along with a slightly soft ginger biscuit. ‘I could have photographed them at home but they would have looked like a housewife. Wearing their work clothes they would have looked like a prostitute. By photographing them nude in the brothels, you see the woman behind the facade.’ Many were uncomfortable taking off their clothes for the camera and very body conscious. On a tight budget, Jane was permitted to stay in some of the brothels. This contributed to her bond with 23


the women, some of whom were initially reluctant to be photographed. Cassidy was one such woman. A tall, black girl in her mid-20s, Cassidy, at the age of six, witnessed the murder of her mother at the hands of her stepfather. She was working as a prostitute to earn money to build a half-way house for people who had nowhere to go. This dramatic and heartbreaking story is included at the back of the book along with other compelling, empowering and enlightening accounts from the working girls. The viewer has to hunt for the biographical information in order to work out who says what and match it to the portrait. The book gives the viewer an opportunity to leave behind any preconceptions. Precious was unfinished business. Jane first discovered the brothels of Nevada in 1998. ‘I kept seeing these funny little signs along the road for Shady Lady and Moonlight Bunny Ranch. I had to find out what they were.’ What she did find was Madam Kitty’s Cathouse. After discussions with the proprietor, Jane was granted permission at first to photograph and then later to film in two locations. The BBC commissioned ten episodes of Love 24

Above: Mackenzie, Kit Kat Ranch Right: Sharon’s Bar and Brothel

For Sale which was first broadcast in 2002. The in-at-the-deep-end baptism hasn’t deterred Jane. She is currently working on what she has been working on for the previous six years. The Last Lion Tamer is a film documenting the turmoil for Thomas Chipperfield and his family as they fight to save their 300-year way of existence. The legendary circus family have a rich history of caring for their legally licensed wild animals but society has changed.

Indifference, antagonism, animal rights protestors, an increasingly hostile media and a proposed UK government ban on all wild animals performing at the circus has seen the Chipperfields rapidly slide from the Big Top. Jane flips up the laptop lid and plays the documentary trailer. ‘They call it a Sizzle in the industry now,’ she sighs. Breathtaking archive footage of attending royalty, performing tigers, elephants and a lion on

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The Photography Show

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the side of a car circling inside the Wall of Death, make way to modern and more mundane circus acts of a duck on a slide and cat through a hoop. The making of the documentary has exhausted Jane and her finances. She has already put thousands into it and needs tens of thousands more to finish it. Her own showdown with the financial ringmaster is imminent. The Last Lion Tamer has taken its toll. ‘If I don’t get my fix of

American culture I just don’t feel myself.’ It’s been over a year since she last went. Her beloved 1966 gold Ford Mustang with white hard top, bought for a fistful of dollars during a forced hiatus filming Love For Sale, waits for her in a Las Vegas garage - the V8 engine cold, racing pony emblem dulled. Before she can go, Jane is sorting through what she has done. A monograph is planned of her 30 years travelling around Nevada. She hands me contact

Above: Jason Pelham, Cowboy and Surfer, Spade Ranch, Canadian, Texas Below left: Thomas Chipperfield, the last lion tamer

Jane Hilton is a Londonbased photographer and videographer. She has been exploring themes around the American West for the past 25 years. She has been exhibited numerous times, and published several books. To see more of her images, visit www.janehilton.com subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21 March 2020

sheets and scans for another proposed book, Forever Starts Now. ‘I photographed Vegas weddings and chapels throughout the 1990s. I’ve seen 120 couples wed and every which way to do it; on rollercoasters, roller-blades and in hot-air balloons. I’ve witnessed Star Trek fans marry at the space chapel and been a witness for couples at over a dozen weddings.’ Jane’s own wedding was a bit more traditional, walking down the aisle in Stoke Poges, dressed in an off-white halter-neck dress topped with a slightly sparkling Stetson hat – you can take the wannabe cowboy out of America… Jane, who has Hilton receptionists in a fluster when she checks-in at her namesake hotel, prefers to hear and record the stories of others than reveal in too much detail her own. The classically educated musician with a BA (Hons) in Music and Art from Lancaster University, with a penchant for French composers Debussy and Faure, gathers her cowboy boot key-ring into the pocket of her autumn leaf-coloured long coat, adjusts her Longhorn Steer jewel necklace and heads off to her appointment with the chiropractor – perhaps a legacy of that first horse, Jet. 27


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Technique

USING YOUR CAMERA’S SOFTWARE

Sony PART THREE

Imaging Edge

In our third guide to using your camera software, Angela Nicholson takes a look at the key elements of Sony’s Imaging Edge Angela Nicholson

Photographer and journalist Angela Nicholson started reviewing cameras for Amateur Photographer in 2004 and was our Technical Editor before leaving for new pastures in 2010. Last year she founded SheClicks, a community for female photographers. squeezymedia.com

S

ony has two versions of its Imaging Edge software, Desktop and Mobile. We’re going to focus on the Desktop version here, which can be downloaded from imagingedge.sony.net/ en-gb/ie-desktop.html. Imaging Edge Desktop has three elements, Remote, Viewer and Edit. The Remote feature lets you control your camera from your computer using a wired or Wi-Fi connection, Viewer allows you to browse, compare, rate and select images and, as you have probably worked out, the Edit area gives access to all of the image-editing tools.

BROWSE, RATE AND SELECT This software comes into its own if you have lots of images to manage and work through

Imaging Edge uses your PC’s folder structure to navigate images so there’s no need to import images. After starting Image Edge Desktop you just need to click on the ‘Start’ button next to ‘Viewer’ to open the browser. Then use the column on the left of the screen to find the folder of images that you’re interested in. 30

Selectable icons in the top right corner let you switch between the different layouts to make it easier to find your best images. To apply ratings and coloured labels, simply click on the stars and coloured boxes under the images. There are also a couple of dropdown boxes that enable you to filter the images by rating/label and file type.


EASY EXPOSURE ASSESSMENT Once you’ve located the image in Viewer that you want to work on, click on the E icon at the top of the screen to open it in the Edit section. As usual, it’s best to work with raw files as Imaging Edge offers a greater range of controls over your images. There’s a Histogram at the top of the screen that helps you to assess the image’s exposure but it’s also worth ticking the boxes under ‘Display Control’ in the column on the right of the screen to flag up any areas where the shadows or highlights are clipped or the colour is out-of-gamut. Keep an eye on these areas as you tweak the image using the Brightness and Contrast sliders etc.

Adjusting the exposure for the full dynamic range in the image is also easy

QUICK WHITE BALANCE CORRECTION

Handy white balance adjustment tools and presets help you to nail the right colour temperature

The first step in getting colour right is to make any necessary white balance adjustments. Imaging Edge’s White Balance control has a collection of Preset values that are selected by clicking on the Preset button and then picking the one you want from the dropdown list. You can then finesse the result using the colour temperature control immediately below.

Alternatively, click on the Color Temperature button and set a Kelvin temperature directly. Clicking on the +/- buttons adjusts the temperature by 100K at a time, but you can also type in a numerical value. It’s also possible to specify a grey point just by clicking on the option and then using the dropper or rectangular selection tool to pick the area that should be rendered neutral.

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‘The Imaging Edge desktop version has three elements: Remote, Viewer and Edit.’ Don’t be afraid to experiment with different white balance settings 31


Technique

USING YOUR CAMERA’S SOFTWARE

TAKE REMOTE CONTROL Shooting tethered can help you get exactly the result you want because you’re able to scrutinise the image on a big screen. It’s especially useful for checking critical focus and making sure that you’ve got exactly the depth of field that you want. First, ensure that the option to control the camera via a smartphone is disabled in the camera’s menu and that the USB Connection is set to ‘PC Remote’. Then connect to your computer with a USB cable and flick power switch before activating Remote and doubleclicking on your camera in the box that appears. You can now shoot with the camera as normal or you can use the on-screen controls. Remote lets you specify where your images will be stored on your computer.

The software also comes in handy when you want to shoot tethered

CREATE YOUR STYLE

Creative Styles can be edited and tweaked for exactly the look you want, be it contemporary or much more retro

If you shoot raw files, Imaging Edge lets you reset the Creative Style you used at the time of shooting. That means even if you shot a black & white image you can switch it to colour simply by expanding the Creative Style controls and selecting the Style you want from the

dropdown options. The controls in the Color section are fairly basic, just enabling the overall hue and saturation to be adjusted. However, as well as controlling the overall brightness and contrast, the Tone Curve controls allow you to adjust the strength of each colour channel and

its opposite colour by clicking on the curves and dragging up or down. It’s a powerful control that needs to be used with care, but it also enables you to apply some nice creative effects. The options are many so don’t be afraid to experiment.

CREATE BIGGER IMAGES WITH PIXEL SHIFT MULTI SHOOTING

Pixel Shift Multi Shooting is one of the best elements of Sony cameras and the software enables you to make the most of this feature

Pixel Shift Multi Shooting was introduced with the Sony A7R III and it enables the camera to create larger, more detailed images. You don’t have to shoot tethered to use Pixel Shift Multi Shooting mode, but it’s an option you can select from within Remote. Once Pixel Shift Multi Shooting is selected in Remote you can set the number of images to capture (this varies by camera) and the interval between them. After shooting, locate and select the series of images in Viewer before selecting File> Create Px Multi Shoot Composite Image (Create 1 Image). Next, select to apply each raw file’s own settings and set the file format and storage location for the final image before hitting ‘Save’. The software will now composite the images into one. As you can see, there is a lot that Sony gets right with this proprietary software. 32

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Low budget? No problem The great thing about budget kit is that you can carry it round with you all the time and not worry too much about it. MPB sings the praises of bargain buys

W

hile it’s great to have the perfect set-up for your needs, it’s unlikely you’ll have your full kit with you all the time. Having the right tools for the job is important but the old cliché, ‘the best camera is the one you have with you’‚ is one for a reason – because it’s true. Many shops and manufacturers will try to convince you to buy the latest cameras, along with all the bells and whistles. Unless you really need these features, their cost is often disproportionate to the resulting images. For many people, they’d be better off spending the money on

other things. Different set-ups for different purposes. But one specific type of set-up is one that’s always at the bottom of your rucksack or bag. You often forget it’s there. It has one role. It’s the ‘I wish I had my camera with me’ camera. Last year, MPB’s Marc Read (@115quidcamera) decided to put this theory to the test. He spent just £115 on a well-used Canon EOS 50D and EF 50mm f/1.8 II lens, and now takes it with him everywhere. He explains, ‘These days, some manufacturers will announce new cameras that promise to improve your photography and enable you to get better photos. Then, they’ll replace that

camera within 12 months with an even better camera that will help you get even better shots. Most of the time, this is partly true – the extra autofocus points or megapixels might indeed get you a shot that its predecessor might not have. But is this what photography is all about?

Budget challenge ‘In January 2019 I decided to set myself a challenge to see what I could achieve on a small budget. I wanted a DSLR and a single small lens. After looking at the options, I purchased a well-used Canon EOS 50D. While it had obviously seen a lot of use over the years, it was Low-budget kit that’s always on you means you can grab shots like this urban fox

34

still in full working order. In the lens department, to keep the cost down, I was limited to a small number that would fit the budget. In the end, I opted for the classic “nifty fifty”, the Canon EF 50mm f/1.8 II.’ Now that he had decided on his kit, Marc tells us how he got on. ‘I’ve been into photography on and off for around 15 years and I’ve mainly concentrated my efforts on my major photographic passion – wildlife. But this set-up has made me branch out into lots of different genres that I’d never thought of trying. I’ve owned this set-up for a year and it’s probably been one of my favourite years for photography.’ As he explains, ‘The main benefit is not one I really expected. I’m now constantly on the look-out for things to photograph. I get excited if I see something a bit out of the ordinary, like a pair of shoes hanging from a power line, for example. I’ve ditched the nice

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It’s pretty simple – if you haven’t got your kit with you, photo opportunities like this gorgeous sunset, are lost

four lenses, it’s likely I wouldn’t have had it on me when I saw a fox blocking my path, when I stumbled across a Lamborghini or when I saw this awesome sunset.’ So what were Marc’s final thoughts about the whole experience? He told us, ‘Ultimately, it’s good to have innovation and new technology in the camera industry. But in this day and age, it’s very easy to get caught up with megapixel, dynamic range and frames-per-second tunnel vision.’

You can see more of Marc’s work on Instagram @115quidcamera.

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Buy your own bargain set-up An ultra-low-budget set-up like this one used by Marc, could revitalise your photography

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padded camera bag I’d normally not bother to pick up in the morning. Instead, I quite happily chuck the Canon EOS 50D loose in the bottom of my backpack. ‘This means there are days when it gets covered in my lunch,’ he laughs, ‘but thankfully it has never stopped working. Having the camera on me at all times means I can capture some shots that I undoubtedly wouldn't have had the opportunity to shoot had I had a more expensive set-up. Whenever I’m out, the Canon EOS 50D is always there and ready.’ Even though the 50D wasn’t the latest gear, Marc was very happy. ‘Having a cheap old camera means I’ve achieved shots that a newer, better camera would not have got. The Canon EOS 50D’s 15-million-pixel sensor isn’t renowned for its image quality or its high-ISO capabilities. However, if I owned a more expensive set-up with three or

Canon EOS 50D Taking your photography to new heights, the Canon EOS 50D Digital SLR Camera offers outstanding quality in a durable magnesium body. Condition Well Used Used price £94

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Find these and more at www.mpb.com 35


Photo Stories

In at the deep end This striking set of images by Stephan Zirwes took home a Sony World Photography Award in the Architecture category. Peter Dench finds out more

I

n 2016, German photographer Stephan Zirwes was happy to let us know he was awarded third place in the professional Architecture category at the Sony World Photography Awards with his series, Pools. In 2019, he was happy and proud to let us know he was awarded first place in the professional Architecture category at the Sony World Photography Awards with his series, Cut Outs – Pools. Two massive highs for a photographer who has built a career by looking down. Stephan started taking aerial photographs at the turn of the millennium before drone technology became affordable and readily available, and there were not so many bird’s-eye shots. For the 2016 winning series, a response to the trend for private swimming pools, Stephan photographed from a helicopter with a Hasselblad 50MP in hand at a height of a few hundred metres. This allowed the privacy of the swimmers to be retained and leave them relatively undisturbed. In the edit suite, he would use Photoshop to remove distractions and expand the tiles to frame and draw attention to the pools. For his 2019 winning series, focusing on public pools, Stephan photographed using a drone at a height of only a few metres creating bold details. Most of us have poignant memories of swimming pools. Teachers barking instructions with a flock of spittle. Swimming goggles that let in water. Too-tight swimming hats. Wrinkled skin on fingers. Space Invader crisps as an after-swim treat washed down with sparkling blackcurrant from a cheap plastic cup. The constant fear of verrucas, the discarded used plaster or nappy. The random erection, involuntary urination or skid mark on the towel. Stephan’s photographs strip away nostalgia. There’s something democratic and sanitising about them, minimalist symbols that highlight the importance and beauty of water. The entire pool series, to some, is more than just a mosaic of pools and patterns. They are ordinary objects portrayed as something captivating and new. They aspire to raise questions about the role of water in industry and leisure at a time of global climate concern. 36

Stephan believes that the private pool is a cruel commodity that privatises a public asset for commercial exploitation. Clean water, being one of the world’s most needed resources, is wasted in some parts of the world as a tool for excessive entertainment. He consistently denounces the waste and privatisation of water. Stephan is not just about pools. He has produced aerial photography collections on water, snow and ice, football pitches, golf courses, airfields, crops, construction and vineyards among others. The work is deliberately two-dimensional, playing with reality. One of his first exhibitions, in Dubai 2008, was about the contrasts and crazy construction boom in the Gulf region, titled How Real is Reality? He continues to push the realms of reality with recent series such as Tractors, Aircrafts and Les Bateaux. Each object has minimum detail, fixed in a block of colour.

Philosophy The Opiom Gallery, France, states that Stephan’s work ‘erases the physical borders between reality and fiction. Aesthetic and pure at first sight, his work reveals a deeper aspect to the gazing eye. Indeed, he also investigates political as well as social topics through the structures, contrasts and connections between the various components of his images. Always at the edge of abstraction, man happens to be at the centrepoint of his focus. Yet, his photos don’t tell a story but trigger an emotional vision.’ Well that’s the philosophical French for you. Reading this back through, sometimes rhetoric, theory and meaning can be over applied. Sometimes a photograph is just a satisfying collection of shapes and colours. What I do know is the work looks cracking on Instagram. I’d be happy to hang a grid of his Cut Outs – Pools in my summer house (if I had one). If there was a game show for photographers, it would be called Every Corner Counts and Stephan would be undefeated world champion – an orthogonal (I had to look it up) operator of perfection and precision. Did I mention he was German?

Images from the award-winning series, ‘Pools’

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The photographs in this series were all taken with a drone subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21 March 2020

Before drones were commercially available he would hire a helicopter 37


© RUSSELL HYNARD

© DAVID SCHENCK

1

© JAMIE BIRD

1 I Only Cleaned Them Last Week! by David Schenck A masterful still-life that has echoes of an Old Master.

2 Alley by Russell Hynard Proof that any subject can work – the purple bins lead the eye across the frame.

5 Nightshift by Jamie Bird Challenging light conditions have been well controlled, showing a hive of industry at night.

6 Blue Pebble by Barry Freeman The wonderful textures and patterns of the sand provide an engrossing background.

6

© BARRY FREEMAN

5

2

Join

Club the

Members of this 132-year-old club enjoy a varied programme 38

When was the club founded? On 6 March 1888 a group of keen photographers met to form the first photographic society in Ipswich and one of the first in the country. This year Ipswich & District Photographic Society (IDPS) will be 132 years old. What does your club offer to new members? IDPS welcomes new members regardless of current knowledge, skill or experience. We all love producing pictures, seeing each other’s work and learning from one another. As well as our regular club nights we hold practical sessions that allow people to get advice on how to improve their photographs, understand their camera better, learn new skills, or learn about different genres from members with specialist know-how. These sessions are held on a Wednesday evening about six times a year and we have four all-day

meetings on a Sunday. For our competitions we have two categories – intermediate and advanced. New members would normally start in the intermediate group (unless they hold a distinction or would prefer to join the advanced group) and when they are ready, they can progress to the advanced group. One of the highlights of the club’s year is when we all come together to present our work to the public in our annual exhibition. This is something new members can be part of and present their photographs to the local community. Describe a typical club meeting. We meet each week on a Monday, from September through to May. Our meeting starts at 7.30pm and finishes around 9.40pm with a half-hour break for tea/coffee and mixing with fellow members. We have five

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YOUR PICTURES IN PRINT

© WENDY MANN

© AL SON HANCE

4

3 Figures on the Beach by Alison Hance Big skies require space, while the figures give the viewer a real sense of scale.

3

4 Blacksmiths at Work by Wendy Mann The colours are well rendered to make this an ageless portrait.

Club essentials

Ipswich & District Photographic Society (IDPS)

© ISABELLA KNIGHT

7 Collecting Snow for Water by Isabella Knight If Bruegel had had a camera we’re sure he couldn’t have done better!

print competitions and five digital competitions We have represented the East Anglia each year plus interclub competitions, speakers Federation at National competitions and take and intraclub cup competitions. part every year in the EAF Print and Digital Competitions. We participate in regional events Do you invite guest speakers? such as Cambridge Digital and St Ives Print We have around 12 speakers in our nineinterclub competition, as well as the month active period and they present on a Chelmsford Panel competition which we won wide variety of subjects from wildlife to street again this year. We encourage members who photography. Occasionally one of our own want to gain accreditation and we support members will be the speaker for the evening. them in their quest for recognition by PAGB, There’s always something to learn and enjoy. RPS, FIAP and BPE. Do members compete in regional or national competitions? Yes, our club competes in local, regional, national and international competitions. We have ‘virtual’ competitions with Ipswich Camera Club in Australia and with Gibraltar Camera Club. Many of our members compete individually in international salons.

Burlington Baptist Church Centre, London Road, Ipswich, Suffolk IP1 2EZ Meets Mondays 7.30-9.45pm during September to May Membership £50 a year, junior members £10 Contact secretary@idps.org.uk Website www.idps.org.uk

the year. These range from a couple of hours to a whole day in a particular location or with a particular focus e.g. night photography. As an example, one of our members arranged a night trip to take pictures of the milky way along our coast. He organised this following an astrophotography presentation he did on one of our Wednesday evening practical sessions.

How many members do you have? We have 88 members including 10 life members who are no longer active but still follow our work. A typical club night would see approximately 45 in attendance.

What are the club’s goals for the future? To grow the club, gain more awards and continue to support our members to take their photography to the next level. We aim to continue being a positive part of the local community and share our work with the public.

Are any residential trips or outings planned? We have several events/trips out throughout

Want to see your club featured on these pages? Drop us a line for more information at ap@ti-media.com

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39


SPECIAL PROMOTION

AFTER

These before and after images from Japan, taken by Alik Griffin, reveal the transformative power of Aurora HDR 2018

BEFORE ©ALIK GRIFFIN

Free!

Aurora HDR software Now here’s an offer you don’t get every day: download award-winning HDR software from Skylum IN PARTNERSHIP with leading software developer Skylum, we are delighted to offer AP readers the chance to get their hands on the award-winning Aurora HDR 2018 software for free. All you need to do is to enter your email address. Aurora HDR 2018 is available for both Mac and Windows and features a new interface, speed improvements and a range of useful tools. One of the most impressive features is a powerful algorithm for tone mapping single or multiple exposures that results in a very realistic starting image. When merging brackets, the algorithm analyses each image separately, automatically detecting dark and light zones and adjusting the level

of detail which will produce a natural-looking HDR image. With single image processing, the tone mapping algorithm brings out colours and enhances dark and light zones.

Tons of tools Another major improvement is the HDR Enhance Filter. A single slider adds details and clarity to an image, adjusting colours, details and contrast without creating artificial halos or other artefacts. Then there is the Lens Correction Tool, a Dodge and Burn filter to selectively lighten or darken specific areas of an image, an HDR Enhance Filter for adding details and adjust colours and contrast and much more. See aurorahdr.com/2018.

The ability to edit Layers and Masking can generate impressive results

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SECOND-HAND FULL-FRAME

Testbench New cameras like the Nikon D780 drive down the price of older models. The Nikon D750 can be picked up from £514 in used condition

Second-hand full-frame bargains Tempted to buy a full-frame camera, but put off by the price? Audley Jarvis identifies some of the best full-frame offerings in today’s used market

A

t the turn of the millennium full-frame digital cameras were considered extremely niche with the choice of available models limited to a handful of Canon, Contax and Kodak DSLRs. On top of this, the exorbitant costs involved marked them out as the sole preserve of professionals and well-heeled enthusiasts. But, as with all technological progress, that quickly began to change. The release of the Canon EOS 5D in 2005 marked a decisive shift towards full-frame DSLRs becoming more affordable, with other manufacturers soon following Canon’s lead.

These days, full-frame digital cameras don’t just come in DSLR form, there are now plenty of mirrorless and even compact full-frame cameras to tempt you out of your hard-earned cash. That said you can still expect to spend upwards of £1,000 on a new full-frame camera body. Unless, of course, you’re prepared to consider going down the second-hand route.

Second-hand bargains Buying second-hand is a surefire way to save yourself a pile of cash, especially if you’re prepared to compromise a little by buying an older model. Sure, your chosen camera might

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not come with all the latest features and technology, but as long as all the basic photography tools are present, and image quality isn’t compromised, then you can easily save yourself a fortune. By way of an example, the Canon EOS 6D cost £1,399 body-only when it was released in 2012 but used examples in good condition can now be picked up for just £439. Okay, so you won’t have the latest model, however the savings you make could go towards a tripod or a couple of lenses. While buying second-hand does involve a fair bit of research and patience, we’ve taken a good hard look at the websites and current stock of the most reputable second-hand camera equipment specialists in the UK in order to see what kind of savings are on offer. Over the next few pages we’ve identified some of the best DSLR and mirrorless second-hand full-frame bargains you might want to consider.

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Testbench

SECOND-HAND FULL-FRAME

DSLR CAMERAS

Under £500

Also consider Canon EOS 5D

● £254 good condition, shutter count unavailable (MPB.com)

AT A GLANCE Sensor 12.8MP CMOS full-frame Sensitivity ISO 100-1600 (ISO 50-3200 extended) Continuous shooting 3fps (17 frame raw buffer depth) Video Not available Rear display 2.5in, 230k-dot fixed LCD screen Viewfinder Pentaprism, 96% coverage at 0.71x Released in 2005, Canon’s original 5D is credited with being the first affordable full-frame DSLR to hit the market. While a brand new 5D body cost around £2,500 at the time of its launch, these days it’s possible to source a second-

hand example in good condition for around £250. Given its age it should come as no great surprise to find that many of the 5D’s core specs – such as its nine-point AF module and 2.5in/233kdot LCD display – look fairly out-of-date by modern DSLR standards. That said, the 5D’s 12.8MP sensor is still capable of great image quality in the right hands.

4 6 7 £

Nikon D750

● £764 excellent condition, 22k shutter count (MPB.com)

Nikon D700

● £385 excellent condition, 86k shutter count

(graysofwestminster.com)

ALL PR CES WERE TAKEN FROM MPB COM AT THE T ME OF WR T NG

AT A GLANCE Sensor 12.1MP full-frame CMOS Sensitivity ISO 200-6400 (ISO 100-25,600 extended) Continuous shooting 5fps (8fps with MB-D10 battery pack) Video Not available Rear display 3in/921k-dot LCD Viewfinder Pentaprism, 95% coverage at 0.72x Released in 2008, the D700 was essentially Nikon’s answer to the phenomenally popular Canon 5D. Built around the same 12.1MP full-frame CMOS sensor used in the then-flagship Nikon D3, the D700 further benefits from a 51-point AF system, a pop-up flash that can be used as a commander unit with Nikon’s 42

off-camera Creative Lighting System, and weather-sealed magnesium alloy construction. Two things to note are that the D700 doesn’t provide any video recording functionality, and only comes with a single CF-type card slot, which means it cannot take regular SDXC cards. Other than that, the D700 remains an exceptionally capable camera.

RELEASED towards the end of 2014, the Nikon D750 is a solidly built and highly customisable full-frame DSLR aimed at the enthusiast and semi-pro market. At the time of its launch a new D750 body would’ve set you back £1,800, a figure that has since fallen to around £1,180. However, it’s also possible to pick up a second-hand D750 body for between £500 and £800, depending on its condition and shutter count. At the time of writing, second-hand camera specialist MPB.com offered a great selection of used D750 bodies on its website, ranging from £514 for a ‘well used’ example with a shutter count of 65-140k, to £764 for a model in ‘excellent’ condition with a shutter count below 23,000 actuations. So what do you get for your money? Well, the D750 is built around a 24.3MP full-frame CMOS sensor and a Nikon Expeed 4 image processor. While this chip isn’t as powerful as the Expeed 6 used in the D750’s successor – the recently announced D780 – it’s nonetheless a highly capable processor that facilitates a maximum continuous shooting speed of 6.5fps alongside a native sensitivity range of ISO 10012,800 plus expanded settings up to the equivalent of ISO 51,200. Movie capture,

meanwhile, extends to a maximum of 1080p Full HD at 60fps with external microphone and headphone inputs provided for enhanced audio capture and real-time monitoring. Autofocus through the D750’s optical viewfinder is taken care of via Nikon’s Multi-CAM 3500 II phase-detection module. This provides 51 individual AF points in the centre of the viewfinder. While coverage doesn’t extend to the boundaries of the frame, performance is nonetheless speedy and accurate with the 3D tracking mode exceptionally good at capturing moving subjects. Switching to live view, the D750 employs on-sensor contrast-detect AF with coverage across the entire frame. Performance is again relatively speedy, although not quite as fast as many mirrorless cameras – or indeed those Canon DSLRs equipped with Dual Pixel AF technology. Elsewhere, the D750 also comes equipped with built-in Wi-Fi connectivity for use with Nikon’s free WMU app for iOS and Android, twin SDXC (UHS-1) card slots, a 3in/1.2m-dot tilting rear LCD display and a large and bright pentaprism viewfinder that provides 100% coverage. While it might be five years old, image quality from the D750 remains nothing short of excellent. Indeed, while more

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Under £1,000

Also consider Canon EOS 5D Mark III

● £799 good condition, 38k shutter count (MPB.com)

modern Nikon DSLRs might provide greater speed and performance benefits, you’ll be hard pressed to see any great difference in critical image quality. In addition to 12-bit and 14-bit uncompressed raw capture, the D750 provides a generous array of JPEG image processing tools and picture control modes that can be employed to get the look you want straight from camera.

Build quality In terms of build quality the D750 is fully weather-sealed and also benefits from magnesium alloy construction. This provides excellent protection from everyday knocks, while giving the camera a very professional feel in the hand. Buttons are well spaced and clearly labelled, and for anyone coming from another Nikon DSLR the layout should feel instantly familiar. While the Nikon D750 might be starting to show its age a bit – especially when compared directly to the D780 – it nonetheless remains an excellent DSLR for both enthusiasts looking to go

AT A GLANCE Sensor 22.3MP full-frame CMOS Sensitivity 100-25,600 (ISO 50-102,800 extended) Continuous shooting 6fps Video 1080p Full HD at 60fps Rear display 3.2in/1.040m-dots Viewfinder Pentaprism, 100% coverage at 0.71x At the time of its release in 2012 a brand new 5D Mark III body would’ve set you back around £2,250. However, it’s now possible to find second-hand bodies in good condition with under 70k shutter actuations for around £799. Built around a 22.2MP full-frame CMOS sensor and Canon’s DIGIC 5+ image processor, the 5D Mark III is a highly versatile DSLR

At a glance ● Sensor 24.3MP full-frame CMOS ● Sensitivity ISO 100-12,800

(ISO 50-51,200 extended) ● Continuous shooting 6.5fps ● Video 1080p Full HD at 60fps ● Rear display Tiltable 3.2in/1.2m-dot LCD ● Viewfinder Pentaprism, 100% coverage at 0.7x full-frame on a budget, as well as seasoned pros looking for a solid backup body. The recent release of the D780 also means that a glut of used D750s is likely to hit the second-hand market over the coming months as those with deep enough pockets look to upgrade. If you’re in the market for a second-hand full-frame DSLR that’s capable of delivering fantastic image quality, alongside extensive customisation options and tanklike build quality, the Nikon D750 comes highly recommended and is certainly worth a much closer look.

Pentax K-1

● £799 good condition, 91k shutter count (parkcameras.com)

© MICHAEL TOPHAM

An example of a JPEG image straight out of camera Nikon D750, Nikkor AF-S 16-35mm f/4 G ED VR, 1/800sec at f/4, ISO 100

AT A GLANCE Sensor 36.4MP full-frame CMOS Sensitivity ISO 100-204,800 Continuous shooting 4.4fps Video 1080p Full HD at 30fps Rear display Tiltable 3.2in/1.037m-dots Viewfinder Pentaprism, 100% coverage at 0.7x Released in 2016, the K-1 is a professionalgrade full-frame DSLR that’s built around a 36.4MP CMOS sensor. While the K-1’s low-pass filter has been removed for additional sharpness, the camera is equipped with an anti-aliasing filter simulator to guard against the unsightly effects of moiré. Elsewhere the K-1 also benefits from Pentax’s Pixel

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that provides an advanced feature set and plenty of customisation options. While Canon’s groundbreaking Dual Pixel AF technology wasn’t introduced to the 5D range until the 5D Mark IV, the 5D Mark III nonetheless inherits a range of high-end specs from the EOS 1D X, including a 61-point AF system alongside customisable tracking options.

Shift technology that’s designed to improve the resolving power of the sensor, along with built-in Shake Reduction image stabilisation technology. Launched with a body-only price of £1,999 in 2016 it’s now possible to pick up a second-hand K-1 body for between £800 and £1,300 depending on its general condition and shutter count. It’s also worth looking on eBay.

43


Testbench

SECOND-HAND FULL-FRAME

Under £500

MIRRORLESS CAMERAS

Also consider

Sony Alpha 7 ● £444 excellent condition, shutter count

unavailable (MPB.com) AT A GLANCE Sensor 24.3MP full-frame CMOS Sensitivity ISO 100-25,600 (ISO 50 expanded) Continuous shooting 5fps Video 1080p Full HD at 60fps Rear display 3in/1.22m-dot LCD Viewfinder 2.4m-dot EVF

ALL PR CES WERE CORRECT AT THE T ME OF WR T NG

of £1,299 the A7 wasn’t exactly cheap. The good news is that used Sony A7’s can easily be picked up for under £500 these days. Indeed, at the time of writing, MPB had over 30 examples in stock, Sony has long offered ranging from £314 for three distinct models one in ‘well used’ within its Alpha 7 range, condition to £464 for one each of which caters to a in ‘like new’ condition. slightly different target While subsequent audience. Whereas A7R models in the A7 range models are designed for have undoubtedly added maximum resolution and useful new features and A7S models prioritise come equipped with more video and low-light up-to-date hardware, the shooting performance, the A7 remains an extremely regular A7 has always capable camera. Built been about providing an around a 24.3MP all-round package. full-frame sensor and Released in 2013 Sony’s BIONZ X alongside the A7R that processor, the A7 further we’ve also covered within benefits from hybrid AF this round-up, the A7 was technology that combines notable for being the first 117 on-sensor phaseaffordable full-frame detection pixels with a mirrorless camera to hit further 25 contrastthe market. That said, with detect points for framea body-only launch price wide coverage.

‘The Alpha 7 was notable for being the first affordable full-frame mirrorless camera to hit the market’ 44

9 3 6 £

Sony Alpha 7R ● £639 good condition, shutter count unavailable (MPB.com) IN MUCH the same way that the original Canon 5D brought full-frame DSLR technology into the realm of relative affordability, the Sony A7 and A7R performed much the same feat for full-frame mirrorless cameras. Indeed, at the time of their release in 2013 the only similarly small full-frame option on the market was the Leica M9, which at £4,850 was almost triple the price of the A7R’s £1,700 body-only launch price. Fast-forward seven years and the A7 series is now in its fourth generation, with the latest A7R IV model sporting a 61MP back-illuminated full-frame sensor, albeit at a cost of £3,500 body-only. For those looking to reap the benefits of Sony’s A7 series without breaking the bank, the original A7R can now be picked up very cheaply second-hand. Just be aware that you might need to show a bit of patience in order to secure a good example as the first-generation A7R doesn’t tend to crop up on the second-hand market quite as much as more recent A7R models do. At the time of writing MPB.com had four A7Rs in stock ranging from £639 for one in ‘good’ condition to £739 for one in ‘like new’ condition, while wexphotovideo.com had one with just 9,000 shutter actuations for £625. As we’ve said, expect to do a bit of shopping around and be ready to pounce when you find the right one.

While the 24.3MP A7 was positioned as an enthusiast-grade all-rounder, the A7R comes equipped with a 36.4MP sensor, marking it out as an ideal choice for those prioritising resolution. In keeping with this, the A7R does without a low-pass filter in order to enhance the resolution of fine detail. The A7R’s 36.4MP full-frame CMOS sensor is paired with a Sony BIONZ X image processor that facilitates a sensitivity range of ISO 100-25,600 (expandable to ISO 50) and a maximum continuous shooting speed of 4fps. Unlike the standard A7 with its hybrid (phase and contrast detect) AF module, the A7R’s 25-point AF system employs only contrast detect technology to ascertain focus. As a result it’s a little slower than its A7 sibling. That said, the A7R isn’t really designed to be an action or sports camera and all but the most demanding users should find its AF performance perfectly speedy in all but the dimmest of conditions, where most other cameras that rely solely on contrast-detect tend to struggle too. While the ability to record 4K movies wasn’t introduced until the A7R Mark II, the A7R does provide 1080p Full HD video capture at up to 60fps and also sports microphone and headphone jacks on the side. In terms of connectivity the camera

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Under £1,000

Also consider Canon EOS RP

● £944 like new condition, shutter count

unavailable (MPB.com) AT A GLANCE Sensor 26.2MP CMOS Sensitivity ISO 100-40,000 (ISO 50-102,400 extended) Continuous shooting 5fps Video 4K at 25fps Rear display Vari-angle 3in/1.04m-dot LCD touchscreen Viewfinder 2.36m-dot EVF

supports Wi-Fi and NFC for wireless image transfer duties to a compatible smartphone or tablet.

Build quality Constructed from magnesium alloy, the A7R feels solidly built in the hand and is designed to be resistant to dust and moisture. That said, its plastic port covers at the side are a bit flimsy and have since been improved on the A7R IV. Image quality from the A7R remains very good even by today’s standards, especially when the camera is used at lower sensitivity settings. While some noise does begin to creep into images at ISO 800, the camera generally does a very good job of keeping the unwanted side-effects of noise at bay. Dynamic range, while not quite on a par with the

The Canon RP is an entry-level full-frame mirrorless camera designed to appeal to those looking to go full-frame on a budget. Released only last year with a body-only price of £1,400, used RP bodies can now be picked up for well under £1,000, mostly in ‘like new’ condition. For the money, you’re getting a super compact

At a glance ● Sensor 36.4MP full-frame CMOS ● Sensitivity ISO 50-25,600 ● Continuous shooting 4fps ● Video 1080p Full HD at 60fps ● Rear display Tiltable 3in, 921k-dot LCD ● Viewfinder 2.35m-dot EVF

A7, is also impressive given the camera’s high-resolution sensor, while automatic white balance can be relied upon to deliver consistently true-tolife colour. For those looking to make large prints rich in fine detail the A7R’s overall image quality is unlikely to disappoint. It offers extremely good image quality for the price.

Sony RX1

● £939 excellent condition, shutter count

unavailable (parkcameras.com) © JAMES ABBOTT

The A7R has proven popular with landscape photographers wanting a high resolution output subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21 March 2020

full-frame camera that’s actually lighter than Canon’s 800D APS-C DSLR. While controls and features have been stripped back in order to increase the RP’s appeal to novice users, the camera does come with Canon’s Dual Pixel AF technology and 4K video recording abilities – albeit at a rather limiting 25fps. Designed to be used with RF mirrorless lenses, the RP is sold with an EF lens mount adapter in the box.

AT A GLANCE Sensor 24.3MP full-frame CMOS Sensitivity ISO 100-25,600 (ISO 50-102,400 extended) Continuous shooting 5fps Video 1080p Full HD at 60fps Rear display Fixed 3in/1.23mdot LCD Viewfinder None As the world’s first compact digital camera to come with a full-frame sensor the RX1 caused quite a stir when it arrived in 2012. While the RX1 initially came with an eye-watering price tag of £2,599 it’s now possible to pick up a secondhand example for under £950. That

said, you might need to shop around a bit as used RX1s can be rarer than hen’s teeth. Equipped with a fixed 35mm f/2 Carl Zeiss Sonnar T* lens, the RX1 delivers impressively sharp results and is particularly well suited to street photography. It also features a dedicated aperture ring, near-silent leaf shutter and extremely robust build quality.

45


Protecting your camera kit at home and away

Theft and accidental damage of your camera and equipment can happen, whether you’re shooting abroad or closer to home. We want you to feel confident and reassured knowing that your camera and equipment is protected no matter what. Cover features include: •

Lend to a Friend Cover: Lending your trusted lens to a friend? Don’t worry, you’ll still be protected should something happen. Excludes commercial hire

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Public Liability Extension: Choose to increase Public Liability to £5m and extend Public Liability cover to include up to four photography assistants (assistants only covered for Public Liability)

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Call 0333 004 6555 or visit our new site for a specialist camera insurance quote www.photoguard.co.uk/APIS photoGuard is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Registered in England under No. 00338645. Registered office: Rossington’s Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW. Thistle Insurance Limited is part of the PIB Group.


LENS TEST

Testbench At small apertures, the lens can deliver strong detail from corner to corner Sony Alpha 7 II, 1/60sec at f/11, ISO 250

Meike MK 50mm F1.7

Could an inexpensive, manual-focus 50mm prime be a worthy companion to a full-frame mirrorless camera? Andy Westlake finds out

F

ull-frame mirrorless cameras have been grabbing all the headlines over the past18 months, as they provide excellent image quality in significantly smaller bodies than high-end DSLRs. But their lens systems have, if anything, grown larger and more expensive than their DSLR counterparts, due largely to the current fashion for prioritising corner-to-corner sharpness at large apertures. Traditionally, photographers have relied on third-party makers to produce affordable alternatives, but the relative newness of Canon

and Nikon’s mirrorless systems means that few such lenses are yet available. However some manual focus optics are on offer, aided by the fact that they just need to copy the mount’s physical specifications, and not the electronics. Chinese firm Meike’s 50mm F1.7 is a compact, fully-manual lens that can be bought from online marketplaces such as Amazon and eBay for well under £150. It’s designed for mirrorless, and also covers full frame. It’s made in Canon RF, Nikon Z, and Sony E mounts, as well as for Fujifilm X and Micro Four Thirds.

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Features In terms of optical construction, the lens employs six elements in five groups, implying a classic double-Gauss design of the type that’s been used by 50mm primes for decades. The rear element is quite deeply recessed into the barrel, so it’s tempting to assume that Meike has simply copied an old SLR lens, and added a spacer tube onto the back to account for the shorter flange distance of mirrorless mounts. However, a more detailed examination shows that in fact, the entire optical system sits closer to the sensor than would be possible with an SLR design. The rear element has also been considerably enlarged, which potentially allows better illumination of the corners of the sensor. As a result, the Meike 50mm f/1.7 is considerably more compact than Sony’s 47


Backgrounds are beautifully blurred when shooting at large apertures Sony Alpha 7 II, 1/60sec at f/1.7, ISO 200

inexpensive FE 50mm F1.8, and almost exactly the same size as the Samyang AF 45mm F1.8 FE, which employs a modern, designed-for-mirrorless optical design. The diaphragm employs 12 curved blades to give a circular aperture, promising more attractive bokeh than SLR equivalents, which typically use seven blades, or sometimes even fewer. It’s mechanically coupled to the aperture ring, stopping down directly to the indicated setting. This gives a truly accurate full-time depth-of-field preview, but without the viewfinder going dark at small apertures. Like most conventional 50mm primes, the minimum focus distance is limited to 50cm. The filter thread is 52mm, and doesn’t rotate on focusing, which facilitates using filters such as polarisers. A deep petal-style plastic lens hood is supplied and bayonets firmly into place, while reversing neatly for storage.

It’s worth repeating that this lens has no electronic connection with the camera. As a result, the selected aperture isn’t displayed in the viewfinder while you’re shooting, and neither the focal length nor the aperture will be recorded into your images’ EXIF data. On cameras with in-body image stabilisation, you’ll also need to set the focal length manually for the system to work correctly.

Build and handling Pick up the Meike and you’ll immediately appreciate that it’s a substantial piece of kit, with a solid-feeling metal barrel. The lens balances nicely on small mirrorless bodies, and both the control rings rotate extremely smoothly, without a hint of backlash. The focus ring displays a distance scale in feet and metres, but there are no depth-offield markings, meaning that you can’t easily Strong vignetting is visible at f/1.7 Sony Alpha 7 II, 1/1250sec at f/1.7, ISO 400

‘The lens balances nicely on small mirrorless bodies’ work with zone-focusing techniques. The aperture ring lacks click-stops, and while the whole-stop markings are widely separated at large apertures, they become heavily bunched together beyond f/8. As a result, you’ll need to take the camera down from your eye whenever you want to change the aperture. Another irritation is that there’s no clear difference in feel between the focus and aperture rings, making them all-too-easy to confuse with the camera up to your eye. More than once I found myself changing the aperture when I really wanted to be focusing. Other than that, focusing couldn’t be simpler: simply turn the ring until the picture is sharp. It makes sense to assign your favourite aid, such as live view or peaking, to a custom button that’s easy to locate when you’re using the viewfinder. As the diaphragm stops down directly, you’ll naturally end up focusing at the taking aperture. For dyed-in-the-wool SLR users this will seem all wrong, but in this case it’s the correct approach, because the lens exhibits a significant focus shift on stopping down. This is due to spherical aberration, which is a common flaw with fast 50mm primes.

Performance I tested the Meike MK 50mm F1.7 on the 24MP Sony Alpha 7 II and III bodies, using magnified view as my preferred focusing aid. This is slower than using a peaking display, but demonstrably more accurate when you want to achieve precise focus at large apertures. In an unexpected quirk, both cameras consistently


LENS TEST

Testbench

Meike MK 50mm F1.7 Resolution Our Image Engineering MTF50 tests, conducted on the 24MP Alpha 7 III, reveal the lens’s unusual sharpness profile. The very low numbers at large apertures reflect low contrast due to spherical aberration, but central sharpness picks up rapidly at smaller apertures, and is excellent by f/5.6. But you need to stop all the way down to f/11 for the corners to catch up, at least with a flat subject.

Images generally needed a stop greater than the metered exposure. Sony Alpha 7 II, 1/320sec at f/8, ISO 100

underexposed images shot with the lens, needing up to 1 EV compensation. In terms of image quality, the Meike initially appears to behave similarly to other doubleGauss 50mm primes. Wide open, it’s capable of resolving fine detail in the centre of the frame, but at rather low contrast as a result of its spherical aberration. However the edges and corners are notably blurred. You’ll also see intense vignetting, but this should be viewed as an aesthetic characteristic rather than a flaw; it’ll actually complement many subjects, and disappears by f/4 anyway. There’s a hint of barrel distortion, but most of the time it’s not worth worrying about. As you stop down the aperture, the sharp central region gets crisper, but strange things happen with the corners, which barely sharpen up at all until about f/5.6. Then they suddenly pick up, and by f/11 the lens is capable of resolving fine detail right across the frame. Closer analysis reveals that the optics suffer from marked curvature of field, with the corners of the frame coming into focus at a closer distance than the centre, which accounts for much of their apparent softness. This also means that you may be able to get better sharpness towards the edge of frame by careful re-focusing, but at the expense of central detail. Throw in its focus shift on stopping down, and the Meike is certainly much less well-behaved optically than the 50mm primes that were traditionally supplied with manual-focus film SLRs. Where the lens does excel, though, is with regards to bokeh. Out-of-focus backgrounds are rendered with a smooth, attractive blur, which is the flip-side of that under-corrected spherical aberration. The circular diaphragm also keeps the bokeh more attractive when the aperture is closed down a stop or two. As a result, this lens is really well-suited to selective-focus work such as portraiture.

Centre

Verdict

MEIKE’S 50mm f/1.7 is a curious beast whose imaging characteristics take some time to unravel. Its compact size, all-metal barrel and simple operation all appeal, but with its peculiar combination of aberrations, optically it doesn’t behave quite as we’d expect from a 50mm prime. As a result, Sony shooters desiring biting cross-frame sharpness would get superior results from the FE 50mm F1.8, while Canon EOS R and Nikon Z-series owners would be better off using the firms’ respective 50mm f/1.8 SLR lenses via mount converters. If, on the other hand, you’re primarily interested in getting a Data file fast prime to shoot at large apertures for selective-focus work, this Price £110-£140 lens will reward you with Filter diameter 52mm some lovely-looking Lens elements 6 images, thanks to those Groups 5 beautifully defocused Diaphragm blades 12 backgrounds. So if you can live with its handling Aperture f/1.7-f/22 quirks and manual focus, Minimum focus 0.5m Length 54.5mm the Meike 50mm f/1.7 Diameter 61mm could be a worthwhile addition to your arsenal. Weight 310g Lens mount Canon RF, Fujifilm X, Nikon Z, Micro Four Thirds, Sony E

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Corner

Shading As is typical for fast primes we see fairly strong vignetting wide open, with more than a stop lower illumination in the corners of the frame compared to the centre. But it goes away rapidly on stopping down: at f/2.8 we see just a little darkening in the corners, and by f/4, the effect has gone altogether.

f/1.7

f/2.8

Curvilinear distortion Examination of our chart tests reveals mild barrel distortion, and with the lens having no electronics, it can’t be corrected in-camera. Most of the time it won’t be a problem pictorially, but it’s easy enough to neutralise in raw processing when necessary. I used a value of +3 with the Distortion slider found in Adobe Camera Raw’s Lens Corrections tab.

SMIA TV = -0.7%

Recommended

49


Testbench

ACCESSORIES

Cullmann Rondo 460M RB8.5 Andy Westlake assesses a keenly priced but well-featured tripod

THERE’S no getting away from the fact that the best Camera tripods are expensive, with high-quality carbon-fibre clamp models costing hundreds of pounds. But this week is The supplied ball and socket all about saving money, so we’re taking a look at head employs an Arca something much more affordable. The Cullmann Swiss-type clamp, making it Rondo 460M RB8.5 kit certainly ticks a lot of the compatible with a wide range right boxes: it’s a good size, converts to a monopod, of camera plates and and comes with a fully featured ball head, yet only L-brackets. costs about £70. On paper, it’s a bargain. Let’s explore what you get for your money. The tripod features four-section aluminium legs with cliptype locks to adjust their length, and which can be independently set to a choice of three Carry bag angles using large metallic-blue levers. One A basic nylon bag is leg is distinguished by having a foamsupplied in the box, but its rubber grip, and is removable for use as a strap is very short and the monopod together with the centre tripod barely squeezes column. Both the tripod and monopod are inside, so it’s not sufficiently large to hold a camera at eye very practical. level for a 6ft-tall photographer. The centre column uses a simple sliding height adjustment, and features a hook at the lower end off which you can hang your camera bag for extra stability. At the opposite end, a reversible screw allows you to attach heads with either 1/4in or 3/8in threads. The included ball head is impressively well specified, with an independently locking panning base and a separate friction control, which is most unusual at this price. It allows you to adjust the tightness of the ball so that it doesn’t flop around with heavier lenses. So what are the compromises? Firstly, there’s no short centre column or ground-level kit, so if you want to shoot lower than 43cm, you have to invert the centre column and sling your camera beneath the legs. This is an awkward way of working, but tolerable if your camera has a tilting screen. The head’s friction and panning knobs are also much the same size, so easy to mix up, which is a mistake you don’t want to make with a heavy lens. Finally the plastic leg-lock clips don’t inspire as much confidence in their long-term durability as twist-type locks.

ALL PRICES ARE APPROXIMATE STREET PRICES

In use, the Cullmann Rondo 460M RB8.5 punches far above its weight. I was impressed to find that it held the Olympus OM-D E-M1 Mark III and 300mm f/4 lens with complete confidence – a combination that weighs 1,850g. The head adjusts relatively smoothly and locks down without shifting, while the legs are remarkably stable, even with the column extended. If you want a fully featured tripod kit on a budget, it’s a great choice. 50

Cullmann has gone to town and put no fewer than three bubble levels on the clamp, which helps avoid converging verticals or wonky horizons.

At a glance

● £71 ● www.transcontinenta.co.uk/cullmann

Verdict

Spirit levels

● 4-section aluminium legs ● 159.5cm maximum height ● 43.5cm packed length ● 4kg rated load ● 1,460g weight

Monopod

One leg can be removed and joined onto the centre column to make a full-height monopod that extends to 157cm.

Reverse-folding legs give a compact packed length

THE RONDO RANGE Recommended

There’s a choice of six models in Cullmann’s Rondo range, all of which share a similar design. They range from the 89cm-tall, 1,120g Rondo 400T RB6.5, to the 185cm, 1,650g 480M RB8.5, with prices from £60 to £90. The two taller models, the 460M and 480M, can be bought with a three-way head as an alternative to a ball head (right).


Best Buys

Revisiting great kit from our test archives

Formatt Hitech Firecrest ND starter kit ● £250 ● www.formatt-hitech.com

IF YOU’RE interested in putting together a square filter set-up, but are put off by the cost, then the Formatt Hitech Firecrest 85mm system is well worth considering. It works with lenses as wide as 17mm equivalent, and with filter threads up to 77mm. The kit comes with three high-quality glass filters to get you started – a circular polariser, 6-stop neutral density and 3-stop soft grad – along with step-up rings for lenses with 58mm, 67mm and 72mm threads. Crucially you can save hundreds of pounds compared to alternative options, with the cost advantage amplifying as you build up your filter collection. Recommended Andy Westlake, originally reviewed 26 October 2019

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Metz mecablitz M360

● £115 ● www.intro2020.co.uk IF YOU need a flash that’s more powerful than the one built into your camera, but don’t want to pay loads of money for features you’ll never use, take a look at the Metz M360. Measuring 64x100x80mm and weighing just 190g, it’s a fully automatic unit that’s controlled entirely by the camera. The flash head zooms to cover lenses from 24-105mm equivalent, with a slide-out diffuser for 14mm ultra-wides. It can rotate through 270°, point 90° upwards or be angled downwards by 7°, and there’s a pull-out reflector card for adding a catch light to your subject’s eyes. If you’re interested in a simple, reliable and inexpensive flash, it could be just the ticket. Andy Westlake, originally reviewed 20 April 2019

Recommended

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Tech Talk fessor Newman on…

he end of the megapixel race? A contracting market means that companies are now spending less on research and development

S

omething strange has just happened. Canon and Nikon have just announced the new versions of their flagship DSLRs. These are the models designed for, and targeted at, professional sports and action photojournalists – the cameras you will see ringing the arenas of the summer Olympics. For the first time in the history of these cameras, both manufacturers have declined to increase the pixel count compared to the previous version. There could be many reasons for this, but I believe that in the end it is down to the intersection between the economics of the modern camera industry and those of sensor production. It’s well known that the market for specialised cameras is decreasing, as mobile phones become the preferred phototaking machine for the masses. For this reason the compact camera market has more or less collapsed. The bridge and interchangeable-lens camera markets are also declining, but less quickly, and there are reasons to believe that there will be a continuing market, inevitably smaller but hopefully sustainable.

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and action photojournalists, is very small. The number of buyers is enhanced by sales to enthusiasts and other photographers who want to have what they see as the best camera in the line, or to those where the attributes of speed, endurance and fast and precise autofocus are of importance. What is also of great value to the companies is their ro adding the res produc This la reason why th introdu cycle h synchr with th summ Olymp four ye wielding these cameras will appear on television screens around the world, and the companies’ whole range gains from that lustre.

New technology

There is another role these cameras play, which also impacts on the economics of their Contracting market development. Usually they serve As the market contracts the as the premiere of new camera companies will spend less generations of technology, new on research and development. image processing chips, new AF Since they must make a profit to units, mechanical parts such as remain viable, any money spent on shutters, which will find their way R&D must be returned by new into new models down the range. camera sales. In a contracting The exception to this, for these top market new sales will not dry up, models has been the sensor (with but the return is smaller. The very the temporary exception of the top-end cameras, such as the Nikon Df, which gained the D4 single-digit Nikon D cameras and sensor). This has generally meant the Canon 1D models, have a very that the R&D expense on the particular place in the ranges of sensors for these cameras has to the two companies. Their true be repaid from the sales and ‘halo’ target market, professional sports of them. In a situation where R&D

Your favourite magazine delivered straight to your door every week... anon and have not he sensor for their odels – a sion that kes good mmercial sense

ely that resources will be spent on those components, which will have a more general application than a specialist sensor for the top-end model. There is no great demand from the target market for greater resolution, in general the output goes to newspapers, magazines and web images, none of which demand extremely high resolution. Whilst both manufacturers have increased the speed of their cameras, they are getting to a stage where the limiting factor is the other system components, such as the lens’ diaphragm mechanism. Also, the major line of development for both companies is now mirrorless cameras, so any R&D budget will be directed there. Thus, the decision of both companies to stay with the same sensor specification makes economic and commercial sense. It doesn’t mean that they will make a similar decision with respect to other models in their lineups.

Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21 March 2020

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


Digital SLR Canon EOS 1D II Body Only��������������������������E+ £169 EOS 1DS III Body Only������������������������������� E++ £649 EOS 1DX II Body Only���������������������������������E+ £2899 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+ - E++ £1179 -1249 EOS 60D Body Only �������������������������������������E+ £199 EOS 70D Body Only ������������������E+ - E++ £329 -349 EOS 750D Body Only �������������������������������� E++ £315 EOS 7D + BG-E7 Grip ����������������������������������E+ £249 EOS 7D II Body Only������������������E+ - E++ £639 -679 EOS 800D Body Only �������������������������������Mint- £449 EOS 80D Body Only ���������������������������������� E++ £539 Nikon D4 Body Only������������������������ E+ £1289 -1499 D4S Body Only������������������������������E++ £1899 -2089 D5100 Body Only���������������������������E++ - Mint- £139 D5300 Body Only�������������������������������������Mint- £259 D600 Body + MB-D14 Grip��������������������������E+ £459 D610 Body Only�������������������������������������������E+ £519 D7000 + 18-55mm �������������������������������������E+ £219 D7000 Body Only�������������������������������������� E++ £189 D7200 Body Only������������������E++ - Mint- £449 -499 D800 Body Only�����������������������Exc - E++ £579 -649 D800E Body Only����������������������E+ - E++ £719 -749 D810 Body Only�������������������������������������������E+ £949 Panasonic S1 + 24-105mm���������������������Mint £2299 Sony A68 Body Only���������������������������������Mint- £339 Alpha 5000 Body Only �����������������������������������E+ £99 Alpha A380 + 18-55mm��������������������������������E+ £99 Medium Format Digital Hasselblad H1 Body + P25 Digital Back�����E+ £2499 H3D + 39MP Digital Back ����������������������� E++ £2299 H3D + Prism + 31MP Digital Back�������������E+ £1689 H4D + Prism (50MP)������������������������������� E++ £5499 H4D + Prism 50MP��������������������������������� E++ £4749 H4D Complete + 40MP Digital Back�������� E++ £3489 H4D Complete + 60MP Digital Back������ E++ £10995 Leica S (Typ 006) Body Only�������������������� E++ £2999 S2 + 70mm F2�5 CS����������������������������������E+ £3999 S2 Black Body Only��������������������������������� E++ £2199 SL (Typ 601) Body Only��������E+ - Mint- £2099 -2389 Phaseone 645DF + Digital Back����������������E+ £4489 Pentax 645Z + 28-45mm ����������������������Mint- £6999 645Z + 55mm F2�8 D FA ������������������������ E++ £3999 645Z + 75mm F2�8 �������������������������������� E++ £3599 Lenses Canon AF 8-15mm F4 L Fisheye USM������Mint- £749 10-22mm F3�5-4�5 EFS�������������������������������E+ £189 11-24mm F4 L USM ������������������������������� E++ £1699 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++ - Mint- £1299 -1349 18-135mm F3�5-5�6 IS STM EF-S��� E+ - E++ £179 -199 18-150mm F3�5-6�3 IS STM EF-M�����������Mint- £289 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 28-70mm F2�8 L USM ��������������������������������Exc £289 28mm F1�8 USM��������������������������������������� E++ £329 28mm F2�8 IS USM����������������������������������� E++ £299 35mm F1�4 L USM���������������������������������������E+ £679 35mm F2 EF��������������������������������������������� E++ £219 35mm F2 IS USM�������������������������������������� E++ £389 35mm F2�8 Macro IS STM EF-S���������������Mint- £269 40mm F2�8 STM��������������������������������������� E++ £109 45mm F2�8 TS-E �����������������������������������������E+ £549 50mm F1�4 USM��������������������������������������� E++ £199 50mm F1�8 EF II ����������������������������������������� E++ £59 55-250mm F4-5�6 EFS IS������������������������������E+ £69 60mm F2�8 EFS Macro ����������������������������Mint- £219 65mm F2�8 MP-E Macro��������������������������� E++ £649 70-200mm F2�8 L IS USM ������������������ E+ £649 -779

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�6 L IS USM + Collar�������� E++ £789 75-300mm F4-5�6 USM III�������������������������� E++ £59 80-200mm F4-5�6 EF��������������������������������� E++ £29 85mm F1�2 L USM II��������������������������������� E++ £849 85mm F1�4 L IS USM���������������������Mint- £999 -1089 90mm f2�8 TSE Shift��������������������������������� E++ £599 100-400mm F4�5-5�6 L IS II USM��E+ - E++ £1079 -1139 100-400mm F4�5-5�6 L IS USM E+ - E++ £549 -649 100mm F2�8 USM Macro������E++ - Mint- £299 -319 135mm F2 L USM�����������������E++ - Mint- £529 -549 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 400mm F2�8 L USM�����������������������������������E+ £1849 400mm F4 DO IS USM�������������������� E+ £1489 -1499 400mm F5�6 L USM������������������E+ - E++ £549 -639 500mm F4 L IS USM������������������������������� E++ £2989 500mm F4 L IS USM II���������������������������� E++ £5699 500mm F4�5 L USM�������������Exc - E++ £1189 -1599 600mm F4 L IS USM������������Exc - E++ £3299 -3989 600mm f4 L IS USM II����������������������������� E++ £6489 600mm F4 L USM�������������������������������������Exc £1799 Tamron 10-24mm F3�5-4�5 Di II LD Asph�� E++ £199 17-50mm F2�8 XR Di II VC LD Asph �������������E+ £179 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 -179 150-600mm F5-6�3 SP Di VC USD ����������� E++ £549 180mm F3�5 Di 1:1 Macro AF ���E++ - Mint- £299 -349 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 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 100mm F2 ZE Macro �������������������������������� E++ £799 Contax 645 45-90mm F4�5 Vario ���� E+ £1099 -1189 45mm f3�5 Shift ������������������������������������������E+ £449 140mm F2�8 Sonnar��������������������������������� E++ £349 210mm F4 Sonnar������������������������������������ E++ £279 1�4x Mutar Converter�������������������������������Mint- £449 Contax G 21mm F2�8 G + Finder� E++ - Mint- £499 -549 21mm F2�8 G + Finder - Black ����������������� E++ £749 28mm F2�8 G ����������������������������������������������E+ £219 35-70mm F3�5-5�6 G Vario�������E+ - E++ £349 -449 90mm F2�8 G �����������������������������������E++ £169 -189 90mm F2�8 G - Black�������������������������������� E++ £249 Contax SLR 28-70mm F3�5-4�5 MM�E++ - Mint- £199 -279 28-80mm F3�5-5�6 AF������������������������������ New £399 50mm F1�4 MM���������������������������������������� E++ £199 100mm F3�5 AE���������������������������������������� E++ £239 135mm F2�8 AE�����������������������E+ - Mint- £159 -249 135mm F2�8 MM�����������������������������������������E+ £169 200mm F3�5 AE�������������������������������� E+ - E++ £149 200mm F4 AE���������������������������������������Unused £449 300mm F4 MM��������������������������������������������E+ £269 Fujifilm X 10-24mm F4 XF R OIS�������E++ £589 -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 18-135mm F3�5-5�6 LM OIS WR XF��E+ - E++ £399 -459 18-55mm F2�8-4 R LM OIS XF��E+ - E++ £249 -299 23mm F1�4 XF R�������������������E++ - Mint- £509 -529 23mm F2 XF - Black��������������������������������Mint- £319 27mm F2�8 XF������������������������������������������ E++ £189 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 56mm F1�2 R APD XF ������������������������������� E++ £699

60mm F2�4 XF R Macro���������������������������� E++ £299 90mm F2 WR XF�����������������������E+ - E++ £549 -599 1�4X Teleconverter TC XF WR �������������������Mint- £219 Hasselblad H 28mm F4 HCD��� E++ - Mint- £1699 -1749 35-90mm F4-5�6 HC ��������E++ - Mint- £3299 -3449 35mm F3�5 HC �������������������������E+ - E++ £849 -949 50mm F3�5 HC �����������������������E+ - E++ £849 -1099 80mm F2�8 HC ��������������������������������������������E+ £789 120mm F4 HC Macro���������������Exc - E++ £799 -899 150mm F3�2 HC ���������������������E+ - E++ £799 -1049 210mm F4 HC �������������������������������������������E+ £1099 1�5x HTS Tilt/Shift Converter������������������� E++ £1750 1�7x H Converter������������������������������������������E+ £449 Hasselblad V 30mm F3�5 C T* Fish������������ E++ £899 30mm F3�5 CF Fisheye������������������������������E+ £1199 350mm F5�6 C Black�������������������������������� E++ £499 40mm F4 CF FLE�����������������������������������������E+ £749 50mm F2�8 F�����������������������������������������������E+ £499 50mm F2�8 FE�����������������������������������������Mint- £899 50mm F4 C Black������������������������������������Mint- £299 50mm F4 CF������������������������������������������������E+ £299 50mm F4 CF FLE������������������������������E++ £679 -849 60mm F3�5 CF������������������������������������������ E++ £499 100mm F3�5 CFi��������������������������������������� E++ £749 120mm F4 Cfi Macro������������������������E++ £699 -749 160mm F4�8 CB ��������������������������������������� E++ £349 250mm F4 F������������������������������������������������E+ £450 1�4x E Converter������������������������������������������E+ £149 2x Mutar Converter�������������������E+ - E++ £199 -249 2xE Converter������������������������������������������� E++ £199

Leica C/T 11-23mm F3�5-5�6 Asph T������ E++ £1049 23mm F2 Asph Summicron T�������������������� E++ £849 55-135mm F3�5-5�6 APO-Vario-Elmar-T���Mint- £1099 -1199 Leica R 15mm F3�5 R 3cam�����������������������E+ £1099 15mm F3�5 ROM ���������������������������������������E+ £2399 19mm F2�8 ROM ��������������������������������������Exc £1799 21-35mm F3�5-4 Asph ROM������������������� E++ £1499 24mm F2�8 ROM �������������������������������������� E++ £999 28mm F2�8 PCS Shift ������������������������������� E++ £979 28mm F2�8 R 3cam���������������������������������� E++ £449 35mm F2�8 R 3cam�������������������������������������E+ £349 50mm F2 ROM ����������������������������������������� E++ £499 60mm F2�8 ROM Macro�������������������������������E+ £499 80-200mm F4 ROM��������������������������E++ £849 -899 80mm F1�4 R 3cam������������������������ E+ £1589 -1599 90mm F2�8 R�����������������������������������������������E+ £649 180mm F2�8 Apo ROM���������������������������� E++ £2399 180mm F2�8 R 3cam������������������������E++ £449 -499 180mm F2�8 ROM ���������������������������������������E+ £949 280mm F2�8 Apo R 3cam����E+ - Mint- £1489 -2999 280mm F2�8 Apo ROM���������������������������� E++ £3499 280mm F4 Apo ROM����������������������������������E+ £1950 Leica S 35mm F2�5 Asph Summarit S����E++ - Mint- £2299 -2499 70mm F2�5 Asph Summarit S������Mint- £1699 -1789 120mm F2�5 Apo Macro Summarit S ���������E+ £2199 120mm F2�5 CS Apo Macro Summarit S� E++ £2499 Mamiya 43mm F4�5 L + Finder E+ - E++ £749 -799 50mm F4�5 L + Finder��������������E+ - E++ £649 -699 210mm F8 L + Finder������������������������������� E++ £449 210mm F4 C�����������������������������������Exc - E+ £49 -99 Mamiya AF 80mm F2�8 AF��������E+ - E++ £189 -249 105-210mm F4�5 AF ULD�����������������E++ £349 -359 120mm F4 Macro MF ������������������������������� E++ £549 Nikon AF 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 12-24mm F4 G AFS DX ED���������������� E+ - E++ £249 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 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 18-105mm F3�5-4�5 G AFS ED DX VR��E+ - E++ £99 -109 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 AFS��������E++ - Mint- £369 -429 20-35mm F2�8 AF ���������������������������������������E+ £239 20mm F1�8 G AFS ED ������������������������������� E++ £519 20mm F2�8 AFD���������������������������������������Mint- £299

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 -689 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 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 28-100mm F3�5-5�6 AFG�������������������������������E+ £39 28-300mm F3�5-5�6 G ED AFS VR������������� E++ £469 28-85mm F3�5-4�5 AF�����������������������������������E+ £49 28mm F1�8 G AFS������������������������������������� E++ £279 28mm F2�8 AFD���������������������������������������� E++ £139 28mm F2�8 AFN������������������������������������������ E++ £99 35mm F1�8 G AFS DX ������������������E+ - Mint- £79 -99 45mm F2�8 D PC-E ED Micro�������������������� E++ £899 50mm F1�4 G AFS���������������������E+ - E++ £189 -219 50mm F1�8 G AFS�����������������E++ - Mint- £109 -139 55mm F2�8 AF Micro �����������������������������������E+ £199 60mm F2�8 AFD Micro������������������������������ E++ £199 60mm F2�8 AFS G ED Micro�������������������������E+ £279 70-200mm F2�8 G AFS ED VR���E+ - E++ £659 -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 F4-5�6 AF��������������������������������� E++ £49 70-300mm F4�5-5�6 G AFS VR��E+ - E++ £229 -299 70-300mm F4-5�6 ED AFD �����������E+ - E++ £69 -79 70-300mm F4-6�3 G AF-P VRE++ - Mint- £199 -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 105mm F2�8 AFS G VR Micro���Exc - E++ £299 -449 200-400mm F4 G VR AFS IFED ������������������E+ £1639 200-500mm F5�6 AFS VR ED �������������������� E++ £899 200mm F4 ED AFD Micro�������������������������Mint- £949 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���E++ - Mint- £1289 -1329 400mm F2�8 AFi IFED ��������������������������������E+ £1949 500mm F4 AFS IFED����������������������� E+ £1749 -1849 600mm F4 AFi ED D�����������������������������������E+ £1999 Zeiss 15mm F2�8 ZF�2 ��Mint- - Unused £1249 -1649 21mm F2�8 Milvus ZF�2 ���������������������������Mint- £869 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 135mm F2 Apo ZF�2�������������������������������� E++ £1049 135mm F2 Milvus ZF�2 ��������������������������Mint- £1199 Pentax 645 28-45mm F4�5 DA ED AW SR�Mint- £2799 -2899 35mm F3�5 AL (IF) FA�������������������������������� E++ £749 35mm F3�5 SMC-A��������������������������������������E+ £279 45mm F2�8 A����������������������������E+ - E++ £159 -199 55mm F2�8 FA AL SDM AW����������������������Mint- £479 80-160mm F4�5 A ���������������������������������������E+ £239 150-300mm F5�6 ED (IF) FA�������������������������E+ £379 150mm F3�5 SMC-A������������������������������������E+ £119 200mm F4 A�����������������������������E+ - E++ £149 -169 300mm F4 ED (IF) SMC-A*���������������������������E+ £499 300mm F5�6 EDIF A�������������������������������������E+ £349 400mm F5�6 ED (IF) FA��������������������������������E+ £299 1�4x Rear Converter A������������������������������� E++ £149 2x Converter��������������������������������������������������E+ £29 Pentax 67 45mm F4 SMC ������������������������� E++ £369 55-100mm F4�5 SMC����������������������������������E+ £399 135mm F4 SMC Macro�������������E+ - E++ £179 -219 165mm F2�8������������������������������������������������E+ £159 200mm F4 Takumar��������������������E+ - E++ £99 -149 300mm F4 SMC�������������������������������������������E+ £149 300mm F4 SMC M* ED (IF) ����������������������� E++ £499 300mm F4 Takumar��������������������������� Exc £159 -179 Pentax AF 14mm F2�8 SMC DA ����������������� E++ £399

15mm F4 DA ED AL Limited���������������������� E++ £249 16-85mm F3�5-5�6 ED DC WRE++ - Mint £299 -379 17-70mm F4 DA AL (IF) SDM������������E++ £239 -249 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++ £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+ - E++ £299 -349 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- £59 -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+ - E++ £249 -279 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 200mm F2�8 DA* ED (IF) SDM����E++ - Mint- £499 -549 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 Pentax Manual 28mm F2�8 SMC M���E+ - E++ £49 -59 35-70mm F4 SMC A��������������������������������������E+ £59 35-80mm F4-5�6 SMC A���������������E+ - E++ £15 -19 50mm F1�4 SMC M����������������������������������������E+ £59 50mm F1�7 SMC A�����������������������������������������E+ £59 50mm F1�7 SMC M��������������������������������� E+ £29 -59 50mm F2 SMC A��������������������������������������������E+ £29 50mm F2�8 SMC A Macro������������������� E+ £119 -149 50mm F4 SMC M Macro��������������������������� E++ £129 80-200mm F4�7-5�6 SMC F����������E+ - E++ £29 -49 135mm F3�5 SMC M��������������������������������������E+ £39 200mm F2�5 SMC����������������������������������������E+ £349 200mm F2�5 SMC PK ������������������������� E+ £199 -449 200mm F4 SMC M�����������������������������������������E+ £59 200mm F3�5 - Pentax Manual������������������������E+ £39 Rollei 6000 50mm F2�8 PQS �����������������������E+ £949 50mm F4 FLE PQ�������������������������������������� E++ £739 50mm F4 HFT Distagon�������������������������������E+ £249 75-150mm F4�5 PQ Vario ���������������������������Exc £949 80mm F2�8 HFT Planar��������������������������������E+ £199 120mm F4 PQ Macro�������������������������������� E++ £579 120mm F4 PQS Macro������������������������������ E++ £749 150mm F4 EL������������������������������������������� E++ £399 150mm F4 HFT��������������������������������������������E+ £199 150mm F4 PQ ���������������������������������������������E+ £279 180mm F2�8 PQ ��������������������������������������� E++ £939 250mm F5�6 PQ ������������������������������������������E+ £449 350mm F5�6 PQ Tele Tessar�������������������Mint- £1099 Sigma - Canon 10-20mm F4-5�6 EX DC HSM��E++ £159 8mm F3�5 EX DG Fisheye ������������������������� E++ £389 12-24mm F4�5-5�6 EX DG HSM ��������������� E++ £249 15mm F2�8 EX DG Fisheye ����������������������� E++ £299 17-35mm F2�8-4 EX HSM �����������������������������E+ £99 18-35mm F1�8 DC HSM ��������������������������� E++ £489 18-50mm F2�8 EX DC ������������������������������ E++ £119 20-40mm F2�8 DG ����������������������������������� E++ £159 20mm F1�8 EX DG ������������������������������������ E++ £249 28mm F1�8 EX DG ����������������������������������� E++ £159 30mm F1�4 EX DC HSM A������������������������Mint- £259 35mm F1�4 DG HSM A ����������������������������� E++ £479 50-500mm F4-6�3 Apo DG HSM �����������������E+ £289 50mm F2�8 EX DG Macro ��������������������������� E++ £99 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+ £249 120-300mm F2�8 EX HSM APO DG ���������� E++ £699 150-600mm F5-6�3 DG OS HSM Sport �������E+ £849 180mm F2�8 Apo Macro ��������������������������� E++ £159 300mm F2�8 APO EX DG HSM ��� E++ - Mint £1299 -1349 300mm F2�8 EX HSM ����������������������������������E+ £749 500mm F4�5 APO AF������������������������������������E+ £449 500mm F7�2 Apo ����������������������������������������E+ £149 Sigma - Nikon 10-20mm F4-5�6 EX DC HSM ���E+ £159 4�5mm F2�8 EX DC Fisheye HSM �������������� E++ £349 12-24mm F4�5-5�6 EX DG HSM���������������� E++ £249 15mm F2�8 EX DG Fisheye �������E+ - E++ £249 -299

17-50mm F2�8 EX DC OS HSM ������E++ - Mint- £209 18-50mm F2�8 EX �������������������������������������� E++ £99 24-70mm F2�8 IF EX DG HSM������������������� E++ £349 50-150mm F2�8 Apo EX DC HSM�����������������E+ £199 50mm F1�4 DG HSM �������������������������������� E++ £189 70-300mm F4-5�6 DG ������������������������������� E++ £49 85mm F1�4 EX DG HSM ��������������������������Mint- £419 100-300mm F4 Apo IF ��������������������������������E+ £249 150-500mm F5-6�3 APO DG OS HSM �Exc - E++ £239 -449 150mm F2�8 Apo DG HSM Macro ������������� E++ £499 Sigma - Pentax 17-50mm F2�8 EX DC HSM���E+ £99 35mm F1�4 DG HSM A ��������������������Mint- £399 -479 150-500mm F5-6�3 Apo DG OS HSM�������� E++ £349 300mm F2�8 EX APO �����������������������������������E+ £999 Sigma - Sony 10-20mm F3�5 EX DC HSM ���E+ £199 10-20mm F4-5�6 EX DC HSM ������������������ E++ £149 17-70mm F2�8-4�5 DC Macro������������������������E+ £99 20mm F1�8 EX DG ����������������������������������� E++ £199 24-70mm F2�8 IF EX DG HSM ������������������ E++ £299 28-200mm F4-5�6 ����������������������E+ - Mint- £29 -39 28-80mm F3�5-5�6 Asph ������������������������������E+ £39 28mm F1�8 EX DG ����������������������������������� E++ £199 70-210mm F4-5�6 UC �����������������������������������E+ £19 70mm F2�8 EX DG Macro ������������������������� E++ £199 300mm F2�8 Apo EX �������������������������������� E++ £799 400mm F5�6 �������������������������������������������������E+ £99 600mm F8 Reflex -����������������������������������������E+ £99 Mirrorless Fujifilm 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-E2s Body - Silver����������������������������������� E++ £249 X-E3 Body Only - Black���������������������E++ £399 -429 X-M1 Silver Body Only�������������������������������� E++ £99 X-Pro2 Body + Handgrip��������������������������� E++ £659 X-Pro2 Body Only�������������������������������������� E++ £649 X-T1 Body + VPB-XT1 Vertical Grip�����15_Day_Approval - E+ £199 -249 X-T1 Body Only��������������������������������������������E+ £219 X-T10 Black Body Only ������������E+ - Mint- £149 -199 X-T2 Black Body Only ���������������E+ - E++ £519 -539 X-T2 Body + MHG-XT2 Handgrip �������������� E++ £549 X-T2 Body + VPB-XT2 - Black������������������� E++ £549 X-T20 Body Only - Silver �������������������������Mint- £339 X-T3 Body Only - Black����������������������������Mint- £899 Leica CL + 18mm F2�8 - Silver Anodized� Mint- £2499 T Black + 23mm F2�������������������������������� E++ £1299 T Silver + 18-56mm Asph����������������������� E++ £1099 Nikon J1 Black + 10-30mm������������������������ E++ £79 S1 white + 11-27�5mm������������������������������ E++ £99 V1 Black Body Only����������������������������������������E+ £89 V1 White + 10-30mm������������������������������� E++ £149 Z50 Body Only �����������������������������������������Mint- £649 Olympus E-M1 II Body + HLD-9 Grip��������� E++ £839 E-M1 II Body Only���15_Day_Approval - E++ £599 -819 E-M10 III Body Only - Black �����������������������Mint £339 E-M5 Silver Body + HLD-6 Grip ���������������� E++ £199 E-M5 II Metal Grip��������������������������������������Mint- £15 Panasonic DC G9 Body + BG-G9 Grip�������Mint- £849 GH5 Body + BGGHG Battery Grip��������������� E++ £949 GH5 Body Only�����������������������������������������Mint- £989 GH5 Body + BGGHG Battery Grip��������������� E++ £949 GH5 Body Only������������������������������������������ E++ £849 G90 Body Only�������������������������������������������Mint £679 GF3 Body Only�����������������������������������������������E+ £49 GH4 Body + DMW-BGGH3 Grip����������������Mint- £499 GH4 Body Only���������������������������������������������E+ £419 GM1 Body Only����������������������������������������� E++ £149 GX8 Body Only�����������������������������������������Mint- £469 Sony Alpha 6300 Body Only������E+ - E++ £399 -459 Alpha 7 Body + VG-C1EM Grip������������������ E++ £449 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 Alpha A7 Body Only����������������������������������� E++ £449 Alpha A7 II Body Only �����������������������������������E+ £639


Digital Photography CANON EOS 6D MK2 BODY COMPLETE LOW USE �������������MINT- BOXED £895�00 CANON EOS 7D BODY���������������������������������������������������������MINT- BOXED £275�00 CANON 700D BODY WITH BATT & CHARGER �������������������������������� MINT- £195�00 FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE����MINT BOXED £295�00 FUJI XT-2 BODY COMPLETE WITH ALL ACCESSORIES �������MINT BOXED £595�00 FUJI XT-2 WITH FUJI 18-55mm OIS LENS COMPLETE��������MINT BOXED £795�00 FUJI X-T10 16�8 Mp BODY CHGR & 2 BATTS��������������������� MINT-BOXED £265�00 FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��������MINT BOXED £195�00 FUJI 18 - 55mm f2�8/4 R OIS XF ���������������������������������������������MINT BOX £325�00 NIKON D4S BODY WITH BATT AND CHARGER���������������������������MINT-- £1,875�00 NIKON D3 BODY WITH BATT AND CHARGER��������������������������������EXC++ £299�00 NIKON D7200 BODY COMPLETE LESS THAT 100 ACTS����MINT BOXED AS NEW £545�00 NIKON D600 BODY WITH 2 BATTS,CHGR��������������������������������������� MINT- £499�00 NIKON D7000 WITH CHARGER, BATT Etc ONLY 6334 ACT MINT-BOXED £269�00 NIKON D3000 WITH BATT AND CHARGER ���������������������������������������MINT £125�00 NIKON D300S BODY + BATT GRIP, BATT & CHARGER�����������������EXC++ £245�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�������� MINT-BOXED £195�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP������������������� MINT- £179�00 NIKON D90 BODY WITH 2 BATTERIES AND CHARGER ������������������ MINT- £175�00 NIKON ML-3 REMOTE CONTROL SET��������������������������������MINT-- BOXED £145�00 OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS����MINT CASED £299�00 OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD������������ MINT-BOXED £465�00 OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD ����MINT BOXED £225�00 OLYMPUS 75 - 300mm f4�8/6�7 MK 2 M ZUIKO ED ������������MINT BOXED £295�00 OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM������������������������MINT £79�00 PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS�������MINT BOXED £145�00 SONY DSC-RX100 WITH ERC CASE ������������������������������������ MINT-CASED £199�00 SIGMA 30mm F2�8 DN MICRO 4/3RDS��������������������������������MINT BOXED £115�00 METZ 44A/F1 FLASH UNIT FOR SONY DLSR��������������������������MINT BOXED £75�00

Canon Autofocus, Digital Lenses, Canon FD CANON 14mm f2�8 USM “L”���������������������������������������������EXC++ BOXED £599�00 CANON 24mm f1�4 “L” USM������������������������������������������������������������MINT £499�00 CANON 85mm f1�2 USM “L” MK II LATEST MODEL���������MINT BOXED £1,045�00 CANON 300mm f4 USM “L” IMAGE STABILIZER��������������������������� MINT- £595�00 CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £699�00 CANON 300mm f4 USM “L” IMAGE STABILIZER�����������������MINT CASED £689�00 CANON 24 - 105mm f4 USM “L” IMAGE STABILIZER MK IIMINT+HOOD £599�00 CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT CASED £599�00 CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £645�00 CANON 70 - 200mm f2�8 USM “L”��������������������������������������MINT BOXED £675�00 CANON 20mm f2�8 USM����������������������������������������������������������������EXC++ £245�00 CANON 28mm f2�8 EF ����������������������������������������������������������������������MINT £169�00 CANON 40mm f2�8 STM LENS & HOOD �������������������������������������������MINT £129�00 CANON 50mm f1�8 MARK 1 (VERY RARE NOW)������������������������������MINT £129�00 CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��������������������������MINT £345�00 CANON 50mm f2,5 COMPACT MACRO LENS�����������������������������������MINT £165�00 CANON 10 - 22mm f3�5/4�5 USM �������������������������������������������������EXC++ £295�00 CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ���������������������������MINT £445�00 CANON 17 - 85mm f4/5�6 EFS USM IS LENS + HOOD ��������������������MINT £125�00 CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��������������MINT £149�00 CANON 55 - 200mm f4�5/5�6 USM MK II + HOOD�����������������������������MINT £60�00 CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ������������������MINT £269�00 KENCO DG CANON FIT TUBE SET 12,20,36MM����������������������MINT BOXED £99�00 CANON EF 2�0X EXTENDER MK I������������������������������������������MINT BOXED £129�00 CANON EF 2�0X EXTENDER MK II ����������������������������������������MINT BOXED £165�00 CANON 580EX MK II SPEEDLITE����������������������������������������� MINT-CASED £169�00 CANON 580 EX SPEEDLITE���������������������������������������������������EXC++CASED £99�00 CANON 580 EX SPEEDLITE�������������������������������������������������� MINT-CASED £149�00 CANON 550 EX SPEEDLITE���������������������������������������������������� MINT-BOXED £89�00 CANON 550 EX SPEEDLITE���������������������������������������������������EXC++CASED £65�00 KENCO DG CANON FIT TUBE SET 12,20,36MM�������������������������������� MINT- £99�00 KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER���������MINT CASED £99�00 SIGMA EX 1�4 TELECONVERTER ��������������������������������������������������������MINT £75�00 SIGMA 14mm f2�8 EX HSM ASPHERIC ��������������������������������MINT CASED £365�00 SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II��������������������� MINT- £325�00 TAMRON 28 - 75mm f2�8 XR Di LENS LATEST �������������������������������MINT £345�00 TAMRON 70 - 300mm f4/5�6 SP Di VC ULTRASONIC���������� MINT+HOOD £225�00 TOKINA 12 - 24mm F4 IF DX ASPH AT-X PRO + HOOD������MINT BOXED £299�00

Contax ‘G’ Compacts & SLR & Ricoh CONTAX T WITH 38mm f2�8 SONNAR T* (RARE) ��������������� MINT-CASED £495�00 CONTAX 90mm f2�8 SONNAR “G” HOOD,FILTER,CAP���������MINT BOXED £179�00 CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*���������MINT BOXED £395�00 CONTAX TLA 140 FLASH FOR G1/G2�������������������������������������MINT CASED £65�00 CONTA AX BODY JUST SERVICED £400 REALLY NICE������������������ MINT- £395�00 YASHICA ML CONTAX FIT 28mm f2�8 �����������������������������������������������MINT £99�00 CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ���MINT BOXED £275�00 CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ���������������MINT £255�00 CONTAX 50mm f1�7 AE LENS ������������������������������������������������������������MINT £95�00 CONTAX 85mm f2,8 MM GREAT PORTRAIT LENS���������������MINT CASED £275�00 CONTAX 135mm f2�8 SONNAR WITH FILTER ����������������������������������MINT £175�00 YASHICA 135mm f2�8 CONTAX FIT�������������������������������������������������� MINT- £95�00 YASHICA 200mm f4 CONTAX FIT����������������������������������������������������� MINT- £90�00 CONTAX MAGNIFIER F2 ���������������������������������������������������������MINT BOXED £49�00 CONTAX TLA 30 WITH DIFFUSSER�����������������������������������������MINT CASED £69�00 CONTAX TLA 280 FLASH������������������������������������������������������������������ MINT- £59�00 CONTAX TLA 280 FLASH UNIT�����������������������������������������������MINT BOXED £75�00 CONTAX TLA 360 FLASH ������������������������������������������������������� MINT-CASED £65�00

CONTAX GD1 DATABACK FOR CONTAX T3��������������������������� MINT-BOXED £69�00

LEICA “M” , “R” , & SCREW & RANGEFINDER LEICA M2 CHROME BODY (REALLY NICE)���������������������������������� MINT- £1,175�00 LEICA IIIG BODY WITH 5cm f2 SUMMAR������������������������� MINT-CASED £1,295�00 LEICA MINILUX SILVER WITH 40mm f2�4 SUMMARIT ������������������ MINT- £575�00 MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ������������EXC++ £375�00 CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR ���������������������� MINT- £275�00 LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ������������������������EXC+++ £695�00 LEICA 50mm f2�8 COLLAPSIBLE ELMAR��������������������������������������� MINT- £375�00 LEICA 90mm f2 SUMMICRON BLACK E55,SUPERB LENS ������������� MINT- £895�00 LEICA 90mm f2�8 TELE ELMAR + HOOD ��������������������������������������� MINT- £395�00 LEICA 5cm f3�5 COLLAPSIBLE ELMAR ������������������������������������������ MINT- £225�00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M������������������������� MINT- £275�00 LEICA 90mm f4 ELMAR M MOUNT ������������������������������������������������ MINT- £165�00 LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE�������������MINT BOXED £375�00 LEICA 135mm f4�5 HEKTOR���������������������������������������������������������������EXC+ £75�00 LEICA 90mm FINDER �������������������������������������������������������������������������MINT £99�00 VOIGTLANDER BESSA R SCREW L39��������������������������������������������EXC++ £295�00 VOIGTLANDER 25mm f4 SKOPAR WITH FINDER ��������������������������� MINT- £325�00 VOIGTLANDER BESSA T WINDER�����������������������������������������MINT BOXED £149�00 LEICA 5cm f2 SUMMAR SCREW ���������������������������������������������������� MINT- £175�00 LEICA 90mm f4 ELMAR CHROME SCREW ���������������������������� MINT-CASED £99�00 LEICA 90mm f4 ELMAR BLACK SCREW ���������������������������������������EXC++ £145�00 LEICA 135mm f2�8 ELMARIT M WITH SPECS�����������������������������EXC+++ £299�00 LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT�����������������������������EXC++ £99�00 LEICA 135mmf4�5 HEKTOR IN KEEPER���������������������������������������EXC+++ £199�00 LEICA 135mm f4�5 HEKTOR + HOOD SCREW���������������������������������EXC++ £99�00 LEICA SF20 FLASH FOR M6 etc���������������������������������������������MINT BOXED £89�00 LEICA 14472 GRIP FOR M8/M9 etc �������������������������������������MINT BOXED £125�00 LEICA FONOR BLACK RANGEFINDER���������������������������������� MINT-CASED £175�00 LEICA R8 BLACK BODY WITH STRAP �������������������������������������������� MINT- £395�00 LEICA R7 BLACK BODY ������������������������������������������������������EXC++BOXED £325�00 LEICA R7 CHROME BODY��������������������������������������������������������������� MINT- £365�00 LEICAFLEX BODY CHROME ������������������������������������������������������������ MINT- £195�00 LEICA CURTAGON 35mm f4������������������������������������������������ MINT-BOXED £395�00 LEICA 50mm f2 SUMMICRON 2 CAM �����������������������������������������EXC+++ £299�00 LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR����������EXC++ £395�00 LEICA 90mm f2�8 ELMARIT 2 CAM������������������������������������������������ MINT- £299�00 LEICA 560mm f6�8 TELYT LENS WITH CASE AND����������������������EXC+++ £399�00 LEICA APO-EXTENDER 2 X ROM������������������������������������������MINT CASED £475�00

Binoculars LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ���������������������� MINT- £595�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN ��� MINT-CASED £275�00 KOWA BD 10x25 DCF COMPACT ROOF PRISM BINOS ��������MINT CASED £165�00 OPTICRON MMS 160 IMAGE STABILISED TRAVELSCOPE���MINT BOXED £225�00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS ���� NEW UNUSED £1,575�00 SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS���������������� MINT- £465�00

Medium & Large Format HASSELBLAD X PAN II WITH 45mm, STRAP, MANUAL�����EXC+++BOXED £3,750�00 HASSELBLA X PAN LEATHER EVER READY CASE ������������������������� MINT- £225�00 HASSELBLAD 30mm f5�6 ASPH & FINDER & C/FILTER��� MINT-BOXED £2,475�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������MINT BOXED £495�00 HASSELBLAD 500CM WITH 80mm cm AND LATE BACK ����������� MINT- £1,195�00 HASSELBLAD 28mm f4 HC FOR H SYSTEM����������������������MINT BOXED £1,075�00 HASSELBLAD 120mm f4 HC FOR H SYSTEM�����������������������������EXC++ £1,195�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������������������MINT £365�00 HASSELBLAD 150mm f4 SONNAR T* BLACK�������������������������������EXC++ £195�00 HASSELBLAD 150mm f4 SONNAR CF��������������������������������� MINT-BOXED £395�00 HASSELBLAD 150mm f4 SONNAR SILVER �����������������������������������EXC++ £175�00 HASSELBLAD 250mm f5�6 SONNAR SILVER �����������������������������������EXC+ £179�00 HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR���������MINT BOXED £2,995�00 HASSELBLAD GPS UNIT FOR H SYSTEM �����������������������������MINT BOXED £399�00 HASSELBLAD H13 EXT TUBE �����������������������������������������������������������MINT £165�00 HASSELBLAD PM90 PRISM FINDER ���������������������������������������������� MINT- £275�00 HASSELBLAD PME3 METERED PRISM FINDER ����������������������������� MINT- £275�00 HASSELBLAD VFC-6 METERED PRISM��������������������������������MINT BOXED £175�00 HASSELBLAD A12 BACK CHROME������������������������������������������������� MINT- £129�00 HASSELBLAD WINDER CW AND REMOTE����������������������������������������MINT £275�00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS�������������������EXC++ £325�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS �����������������EXC++ £295�00 BRONICA AUTO EXTENTION TUBE E-14���������������������������������MINT BOXED £45�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ����������������MINT BOXED £59�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI������������������������������������������MINT £75�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI���������������������������������������EXC++ £59�00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC��������������� MINT- £75�00 BRONICA MOTOR WINDER E���������������������������������������������������������EXC+++ £89�00 BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi�������������������������������MINT £179�00 BRONICA 50mm f2�8 PE FOR ETRS/ETRSi���������������������������������������MINT £199�00 BRONICA SPEED GRIP FOR ETRSW/ETRSi��������������������������������������� MINT- £49�00 BRONICA 150mm F3�5 ZENZANON S��������������������������������������������� MINT- £165�00 BRONICA PLAIN PRISM FOR SQAi/SQA������������������������������������������� MINT- £99�00 BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ���������������� MINT- £199�00 BRONICA 65mm F4 ZENZANON PS FOR SQ������������������������ MINT-CASED £145�00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �������� MINT-CASED £365�00 BRONICA 150mm F4 PS ZENZANON FOR SQ���������������������� MINT-CASED £145�00 BRONICA 180mm f4�5 PS LENS & CASE ���������������������������� MINT-BOXED £199�00 BRONICA SPEED GRIP FOR SQA/SQAI ��������������������������������������������� MINT- £69�00

BRONICA FILMBACK SQ-i220 FOR SQA/SQAi������������������������MINT BOXED £79�00 METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA������������MINT BOXED £150�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £199�00 MAMIYA 135mm f4�5 SEKOR FOR C220/33 etc������������������MINT CASED £150�00 MAMIYA 180mm f4�5 SEKOR FOR C220/330 etc����������������MINT CASED £145�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ���������������MINT £365�00 MAMIYA M645J COMPLETE WITH 80mm f2�8 ������������������������������ MINT- £299�00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC��������������������� MINT-CASED £365�00 MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ������������������������������������MINT £299�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ����������������������MINT £145�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £295�00 MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��������������������������������������MINT £199�00 MAMIYA 250mm F4�5 LENS FOR RZ ��������������������������������������������� MINT- £195�00 MAMIYA 210mm F4 SEKOR C FOR 645�������������������������������MINT CASED £195�00 MAMIYA 180mm F4�5 SEKOR FOR RB���������������������������������������������MINT £169�00 MAMIYA 220 BACK FOR RZ 67�������������������������������������������������������� MINT- £95�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ���������� MINT- £199�00 PENTAX 55mm F4 SMC FOR 6X7 ����������������������������������������������������MINT £175�00 PENTAX 55mm F2�8 FOR PENTAX 645��������������������������������MINT BOXED £199�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008������������� MINT- £575�00 YASHICAMAT 124G TWIN LENS WITH CASE ��������������������������������� MINT- £375�00 YASHICA 124G TELEPHOTO AUX LENS SET������������������������������������� MINT- £69�00

Nikon Auto-Focus & Digital, Lenses Accessories NIKON F5 BODY WITH MANUAL & STRAP �������������������������� MINT-BOXED £499�00 NIKON F5 BODY������������������������������������������������������������������������������ MINT- £465�00 NIKON F4 BODY�����������������������������������������������������������������������������MINT-- £375�00 NIKON F4 BODY�����������������������������������������������������������������������������EXC++ £325�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE�������������������������MINT BOXED £325�00 NIKON 28mm f2�8 A/F����������������������������������������������������������������������MINT £125�00 NIKON 28mm f2�8 A/F “D” ���������������������������������������������������������EXC+++ £145�00 NIKON 35mm f1�8 “G” ED AF-S L��������������������������������������MINT + HOOD £325�00 NIKON 35mm f1�8 “G” DX AF-S LATEST����������������������������� MINT+HOOD £115�00 NIKON 35mm f2 A/F “D” ��������������������������������������������������������������MINT-- £195�00 NIKON 50mm f1�8 A/F “D” WITH HOOD ������������������������������������������ MINT- £85�00 NIKON 50mm f1�4 “G” AF-S SWM������������������������������������������������� MINT- £225�00 NIKON 50mm f1�8 “G” AF-S WITH HOOD����������������������������������������MINT £139�00 NIKON 60mm f2�8 MICRO NIKKOR A/F “D” + HOOD�����������MINT BOXED £195�00 NIKON 85mm f1�8 A/F�������������������������������������������������������������������� MINT- £165�00 NIKON 85mm f1�8 A/F “D” + HOOD �������������������������������������������EXC+++ £195�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�������������������������������� MINT- £399�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S����������������������������MINT BOXED £395�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��������������������������� MINT-CASED £365�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �������������������� MINT-CASED £999�00 NIKON 16 - 80mm f2�8-4EAF-S VR ED DX + HOOD ������������MINT CASED £545�00 NIKON 18 - 105mm f3�5/5�6 “G” AF-S ED VR WITH HOOD����������� MINT- £145�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL����MINT BOXED £745�00 NIKON 28 - 105mm f3�5/4�5 A/F “D” MACRO�������������������MINT + HOOD £145�00 NIKON 28 - 300mm f3�5/5�6 “G” ED IF AF-S VR ASPH������� MINT+HOOD £475�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS���������������������������������������������EXC++ £49�00 NIKON 70 - 300mm f4/5�6 AF “D” ED + HOOD����������������������������� MINT- £125�00 NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST �������� MINT-BOXED £899�00 NIKON 80 - 400mm f4�5/5�6 d EF ED VR LENS ������������������ MINT-BOXED £495�00 NIKON DR-6 RIGHT ANGLED FINDER�����������������������������������MINT BOXED £145�00 NIKON TC-14E II TELECONVERTER ��������������������������������������MINT BOXED £225�00 NIKON TC-17E II TELECONVERTER ��������������������������������������MINT BOXED £225�00 NIKON TC20E III 2X AF-S TELECONVERTER ������������������������MINT BOXED £285�00 NIKON TC20E II 2X AF-S TELECONVERTER ������������������������ MINT-BOXED £175�00 NIKON DR4 RIGHT ANGLE FINDER�����������������������������������������MINT BOXED £89�00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ������������������������ MINT- £75�00 SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM ������������������������ MINT-BOXED £199�00 SIGMA 300 - 800mm f5�6 EX DG APO HSM �������������������� MINT-CASED £3,695�00 TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO ��������MINT BOXED £299�00 TOKINA 11 - 16mm f 2�8 AT-X PRO DX WITH HOOD�����������MINT--HOOD £245�00 TOKINA 80 - 400mm f4�5/5�6 AT-X D����������������������������������MINT BOXED £245�00 TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��������MINT BOXED £245�00

Nikon Manual Focus NIKON F3 BODY UNUSED FROM A COLLECTION NEW���������MINT BOXED £895�00 NIKON F3 HP BODY ������������������������������������������������������������������������ MINT- £545�00

NIKON FM2n CHROME BODY ��������������������������������������������������������� MINT- £295�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP����������������������������MINT BOXED £165�00 NIKON F3 BODY��������������������������������������������������������������������������������EXC+ £245�00 NIKON FM2n CHROME BODY ������������������������������������������������������EXC+++ £245�00 NIKON FM2 CHROME BODY ����������������������������������������������������������EXC++ £199�00 NIKON FE CHROME BODY �������������������������������������������������������������EXC++ £125�00 NIKON FE CHROME BODY �������������������������������������������������������������� MINT- £145�00 NIKON FM BLACK WITH MF-16 BACK ����������������������������������������EXC+++ £169�00 NIKON FM BLACK��������������������������������������������������������������������������EXC++ £145�00 NIKON FE2 BLACK BODY���������������������������������������������������EXC++ BOXED £225�00 NIKON F2 A BLACK BODY �����������������������������������������������������������EXC+++ £245�00 NIKON F2 A BODY FULLY WORKING ������������������������������������������������EXC+ £199�00 NIKON F2 PGOTOMIC BLACK BODY����������������������������������������������� MINT- £399�00 NIKON F2 BODY FULLY WORKING����������������������������������������������������EXC+ £169�00 NIKON F2 PHOTOMIC BODY CHROME�������������������������������������������EXC++ £275�00 NIKON F2 PHOTOMIC BODY CHROME����������������������������������������������EXC+ £199�00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS���������������������EXC++ £250�00 NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4������������������ MINT- £399�00 NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS���������EXC++ CASED £145�00 NIKKORMAT FT CHROME ��������������������������������������������������������������EXC+++ £75�00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ����������������EXC++ CASED £165�00 NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ���������������������������MINT £599�00 NIKON 20mm f2�8 AIS�������������������������������������������������������������������� MINT- £325�00 NIKON 24mm F2�8 AIS SUPERB SHARP LENS������������������������������MINT-- £199�00 NIKON 28mm f2�8 AI������������������������������������������������������������������������MINT £165�00 NIKON 35mm f1�4 AIS REALLY SHARP LENS�������������������������������EXC++ £299�00 NIKON 45mm F2�8 GN NIKKOR ������������������������������������������������������ MINT- £199�00 NIKON 50mm f1�4 Ai���������������������������������������������������������������������� MINT- £195�00 NIKON 50mm f1�8 AIS SHARP LENS��������������������������������������������������MINT £89�00 NIKON 55mm f2�8 MACRO AIS ������������������������������������������������������ MINT- £165�00 NIKON 105mm f2�5 AI SUPERB SHARP LENS�������������������������������� MINT- £165�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��������������������MINT BOXED £295�00 NIKON 135mm f2�8 AIS������������������������������������������������������������������ MINT- £125�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00 NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS�����MINT-CASED £1,295�00 NIKON 1000mm f11 MIRROR LENS WITH CAPS���������������������������EXC++ £495�00 NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS��������������� MINT- £169�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��������������������������EXC++ £119�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������� MINT- £145�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������EXC+++ £99�00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3 ���������������MINT £145�00 NIKON PK13 AUTO EXTENSION RING������������������������������������ MINT-BOXED £55�00 NIKON PK12 AUTO EXTENSION RING����������������������������������������������EXC++ £49�00 NIKON PK11 AUTO EXTENSION RING�������������������������������������������������MINT £49�00 NIKON TC 200 CONVERTER����������������������������������������������������������������MINT £69�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2������������������ MINT-CASED £115�00 NIKON SB 16 FLASH FOR F3�����������������������������������������������������������EXC++ £65�00

Olympus Manual OLYMPUS OM4 BLACK BODY��������������������������������������������������������EXC++ £225�00 OLYMPUS OM2 SP�������������������������������������������������������������������������EXC++ £129�00 OLYMPUS 38mm f2�8 ZUIKO MACRO LENS������������������������ MINT-CASED £299�00 OLYMPUS 50mm f1�8 ZUIKO LENS �������������������������������������������������� MINT- £30�00 OLYMPUS 50mm f1�8 ZUIKO LENS ����������������������������������������MINT BOXED £49�00 OLYMPUS 80mm f4 ZUIKO MACRO LENS��������������������������� MINT-CASED £175�00 OLYMPUS 135mm f3�5 ZUIKO LENS ������������������������������������� MINT-CASED £69�00 OLYMPUS 2x TELECONVERTER��������������������������������������������� MINT-CASED £35�00 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE������������������������������������MINT £95�00 OLYMPUS VARI-MAGNIFINDER����������������������������������������������MINT CASED £49�00 OLYMPUS T32 FLASH UNIT����������������������������������������������������MINT CASED £35�00 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST FOR MACRO, FLASH ��������������������������������������������������������������������������������������������������������������������� PHONE PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION ��������������������������������������������������������������������������������������������������������������������� PHONE

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


VISIT OUR WEBSITE - UPDATED DAILY

www.parkcameras.com OR CALL US 7 DAYS A WEEK

01444 23 70 60 Experts in photography

Unbeatable stock availability

61.0

3.0”

10 fps

4K

IS

Sony’s full-frame mirrorless a7R IV reveals ever more overwhelming photographic vision, with expressive prowess once expected only in mediumformat cameras, and remarkably high speed in a compact body.

Body only £6,499.00

Body only £3,499.00

12 MONTHS 0% FINANCE AND £500 TRADE-IN BONUS! See in store or online for full details.

12 MONTHS 0% FINANCE AND £350 TRADE-IN BONUS! See in store or online for full details.

Capture your life with more creative control

32.5

MEGA PIXELS 14 FPS

Body only +15-45

£869

Canon EOS 850D

.00

IS STM

£1,049

.00

NOW IN STOCK! See website to learn more.

Take the next step in creative control, capturing beautifully detailed photos and stunning 4K movies with a lightweight and connected DSLR that inspires and rewards.

DUE APRIL! from £819.00 Canon EOS R

32.5

26.2

30.3

Body only +18-55

£1,149

.00

IS STM

£1,299

.00

12 MONTHS 0% FINANCE! See website to learn more.

0% Finance

MEGA PIXELS 6.5 FPS

Body only

£1,174

.00

Add a BG-E21 grip for only £195.00

12 MONTHS 0% FINANCE! See website to learn more.

MEGA PIXELS

15 fps

3.0”

4K

Samyang 14mm

f/2.8 - Nikon Z Mount

MEGA PIXELS

0% Finance

8 FPS

Body only

£1,899

.00

Add a BG-E22 grip for only £250.00

12 MONTHS 0% FINANCE! See website to learn more.

Our Price

£235

.00

Spread the cost with finance options.

Samyang 50mm

f/1.4 AF - Sony E Mount

*Normally £335. Offer ends 05.04.2020

Samyang 85mm

f/1.4 AF - Sony E Mount

SAVE £84*

£365

.00

£679

.00

+16-50mm

£749

.00

See website for full details and to place an order!

Body only +18-135mm

£1,399

.00

£1,749

Body only

£1,749

.00

£150 trade-in bonus available! Call us on 01444 23 70 60

15 fps

SAVE 5% on Sony FE lenses with the A7 III

Sony FE 200-600mm

NEW!

20.4

.00

12 MONTHS 0% FINANCE! See website to learn more.

f/5.6-6.3 G OSS

Our Price

£1,799

See website to watch our review!

.00

Spread the cost with our finance options. See web.

only £949

MEGA PIXELS

0% Finance

MEGA PIXELS 10 FPS

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

3.0” SAVE

A fully portable design, coupled with £100! Body only £1,599.00 uncompromising image quality under all + 12-40mm £2,099.00* conditions, makes the E-M1 Mark III your voucher code OLYMPUS SAVE 100 *Use ultimate tool for getting breathtaking results.

Olympus E-M10

Offer ends 30.04.2020. See in store or online to learn more.

Our Price

24.2

MEGA PIXELS 11 FPS

Offer available 16.03.20 - 23.03.20

Purchase the FUJIFILM X-T4 and benefit from up to £500 OFF selected lenses!

SAVE £100*

24.2

4K

f/1.8 G

The Fujifilm X-T4 is the world’s fastest APS-C mirrorless camera with 15fps, features all new in-body stabilisation and a host of video options with 4K at 60P or Full HD at 240P.

Available in Black or Silver Body Only £1,549.00 +18-55mm £1,899.00 +16-80mm £1,949.00

24.2

! EW N

26.1

Sony a7 III

Sony FE 20mm

om fr e ril bl p ila -A va id A M

Photography in motion

Sony Alpha 6600

Body only

Canon EOS 6D Mark II 0% Finance

Sony Alpha 6100 MEGA PIXELS

Canon EOS 90D MEGA PIXELS 10 FPS

NEW!

!

MEGA PIXELS

When conditions are tough, the light is poor but the pressure’s on, the EOS-1D X Mark III lets you capture winning images before the competition. It’s the ultimate creative toolkit, with superb low-light performance, deep learning AF and 5.5K Raw video.

Canon EOS M6 Mark II

us 50bon £3

4K

3.2”

UK stock in ead Tr

! ON! SO G EW IN

M

20 fps

CO

20.1

MEGA PIXELS

N

&

Built for speed, reliability and productivity

Competitive low pricing

Spread the cost with finance options.

*Normally £449. Offer ends 05.04.2020

SAVE £114*

Our Price

£425

.00

Spread the cost with finance options.

*Normally £539. Offer ends 05.04.2020

16.1

Olympus E-M5

III

8 FPS

FREE LENS

Body only

+14-42 EZ

£349

£449

MEGA PIXELS

.00

.00

20.4

Olympus E-M1X

III

FREE LENS

MEGA PIXELS 10 FPS

Body only +12-200mm

£1,049

.00

£1,499

.00

20.4

MEGA PIXELS 15 FPS

Body only +12-100mm

£2,199.00 £3,248.00

Claim a FREE 45mm f/1.8 lens from Olympus! Ends 23.03.20

Claim a FREE 45mm f/1.8 lens from Olympus! Ends 23.03.20

Benefit from a 5-year warranty courtesy of Olympus UK.

Manfrotto Befree GT

Manfrotto 055

Manfrotto Pro Light 3N1-36

Carbon Fibre Twist Lock with Ball Head MKBFRTC4GT-BH

Our Price

£259

.00

See website for even more Tripods!

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

4 section Carbon Fibre Tripod

Backpack

MT055CXPRO4

MB PL-3N1-36

Our Price

£299

.00

See website for more 055 Tripods!

½ price XPRO head when bought with this tripod!

Our Price

£119

.00

See website for more Manfrotto Bags!

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

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

£400 TRADE-IN BONUS! WHEN PRE-ORDERING THE NIKON D6

Applicable to selected Nikon cameras. All prices include VAT. See website for our opening times for both our London and Burgess Hill stores. All products are UK stock. E&OE. Please mention “Amateur Photographer” when placing an order. Prices correct at time of going to press; Prices subject to change; check website for latest prices.

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



To advertise here, call Samuel Shaw : 07970 615618 Email samuel.shaw@ti-media.com Wanted CAMERA COLLECTIONS

WANTED

CLASSIFIED Accessories

www.peterloy.com

Film Processing

Black & White Processing

Top Quality 35mm / 120 C41

DEVELOP & SCAN jpeg £5 - tiff £10 per film including

WeTransfer Link and Free Return Postage

www.bcephotolab.com

WANTED FOR CASH OR COMMISSION

Call us: 020 8867 2751 We can come to you (UK & Europe)

17 Northgate, Bradford BD1 3JR Tel: 01274 723622 / 01274 729144

PROFESSIONAL B/W COLOUR PRINTING Hand Processing all types of films from 35m-5x4 Develop and Contacts £7.00 each 2 or more film £6.00 each Develop, 5x7s @ £15 per roll All printed on genuine b/w, colour papers. Any orders over £30, you will receive a FREE film!! Phone for price list of all services:

01442 231993 • www.khwp.co.uk Send cheque + £2 pp All work sent back first class post. Karl Howard, 16 Chalfont Close, Hemel Hempstead, Hertfordshire, HP2 7JR

Cameras For Sale

Film Cameras: Leica M,Leica R6-2/R8/R9,Leica Screw Leica copies, Nikon Rangefinder,Nikon F6/F5/F2H/F2T Canon F1,Contax RTSII/RTSIII/RXII/S2/N1/G1/G2/T/T2/T3 Contax 645,Bronica RF645/GS1/SQAi,Fuji 6x7/6x9/6x17 Hasselblad,Rolleiflex TLR,Rollei SL66/SL66E/SL66SE Konica Hexar, Mamiya 6/7/RZ67/645AFD,Pentax 67 Plaubel 670/W67/69W,Konica Hexar,Voigtlander Bessa Alpa,Compass,Ducati,Ektra,Foca,Gami,Ilford Witness Rectaflex,Robot,Tessina,Zeiss Contarex/Contax/Tenax Digital: Medium/High-End Nikon,Canon EOS,Sony,Fuji Leica M-Series/S-Series/X-Series/DMR/Q/SL Typ 601 Hasselblad H-Series,Pentax 645D/645Z,Phase One, Leaf Panoramic: Hasselblad XPan,Linhof Technorama etc Large Format: Arca,Ebony,Horseman,Linhof,Sinar etc Unusual Lenses: Angenieux,Astro Berlin,Boyer Cooke, Dallmeyer,Goerz,Kilfitt,Kinoptik,Meyer,Old Delft Pasoptik,Ross,Som Berthiot,Taylor Hobson,Zunow etc Binoculars: Leica,Zeiss,Hensoldt,Opticron,Swarovski Contact us now for our best price. Estate sales welcome. We can arrange free collection from you and delivery here for transactions over £500. Tel: 01736 719461 Fax: 01736 719538 Email:pwalnes@truemesh.com Website:www.peterwalnes.com Peter Walnes,PO Box 332,Penzance,Cornwall TR18 9DP

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

Free Collection Contact Jonathan Harris for an immediate quote: info@worldwidecameraexchange.co.uk or phone 01277 631353 Same-day Payment

CAMERA HOUSE SALES & SERVICE - 07811 401 219 sales@camera-house.co.uk www.camera-house.co.uk

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65


Photo Critique

Final Analysis Damien Demolder considers...

‘David Cameron’, 2008, by Tom Stoddart

A controlled situation What has sparked this train of thought is this stunning image by photographic hero Tom Stoddart. The occasion was the 2008 Conservative Party conference in Birmingham, and David Cameron was ploughing through a series of 22 TV interviews. I imagine the situation was heavily controlled by PR people and that Cameron had been busy side-stepping the questions he didn’t want to answer so he could present a positive image of himself and the party to the world.

© TOM STODDART / HULTON ARCH VE / GETTY MAGES

O

nly a very small part of photography is actually about cameras, lenses, apertures and shutter speeds. It’s a terrible shame as those things are relatively easy to master and life as a photographer would be very much simpler if technicalities were all we had to learn. I spent a long time learning about them, and don’t regret a minute spent in that pursuit, but I have to admit that in my early days I assumed that extensive technical knowledge would lead automatically to photographic greatness. With (lots of) time, of course, I came to appreciate that creating great pictures is more about the person you are, your understanding of the situation in front of you, having something interesting to say and a good deal of quick thinking. As a slow developer these essential elements are absent from most of my early efforts, leaving me with technically correct pictures that don’t hold many nuggets of intellectual excitement.

The pressure on him must have been intense at that time as the country was in the throes of a dramatic financial crisis, and the Lehman Brothers collapse had happened only a couple of weeks before. The world would have been looking for answers he probably didn’t have. I guess this shot was taken between interviews and is probably the most honest illustration of the occasion. With the PR machine putting all its effort into keeping up appearances while the broadcasts were rolling, this moment of truth slipped between the sleeping sentries when the TV cameras were silent. To get this kind of shot you need to be fully engaged with the situation and to be reading the action as it happens. It would be easy to shoot what is

expected – to record images of a Prime Minster conducting interviews at a Party Conference. Instead, by keeping his attention on the subject and understanding the crisis at hand, Tom has diverted around the stage management to take us to the core of the moment. His picture, I’m sure, reveals far more about the occasion than any of the carefully managed TV interviews could have done. This isn’t just a snapped moment however. The photographer has taken the time to compose the elements in the scene so that we can concentrate on the subject. Cameron has been positioned very carefully between the struts of the window, neatly within the left third of the frame and we have a very nice artistic reflection in the table

top. The TV camera on the right explains the context, and by printing-in the background – which no doubt needed some heavy finger rubbing in the developer – we get to see some of Birmingham too. Of course, the reason Tom was able to see this picture as well as capture it in the few fleeting moments Cameron had his hand to his face, is that he was completely familiar with his camera and fully conversant with the technicalities required for expressing his message in a photograph. Technicalities are not enough on their own, and more than once a good eye and a quick wit have been short-changed by a lack of practical knowledge. For consistent success, and to be photography heroes, we also need to nurture both sides of the discipline.

Photographer and journalist Damien Demolder has worked in the photographic publishing industry since 1997 and is the former editor of Amateur Photographer. He writes regularly about photography for a number of leading publications and has also been a judge on a number of prestigious international photo competitions. See his website at www.damiendemolder.com. 66

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