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7days S E G A M I Y T T EG © E R U T C I P R E V O C

Travel broadens the mind, feeds the soul, and provides endless opportunities for the curious photographer. After an enforced hiatus for the travel industry things are gradually starting to return to normal and travel enthusiasts have started to think about, and to plan, their next adventures, whether for 2022 or beyond. This issue is packed with tips and inspiration for great travel

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.ed@kelsey.co.uk with your letters, opinion columns (max 500 words) or article suggestions. PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to ap.ed@kelsey.co.uk. JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.

A photographer captures the sun rising behind Kirkjufellsfoss, Iceland, one of the destinations of our new AP Photo Tours

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This week in 1932

TREASURES FROM THE HULTON ARCHIVE

In this issue

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photography to bucket-list places like Cuba and Japan, as well as places closer to home. This week we also launch our very own range of photo tours. Working in partnership with one of Europe’s most experienced and prestigious photo tour operators we’re kicking off with a selection of wonderful trips to some great locations in the UK and around the world, led by some of the world’s most respected photographers. Find all about this exciting new venture on page 58. Nigel Atherton, Editor

3 7 days 14 Plan to succeed 22 Inbox 24 Paradise found 28 APOY R6 winners 36 Textures of travel 42 Photo stories 44 From Instagram to a book deal 48 Human landscapes 54 King of the castles 58 Capture the world with AP 64 APOY launch R8 67 Tech talk 68 Behind the print 70 Reader portfolio 72 Panasonic Lumix LX100 II ﬁeld test 78 Travel acccessories 85 Buying Guide: Cameras 98 Final analysis

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Leaving London

by Fox Photos

Comedy duo Stan Laurel (1890-1965) and Oliver Hardy (1892-1957) wave goodbye as their train pulls out of Paddington Station, London, en route to America. The famous duo have appeared together in no less than 107 films – including 32 short silent films, 40 short sound films and 23

full-length feature films. After wrapping up their film commitments in 1944, the pair concentrated instead on stage shows with a music hall tour of England, Ireland and Scotland. A French-Italian co-production called Atoll K, made in 1950, was their last film together.

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.

18-21 September 2021

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

AP picture of the week Noctilucent Clouds

by Stephen Smith

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Sony A7 III, Rokinon 12mm lens, 1/30sec at f/4 ‘I’m a long-haul business jet pilot operating across the world with a huge passion for photography,’ says Stephen. ‘I enjoy capturing and sharing my experiences from new destinations, cultures and often images from the cockpit. At around 249,000 to 279,000ft, Noctilucent clouds light up a beautiful twilight sky over Canada, high up in the Arctic circle during our 11-hour ﬂight back to Europe. It requires a particular set of variables to come together for these amazing clouds to become visible and we were lucky enough to enjoy

Carefree Friends

them from our cockpit at 41,000ft. Yet another Atlantic crossing to remember.’ His Instagram is www.

by Ansardeen

Canon EOS 77D, 50mm f/1.8, 1/1250sec at f/2.8, ISO 160

instagram.com/thegeordiepilot.

‘This photograph was taken in a village – in Thanjavur, Tamilnadu, India,’ says Ansardeen A. ‘The children were playing in the ﬁeld so I stopped them to take their picture. There was no special technique employed, other than having the patience to handle people and the ability to get them to smile.’ His

Win!

Instagram is @ansrdeen.

#appicoftheweek

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Each week we choose our favourite picture on Facebook, Instagram, Flickr or Twitter 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.

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The Blue City Corner by Christopher Smith

Sony Alpha A7 II, Sony FE 24-240mm, 1/320sec at f/8, ISO 100 ‘This picture was taken in the streets of Chefchaouene, Morocco, also known as

We also liked...

The Blue City,’ explains Christopher. ‘My wife and I had just come out of a small shop and the ﬁrst thing that struck me were the shadows. The coolness of the walls of the city and the bright sun created a fun contrast.’ Christopher’s Instagram is @picsbysmitty.

London Panorama

by John McLester

Nikon Coolpix AW100, 5 images stitched ‘This picture was taken with a Nikon AW100 tough compact from a ﬂat where I was installing a fan,’ says John, who is an electrician based in London. ‘It was a combination of ﬁve overlapping pictures joined together with the Microsoft image composite editor. Leaning out of the building to take this sequence would not be a good idea for anyone suffering with vertigo!’

Want to see your pictures here? Share them with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Or email your best shot to us at ap.ed@kelsey.co.uk. See page 3 for how to ﬁnd us. 6

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Honor CEO George Zhao reveals the camera features The portable off-camera flash from Elinchrom is battery powered

Elinchrom’s the ‘One’

New additions to AP’s online team WE ARE pleased to announce the latest member of the AP team, Joshua Waller (pictured), who is joining us as online

ELINCHROM has released its ﬁrst

editor. Joshua is a highly experienced online photography

battery-powered monolight, the

journalist and reviewer, who worked as technical editor on

Elinchrom One. The unit enables up to 725

ePhotozine for a decade. ‘I’m excited to be joining AP , with its long

full-power ﬂashes on a single charge, and

history,’ said Josh. ‘I’ve been reading the magazine before I ever

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lumens. The One can also be connected to

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a power source and continue shooting

photography gear.’ Joshua will be working alongside another new

while the battery is charging. Prices start at

recruit, Jessica Miller, who joins AP as online editorial assistant.

£799, with accessories starting at £24.

We’ve got some exciting plans for our website, so keep checking

See theﬂashcentre.com.

it out at www.amateurphotographer.co.uk.

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In the UK, research shows more than half of photographers and videographers have kit they haven’t used in two years. Every single hidden-away camera and forgotten lens has potential. And that’s why MPB is here.

Do you have any kit you haven’t used in years? Sell directly to MPB. Or trade in the kit you have for the kit you want. MPB makes it easy to free up funds. We’ll give your setup a whole new life. Find out how much you could get for your kit with a free instant quote. MPB will pick up your kit for free and pay you within days. Plus, you get free delivery on any used kit you buy in exchange. Research conducted by Opinium on behalf of MPB between 17-21st December 2020, among a sample of 4,000 professional camera kit owners in the UK, US and EU.

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Viewpoint Jon Bentley

Appreciating the myriad ways that photographers have used mirrors and reﬂections

on’t ignore the potential of mirrors. Not for the first time Mrs Bentley taught me a valuable lesson the other weekend. We were in London visiting the magnificent eighteenth-century Painted Hall in Greenwich. With its ceiling by Sir James Thornhill it is, with some justification, referred to as the British Sistine Chapel. While I was pottering about admiring Sir James’s brushwork, Mrs Bentley had spotted the photographic potential of the mirrors installed so people can get a good view of the masterpiece without craning their necks. By carefully aligning the ceiling with its reflection and the couches, also available for visitors to lie on to help viewing, she created a delightfully surreal view of the space using her venerable iPhone SE. Mirrors are, of course, an amazing photographic tool. Most obviously they can ease the photographer into their own shots – chance encounters with mirrors helping to create fleetingly easy self-portraits without the self-conscious arm of the selfie or the spontaneitysapping need to erect a tripod and engage the self-timer. Vivian Maier made an art out of these mirrored selfie shots. And not just with mirrors per se. She was well used to finding them disguised as shop windows, chrome hubcaps and even ashtrays. Mirrors can also help you go incognito, disguising the fact that you’re pointing the camera at a subject, and allowing you to capture a more natural expression. With a bit of juggling you can incorporate different angles on a subject in one frame; multiple portraits, or an event and a crowd’s reaction to it, for example. There’s a whole range of perspective tricks to exploit. Mirrors can make a small space appear bigger while a 45-degree mirror in front of the camera gives an instant worm’s eye view of anything directly above. Pairs of mirrors famously create infinite tunnels of repetition; add more and there’s a whole

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Mrs Bentley’s image of the Painted Hall kaleidoscope of effects to be enjoyed. The fact that the focusing plane of the reflection is different to the surface itself – actually the same distance behind the mirror as the subject is from it – adds to the other-worldly effect. It’s used to good effect in Jackson Moyles’s image of Glasgow band The Ninth Wave reflected in a cracked mirror, recently featured in BBC Four’s Great British Photography Challenge. Then there’s all the associations mirrors bring. The glamour and tension of the backstage makeup mirror or the sense of journey embodied in the humble car door mirror. Pieces to camera in these became a bit of a cliché back in my car shooting days but they still convey a feeling of road trip mythology. While the seaside distorting mirrors of old are now a rarity, there are still a great many intriguing reflective surfaces to be found – from blind spot mirrors and Christmas decorations, to kettles and kitchen foil. So, take a lesson from Mrs B; keep your eyes alert and embrace the power of reflections.

Summer

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2 EASY WAYS TO SUBSCRIBE

Visit shop.kelsey.co.uk/AP821 Call us on 01959 543 747 and quote AP821 *Offer available to new UK based subscribers paying by Quarterly Direct Debit including print and digital editions, available until August 31, 2021. You will pay £13 for your first 13 issues, then continue to pay £24.99 every 13 issues thereaﬅer – still saving 62% off the usual shop price. Discounts are calculated on the full cover price and digital edition download fee. For overseas credit/debit card offers, visit our website at shop.kelsey.co.uk. For digital subscriptions, visit shop.kelsey.co.uk/ amateurphotographer. Calls charged at your local network rate. Order lines open 8am-5.30pm, Monday-Friday. Full T&Cs can be found at shop.kelsey.co.uk/terms. Kelsey Publishing takes your privacy seriously and will only use your personal information to administer your account and to provide the products and services you have requested from us. We will only contact you about our

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From the archive

Nigel Atherton looks back at past AP issues

The ultimate long telephoto zoom for L-Mount and Sony E-mount systems.

A chance to ‘win a night with Man Utd’

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Made in Aizu.

28 August 1999 THIS week in 1999 AP was offering readers the chance to spend the night with Manchester United. Steady on, it wasn’t what it sounds like – although with Ryan Giggs in the team, who knows? The prize was part of a £5,000 package of prizes generously donated by Canon, which included the chance for 12 readers to photograph a Champions League match at Old Trafford in the delightful company of AP’s Damien Demolder, a night in Manchester in a 4-star hotel, and one of 12 camera kits ranging from the ﬁrst prize of an EOS 300 kit worth £429 (equivalent to £775 today) to a Canon SureShot 85 compact worth £100 (£178). For just 70% of the cost of Canon’s lowly point-and-shoot you could buy the ‘cheap, cheerful and very Russian’ Zenit 312M. A new SLR for £70? That’s just £126 in today’s money, which sounds too good to be true, and unfortunately it was. The generally ‘poor build quality’ and the fact that the meter didn’t work on the test sample meant that even at this price AP could not bring itself to recommend it. Also in this week’s issue, an exhibition at the RPS of the wonderful work of the hugely respected Guardian photographer Denis Thorpe was the hook for a six page proﬁle by Guardian Picture Editor and regular AP columnist Eamonn McCabe. AP’s weekly Pictures of the Century series told the story behind Tony Duffy’s iconic shot of Bob Beamon breaking the long jump world record at the 1968 Olympics – a record not beaten for 23 years. 12

Denis Thorpe is known for his documentary photography of the north of England

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Technique PLANNING A TRIP Tracy Calder

Tracy has more than 20 years of experience in the photo magazine industry and has written numerous

Plan photography books. In 2018 she co-founded Close-up Photographer of the Year – a competition celebrating

close-up, macro and micro photography (www.cupoty.

com). Visit Instagram: @tracy_calder_photo.

to succeed

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Don’t overdo it

Do a recce

trip but weighing yourself down will only result in

If you want to ﬂy

more time thinking about equipment and less time

around a mountain

focusing on what is actually in front of you. If you’re

range or dip into a

not sure what to take and what to leave, then let

valley to ﬁnd the

the past guide you. Take a sample of your favourite

best vantage point

shots and look at the EXIF data. If you use a

for your images,

24-70mm zoom most of the time, then there really

without leaving

is no need to pack that ﬁsheye lens – even if you

home, then Google

think it’s a good time to experiment.

Earth is your friend.

Check permissions and permits

This advanced program enables you to switch

Perfect your packing

Protecting your gear as you move from A to B can be challenging, but there are a few things you can do to keep everything safe and organised while in transit. Cocoon produces a neat organiser called a GRID-IT, which uses a system of rubberised elastic bands to hold chargers, cords, batteries and other small items in place. You can also pop lenses and small items into soft neoprene bags before slotting them into your camera bag (alternatively, you can use socks as makeshift storage pouches to prevent scratches and save room on packing!)

between aerial and

In the current climate, visitor numbers to many

3D views and even

tourist sites are restricted. But even in the

allows you to

pre-Covid-19 days some locations, such as ‘the

change the time to

wave’ in Northern Arizona, had limits in place to

assess light

control numbers (in this case it’s 20 and you need

conditions. Just

to enter a lottery to stand a chance of gaining

remember to use

access). Blakeney Point in Norfolk – a popular

reliable sources to

breeding site for seals – is another site where

plan your route

access is limited – to see the pups it’s suggested

– never base your

that you book a boat trip. Don’t just assume you

route decisions

can turn up on the day.

purely on Google

Like most people, I use Wikipedia as a starting point rather than a deﬁnitive research tool, and I apply the same mindset when I’m scanning through content on Wikitravel. This crowdsourced online travel guide is great for compiling shot lists and ﬁnding out the basics of a location, but as a book lover I still enjoy a Rough Guide paperback – most of them are available as eBooks now, but it’s harder to squash a mosquito with an iPad, so I’m not switching.

What’s your emergency?

It might sound dramatic but having an emergency app on your phone might save your life. You can download apps that will warn you about ﬂooding, wildﬁres and other natural disasters, but one of my favourites is ICE Medical Standard. This app allows you to include health info and emergency contact details on your lock screen so it can be viewed by emergency responders without your input.

Earth!

Book up

www.amateurphotographer.co.uk

Don’t fall ﬂat

Digital cameras drain batteries, and it often feels like they run out of juice just as you’re about to take the shot of your life. You can encourage them to last a bit longer by placing them in a pocket (close to your body), turning off the LCD screen or switching to a power-saving mode (usually tucked away in the menu). Pack a few spares, plus a power bank (portable charger) for keeping small devices, such as smartphones, topped up.

K E D O G L E A H CIM / S E G A M I Y T T EGX ©

It’s tempting to pack every lens you own for a photo

 S E G A M IDRIB / S E GAMI Y T T E G ©

From permits and packing to ﬁeldcraﬅ and fact-checking, being fully prepared for a photography trip will result in less stress and more time on location. Tracy Calder oﬀers 30 tips for pain-free photo adventures

Be aware of what’s been done

One way to check how a location has been covered by other photographers is to visit Instagram, type in your destination as a hashtag and search recent images. Using this method, you will see plenty of ‘raw’ images of a location rather than cleaned up or Photoshopped versions. You will also be able to see what your destination looks like right now: is there scaffolding on the major landmark you intend to shoot, for example.

www.amateurphotographer.co.uk

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Technique PLANNING A TRIP 16 D N E T S E W / S E G A M I Y T T EG ©

Pin it

In the run up to your trip consider using Pinterest to create inspiration boards ﬁlled with images of locations and landmarks you hope to visit. Pinterest is a visual content sharing platform and, as such, it’s perfect for organising photographs, infographics and illustrations you ﬁnd on the web into themes. You can also search the boards of other Pinterest users, which will result in even more location ideas.

Hire a guide Some of the most

successful wildlife (and travel) photographers give themselves the edge by hiring a guide. By hiring someone who works in a national park or reserve, for example, you will have up-to-date information about where an animal is sleeping,

L A C S A P N O Z S I K / S E G A M I Y T T EG ©

hunting etc, giving you a much better chance of securing a picture. Where possible, work with local guides and researchers and really

Commission yourself

listen to them – there’s so much to learn.

Make sure you’re covered

Ask for ID

When the excitement of an impending trip mounts it’s

Being able to correctly identify a bird, tree or animal you’ve photographed used to involve thumbing through a hefty ID guide on your return home. But you can now ID most flora and fauna in the field using a few carefully selected apps. My favourites include Chirp! Bird Songs of UK & Europe, iNaturalist and LeafSnap-Plant Identification.

easy to forget about equipment (and personal) insurance. Before taking out any cover make sure that you are clear about the following terms: theft and accidental damage, in-vehicle cover, new for old, equipment hire, EU and Worldwide cover. You can ﬁnd a rundown of insurance providers on the AP website www.amateurphotographer. co.uk/technique/expert_ advice/best-camerainsurance-deals-148548.

If you were a photographer working for a client, you

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would be handed a creative brief including a list of ‘must-have’ shots with suggestions as to the tone

Map it out

and mood required. Sometimes it can be useful to

Creating a virtual map with all of your preferred

set yourself a similar challenge and draw up a list

landscape locations, reserves and landmarks colour-

of key shots or locations that you would like to

coded and plotted is simple with Google Maps. Once

secure. You can be as ﬂexible as you like once you

you’re signed in, just use the drop-down menu to select

arrive, but being able to fall back on a notebook of

‘Your places’ and click on ‘Maps, Create Map’. Now

ideas can really take the pressure off.

you can add markers (with details), measure distances

Locate your inner compass

If your sense of direction leaves you lost in a peat bog, it might be time to brush up your map-reading skills. Ordnance Survey offers plenty of free beginner and advanced guides to scales, contour lines, grid references and compass readings on its website (getoutside. ordnancesurvey.co.uk), but if you need something more targeted – such as mountain navigation skills – there are plenty of courses listed online.

between photogenic spots and much, much more.

N O S N H OJ W E G R O E G / S E G A M I Y T T EG ©

R E G A Y O V O T O F /S E G A M I Y T T E G ©

Go wild

If you don’t feel like getting on a plane right now, why not consider a photographic road trip in the British Isles. There are hundreds of routes to choose from – think Wild Atlantic Way, North Coast 500 and Atlantic Highway. Aside from map and planning apps, have a look at the Airbnb app for places to stay and, of course, Spotify so you can create the ultimate road trip playlist.

sky and sunrise. In Scotland you can camp on most unenclosed land (although there are some restrictions in place in Loch Lomond & The Trossachs National Park due to overuse), but the rules in England, Wales and Northern Ireland are quite different. Be sure to read the Scottish Outdoor Access Code before pitching up www.outdooraccess-scotland.scot/practical-guide-all/camping.

www.amateurphotographer.co.uk

From spotting wildlife to understanding rapids, swells, tides, waves and whirlpools, The Book of Tides by William Thomson is an indispensable guide to Britain’s shores, rivers and seas, and is sure to help you compile a coastal shot list. In addition, How



to Read Water: Clues & Patterns from Puddles to the Sea by Tristan Gooley

is full of useful tips and observations to assist you in reading the water.

Embrace the light Hit the road

If you want to wake up immersed in the landscape, wild camping is a great way to shoot the sunset, night

Become a water baby

Have a plan for what you’ll shoot in all light conditions. If you’re travelling with family, for instance, you might ﬁnd yourself in a photogenic spot slap-bang in the middle of the day. In this case it’s a good idea to work out how you’ll use hard light and direct the viewer’s eye using shadows and areas of high contrast.

www.amateurphotographer.co.uk

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Technique

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Create a connection

Including people in your travel pictures can add a sense of scale and help viewers to connect with your subject on a deeper level. It can also help to tell the story of a location or landmark – think climbers on a mountain ridge or Buddhist monks sitting outside a temple. If you decide to include a person in your image, make sure they are dressed appropriately for the location and try to get them to face into the centre of the frame so the viewer will naturally follow their gaze.

A N N A B R A B MO R F S E G A M I / S E G A M I Y T T E G ©

Know your limits

Most cameras have some level of weatherprooﬁng, but how much varies wildly between brands and models. Before you take your camera into an extreme environment remember that there’s a big difference between a waterproof camera (which can be submerged in water) and a weatherproof camera (which can withstand a light rain shower). Make sure you understand terms like ‘weather-resistant’ and ‘weather-sealed’ and what they actually mean in terms of dust and water protection.

Improve your ﬁeldcraﬅ

Every animal has a fear circle, which dictates how close you can get to it before it feels threatened or takes flight. Photographing an animal that’s frightened of you is most definitely not good practice, so take the time to research your subject thoroughly before arriving on location and observe it for as long as possible in the field. Nature TTL has some great guides to fieldcraft online (www.naturettl.com and search ‘fieldcraft’).

Know your way around

Many award-winning wildlife images are taken from hides, but if you don’t fancy messing about with one-way glass or metres of scrim netting and building one yourself, consider booking a professionally built photo shelter for the day (or, in some cases, even the night). Successful wildlife photographers such as Alan McFadyen (www.scottishphotographyhides.co.uk) and Tom Robinson (www.wildlife-photography-hides.co.uk) hire out hides designed with photographers in mind.

For some people the thought of leaving a laptop at home while heading off on a photo trip is anxiety inducing, but the savings in terms of space and weight are signiﬁcant. You can connect an OTG (On-The-Go) port to some smartphones, which will allow you to transfer ﬁles directly from your camera. Alternatively, consider investing in a portable storage device, which will allow you to back-up images on the go.

Play with planning apps

Log on

Attaching location information to your images is easy if you have a camera with built-in GPS, but as many cameras still lack this function (surprising when you consider how many smartphones have it) you may still need an external device to geotag your ﬁles. You can buy a dedicated GPS tagger that will slot into your camera and embed location details into the EXIF data, or perhaps invest in a standalone GPS data logger (there are advantages and disadvantages to both). www.amateurphotographer.co.uk

Everyone has a favourite planning app, but for tide, wind and wave information it’s hard to beat NAUTIDE. With this app you can see the heights and depths of tides, predict a big spring tide or a shallow neap tide and check sunrise, sunset, moonrise and moonset. For all things light related, The Photographer’s Ephemeris remains popular, and for weather predictions AccuWeather has the edge.

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Stay up to date

E F L O W T RA – S E G A M I T N I M / S E G A M I Y T T EG ©

Get better at hiding

You might have compiled a shot list but it’s important to remain open to opportunities. If you’re too rigid, or full of preconceived ideas, then you might miss the quieter, more spontaneous moments as they unfold. Sure, have a plan, but don’t be afraid to deviate from it if fresh information or inspiration comes to light.

Back up, back up Y H P A R G O T O HP M I R T L E I N A D / S E G A M I Y T T EG ©

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Remain ﬂexible

E L L E W K Y R N E H / S E G A M I Y T T EG ©

As someone who managed to get lost on the subway in New York, I have learnt the importance of familiarising yourself with local transport. I’ve caught postbuses (surrounded by letters and parcels), used a piece of wood to signal a ferryman and boarded a school bus that collected all of the children on an island before dropping me off! Check local bus, train and (where relevant) boat routes to work how you can get from A to B in multiple ways.

Shiﬅ your perspective

A few years ago I read a photography tip that suggested you should go to the oldest, the newest and the highest parts of a city as soon as you arrive, and I think there is some sense in that. Abstract shots of modern architecture, images featuring crumbling walls, and views looking down onto city streets all make wonderful images. I would also advocate standing on benches, shooting from rooftop bars etc.

Obviously, in the current climate it’s important to stay up to date with all guidance relating to Covid-19. Countries and territories continue to be moved between red, amber and green lists making tests, quarantine and mask wearing a must for many. You can stay on top of the latest rules and regulations by visiting ofﬁcial sites such as www.gov.uk.

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YOUR LETTERS Amateur Photographer Email ap.ed@kelsey.co.uk

Editorial

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

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The longevity of colour prints

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Kelsey Media 2021 © all rights reserved. Kelsey Media is a trading name of Kelsey Publishing Ltd. Reproduction in whole or in part is forbidden except with permission in writing from the publishers. Note to contributors: articles submitted for consideration by the editor must be the original work of the author and not previously published. Where photographs are included, which are not the property of the contributor, permission to reproduce them must have been obtained from the owner of the copyright. The editor cannot guarantee a personal response to all letters and emails received. The views expressed in the magazine are not necessarily those of the Editor or the Publisher. Kelsey Publishing Ltd accepts no liability for products and services offered by third parties. Kelsey Media takes your personal data very seriously. For more information of our privacy policy, please visit www. kelsey.co.uk/privacy-policy. If at any point you have any queries regarding Kelsey’s data policy you can email our Data Protection Ofﬁcer at dpo@kelsey.co.uk.

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YOUR LETTERS

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Your Analogue Special (17 July) struck a chord with me concerning the longevity of modern prints. When my wife’s sister visited earlier this month our granddaughter asked if we had any photographs of her grandparents. As we have my wife’s father’s albums we were able to show her the black & white prints of them. All the photographs were as fresh as the day they were printed 80 years ago. My framed colour enlargements in our living room, taken and printed in 1982, have now faded. I recently dug out the original negatives and sent them for printing to Karl Howard (advertised in AP) who explained that the negs had faded too. Karl is a perfectionist and produced beautiful prints from them on Fujicolor Crystal

Archive paper (I would thoroughly recommend his services) but I have read that even though this is the best colour paper on the market, the prints will still show signs of fading in 40 to 60 years. Unless you are a die-hard analogue photographer shooting b&w ﬁlm and printing onto silver gelatine ﬁbre base paper, I fear in a hundred years’ time there will be almost no physical photographic record of present-day life. There certainly will not be any images of our granddaughter to pass on, as all the images are digital and printed onto colour paper (if at all). And will there be the technology in a hundred years’ time to read today’s digital equipment? John Heywood

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Out of my depth Now that I am retired, the weekly arrival of AP is a highlight. I started with a Box Brownie at 10, and graduated through a folding 120 to an Exakta Varex VX, a Contax RX and now a Canon EOS 6D. My wife has promised me an upgrade for my 70th birthday. Your portrait issue was very interesting, especially the Natural Light and

Neighbourhood Watch

articles, though I would certainly be out of my depth considering using models, who are, after all, deﬁnitely not ‘amateurs’.

In any case, what would I do with the results? I don’t think my wife would like the prints on our walls, however modest the treatment! My ‘portraits’ are family and friends and my main problems are controlling the background and bringing out the best in the sitters to portray them in the uncontrolled home environment. Help with this aspect would be appreciated. Simon Caswell

Many hobbyists hire professional and semi-pro models for creative fashion, beauty and

portraiture shoots but the majority of models deﬁnitely are amateurs, Simon, just like most photographers. There are tens of thousands of men and women on websites like Model Mayhem, Purple Port and Modelfolio looking for photographers to collaborate with. But in a wider sense even your family and friends are effectively ‘models’ when you ask them to pose for you, and the advice we give on communicating, lighting, posing and photographing them applies to all, whether

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your subject is Kate Moss or your mum.

Funerals In response to your letters about the rights and wrongs of photographing funerals I feel I should attempt to argue the case for the defence. As a qualiﬁed counsellor with some training from Cruse Bereavement Care I can tell you that the purpose of attending a funeral can be numerous and extremely varied, with the act of grieving sometimes being a very complex process. I’m not sure if Maria Falconer kept the picture she took at the funeral she attended, or if it helped in any way (I hope it did) but she was moved to take it in as quiet and discreet a manner as she could and I don’t feel she should be demonised for her actions. The organisers of the funeral clearly felt a similar need; so much so that they employed a professional photographer. The taking of pictures at a funeral is a contentious topic but if it helps to achieve a sense of closure when saying goodbye to loved ones, and it can be done respectfully, I’m all for it. David Richards

Print + digital access included! The Fujifilm X100V has a built-in digital teleconverter preferences to their comparisons, even when my choice has better Adrian Johnson points out specifications. For that a 1.4x TC can be example. Angela attached to the 23mm Nicholson’s report on the lens on Fujifilm X100 Sigma 105mm F2.8 DG cameras to give a 50mm DN Macro Art lens (AP 24 equivalent focal length (AP July) is comprehensive 27 July). Personally, when and yet leaves questions unanswered. Why does using my X100V instead the old favourite now of toting a bigger receive 4.5 in the blue interchangeable lens outfit, I really appreciate pages and, if this new its compactness and lens is better, why does it ‘35mm’ field of view, and not score better than the don’t want to complicate old one? No doubt when this with accessories. AP gets around to testing However, the X100V has the Nikkor 105mm f/2.8 an inbuilt function, not VR S MC Macro it will widely mentioned in knock spots off all other reviews, of a digital contenders including Nikon’s previous offering teleconverter. Easily which now scores 4.5 in accessed via the front control or focus ring, this the blue pages. Odd that it should be rated below gives 50mm and 70mm other Nikkor lenses when equivalent views, interpolated to full image Macro lenses have to be better than all other glass sensor size. There does seem to be a minor drop produced. If an article in quality especially at the doesn’t answer all ‘long’ end when viewed at questions it could be 100% [!], but for real-world argued that it has to be situations it offers a rapid classed as biased and practical additional opinion, and not possibility. completely factual in Robin Enfield content. Robert Smith

Standard lens on the X100

Reviews are opinions

Simon Caswell enjoyed our Portrait Special (27 July) www.amateurphotographer.co.uk

No review is 100% factual – like most things in life there is a degree of subjectivity and informed opinion based on the reviewer’s extensive experience. Just as there is no such thing as a best car, or a best house, there is no such thing as an absolute best camera or lens, only the best for you. Star-based scoring systems are a shorthand way for reviewers to convey their overall opinion based on all factors applicable at the time of the review, including what else is available, and this is a constantly changing field. They are not a scientific measurement. Reviews are there to help you find the best products for your needs based on your own requirements. Don’t waste your time looking for validation of your past purchasing decisions, because whatever you buy there will probably be a ‘better’ or cheaper version coming out just a few months down the road.

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SEBASTIAO SALGADO

Paradise found

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Salgado is back, with an astonishing adventure into the depths of the South American rain forest. The resultant book, Amazônia, is breathtaking, says Damien Demolder

here have been a few instances during my short lifetime that have had a dramatic impact on my photography. The principal one, of course, was getting my first camera but another key moment came while lying on the green carpet of my parents’ lounge when I was a teenager. It was here, propped up with a cushion under my elbows, that I consumed the Sunday papers, and here that I first saw pictures by Sebastião Salgado. The Sunday Times colour supplement had a significant section devoted to an astonishing project that depicted what looked like scenes from Dante’s Inferno, as muddied bodies carrying great sacks of dirt climbed rickety long ladders made of branches as they made their way up the wet muddy walls of a mine. The hole they emerged from 24

must have reached to the centre of the Earth, and these bustling sinners took their eternal punishment packed together in astonishing numbers as they lumbered under the weight of past deeds. These were, of course, the legendary pictures Salgado took in 1986 of the gold miners hunting for their fortune in the gigantic pit at Serra Pelada in the north Brazilian state of Pará. At the time I was wavering between becoming a musician and a photographer, and Salgado helped me to make up my mind – luckily, as I was much worse than I thought at the trumpet. Salgado’s latest book, Amazônia, shows us the world in the same deep black & white tones that he showed us the gold miners – a style which is almost a trademark of his work. This time though we look not at Hell on

Above left: Hunting encampment, Valley of Javari Indigenous Territory, state of Amazonas, 2017 Above right: Women dance at the Yanomami Indigenous Territory, state of Amazonas, 2019 Right: The Maiá River in Pico de Neblina National Park. Yanomami Indigenous Territory, state of Amazonas, 2018

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Earth but what appears to be a piece of Heaven. In this beautifully printed, weighty volume Salgado takes us on a 20-year tour of the Amazon region to meet not only its rivers and trees, but the tribes that live in its depths – some of which have had very limited exposure to the world beyond the forest. It’s an exploration, an adventure and an incredible education.

Life from all angles Salgado shows us this world in a number of different ways. He avoids the standard ‘native with distant stare’ in favour of informative documentary images of tribal people going about their business, slightly more posed pictures of them in their environment as well as formal portraits against a series of canvas backgrounds that his team incredibly hauled along with them on their trips. We get to see village life, ﬁshing and hunting, people at leisure as well as engaged in the signiﬁcant events of their culture. As Salgado travelled to many of these tribes by air we also get aerial views of the stunning www.amateurphotographer.co.uk

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SEBASTIAO SALGADO

Amazonian landscapes; forest broken by ‘serpentine’ rivers, mountains bursting out of the canopy and clouds – lots of ‘rivers of the sky’ and stormy looking formations. It is a quite astonishing collection of images that shows us what we might once have thought of as a world left behind, but which seems now a world very much more balanced and at peace with itself than our own. My ﬁrst thought on receiving the book was that perhaps the best way to ensure the survival of the ten indigenous tribes featured would be not to feature them in a book that a whole world of photographers would then want to emulate. Salgado goes to some length though to explain how the tribes are protected from the outside world as well as the threats that still need to be dealt with. Highlighting them in such a high-proﬁle way, it is hoped, will ensure that those who have the power to protect this land and these people will do so. Salgado tells us too at the beginning of his substantial text that ‘one aim of this photographic project is to record what survives before any more of it disappears’, and he ends with ‘My wish, with all my heart, with all my energy, with all the passion I possess, is that in 50 years’ time this book will not resemble a record of a lost world.’

reader appreciate what is going on. I suspect it is for artistic reasons that the captions are grouped together at the end of the book so the pictures can stand on their own, but it’s also a bit inconvenient as the book is large and flipping backwards and forwards is awkward. Had Salgado provided less-interesting captions then this might not have been an issue, but he goes to a good deal of The unseen effort to make the captions really Photographers strive for originality, worth reading. and for many this means showing Each of the tribes is also their audience things that haven’t introduced with historical, been seen before. There aren’t many geographic and cultural information, things we can photograph these and we get to read about their days that haven’t been customs, what they eat, their beliefs photographed over and over, so a and how they spend their time. And good deal of the attraction of this it’s fascinating. Not wanting to drop book is what it shows us for the first in any spoilers, but the women of time. There is an undeniable the Zo’é tribe have multiple wow-factor in that. Of course we husbands, ‘one a hunter, another a have seen tribal people before, and fisherman, a third a farmer, and a some may have photographed some fourth who helps at home’ – and themselves at tourist hot-spots, but other interesting facts and stories. the vast majority of the people and Salgado worked very closely with the villages shown here have rarely FUNAI – the National Indian been seen before, and their way of Foundation – for this project, with life isn’t for show. The photographer the foundation helping to provide has clearly spent the time to get to guides as well as guidance and know the people in the pictures too, guidelines for his trips. Together they and to understand what they are determined which tribes to visit, doing. The captions provided name gained permissions from the tribes the sitters, their positions in the themselves and found out what the village and add some other tribes needed that Salgado could take interesting information to help the as a gift. Salgado’s team had to

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Above left: Men of Zo’é ethnicity, Zo’é Indigenous Territory, state of Para, 2009

remain self-sufﬁcient for food as they weren’t allowed to accept meals from the tribes, and had to spend time in quarantine and having medical tests to ensure they wouldn’t carry diseases to people Above right: An who have no defence against them. igapó, a type of forest frequently Salgado says in the book that, flooded by river ‘History has shown that isolated water. Anavilhanas indigenous peoples face no greater archipelago, danger than contagious bacteria or Anavilhanas viruses introduced by outsiders.’ An National Park, enormous amount of preparation state of Amazonas, 2019 was needed as the teams would often be on the go for weeks at a time. Right: A young Marubo girl, Ino Tamashavo, holding a parakeet. Valley of Javari Marubo Indigenous Territory, state of Amazonas, 1998

Amazônia by Sebastião Salgado is available to buy now, published by Taschen. RRP £100. ISBN: 9783836585101

The pictures

As you would expect, Salgado’s pictures are more than well worth looking at, and his experience as a story-teller comes through very clearly. The pictures are visually stimulating in their own right, and need no dramatic post-processing to make them so. The photographic process never distracts us from the subject matter or the situations shown, and no techniques to create ‘impact’ are used. The pictures are ‘straight’ and just plain very-welltaken. Salgado gives us depth, composition that shows us the subject and its environment, and steers clear of extreme photographic exhibitionism. Foliage glows in many of the environmental pictures creating a magical look, and skin www.amateurphotographer.co.uk

tones are deep and rich, while the portraits against the canvas backgrounds allow us to see the people away from their environments, and in some cases help us understand family and social groups. Had these out-of-context

‘It is an astonishing collection of images that shows us a world much more at peace with itself than our own’

Salgado shows us pages of aerial views of the lush landscape with this information removed, redacted,

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censored. The skies and cloud formations are dramatic of course, with what looks like a red ﬁlter or red channel conversion, but in black

portraits been shown on their own

& white they miss out on the

they might have looked like a

wonder that Yann Arthus-Bertrand

dressing-up session, but alongside

so famously captured in his

Earth

the other work in the book they add

From Above series. Is it to be more

a really interesting dimension to the

‘serious’? I don’t know, but it’s a bit

whole picture.

of a shame all the same.

Salgado is known of course for his deﬁnite black & white style, which

Conclusion

perfectly suits so many of his

In colour or black & white the

projects, but I couldn’t help wishing

Amazon is a fascinating place, and

that this book had been in colour.

Sebastião Salgado has created a truly

The photographer says that colour

sensational body of work that he

can be a distraction and can disguise

shows us in

the message of the work, which in

are stunning, the printing ﬁrst rate

general terms I agree with. It can

and the generous accompanying text

however also make us feel closer to

is full of interesting, and carefully

the subject. Colour would make me

recorded, information. That Salgado

feel more of a connection with the

takes as much care to record the

people in the book, and make me

details of each tribe and person he

feel less like I am looking at a

photographs as he does over the way

historical and scientiﬁc record of

he photographs them, really adds an

some abstract situation that could

extra depth to this book that we don’t

have happened at any moment in

always get. His own emotional

history. I want to understand that

investment in the place and the

these people are living now, as I

subject comes streaming through,

write this, in the deepest forests of

which is one of the things that make

the Amazon. Somehow the

this a very special book. It is a big,

monochrome takes some of that

thick tome, and while £100 is a lot to

element away. I want to know what

pay for a photobook you do

shade of green the forest is, but

actually get a lot for your money.

Amazônia. The pictures

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Amateur Photographer of the Year

Here are the top 10 images uploaded to Photocrowd from Round Six, Movement, with comments by the AP team and our guest judge

Round Six

Movement The most exciting thing about a theme such as movement is the scope it gives for creativity and shooting styles. A split-second capture of a fast-moving animal and a long exposure of a seascape both represent movement, but in completely different ways. Then there are the worlds of sports photography and candids, too. Panning, fill-in flash and intentional camera movement are all techniques that can be deployed to effectively capture a sense of motion and action. What links our top 10 images from this round is the simplicity of their compositions. It’s definitely a theme where less is more, as too much detail can result in confusion.

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1 Nguyen Tan Tuan Vietnam 100pts Canon EOS 5D Mark IV, 16-35mm at 16mm, 1/6sec at f/16 ,ISO 200

Guest judge Ben Hall says

‘This is a beautiful image which symbolises the competition theme of movement perfectly. The chosen shutter speed has rendered motion in the people and falling salt, but not to the extent that they are unrecognisable. This portrayed motion also lends the image an air of mystery. A wide focal length has captured the scene in its entirety, providing context and showing the relationship between the people and the landscape. The patterns in the foreground lead the viewer’s eye through the frame to the people, and then beyond to the dazzling sky. The sun itself provides a key part of the composition, appearing close to the right hand third and bursting over the horizon with a well-executed sunburst effect. Overall, a stunning image and a worthy winner.’

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1 3 Angela Lambourn

2 Terry Scales UK 90pts

3 UK 80pts

Fujifilm X-E2, 50-230mm at 230mm, 1/50sec at f/22, ISO 200

Nikon D750, 50mm, 1sec at f/11, ISO 2500

This is an image that draws the viewer deep into the frame, leaving us feeling as if we are surrounded by the ﬂying sanderlings. There’s no focal point to the composition, but it doesn’t need one, as much of the aim of a shot such as this is to replicate the sense of chaos and confusion there must have been at the time. Restricting the colour palette to only black, white and green keeps things coherent, and there is just enough sharpness within the movement to know exactly what it is we are looking at.

There is a huge conﬁdence to this image that really makes it stand out. Even to see the potential for such a shot in the ﬁrst place is to be applauded, because many of us would simply walk past it. Angela created this abstract by panning her camera during a long shutter speed, thus capturing the lights along the shore of this fjord. The deep, velvety tones of blue merging into green are simply gorgeous, leaving the viewer in no doubt that they are looking at a seascape. The curve of the lights does a great job of dividing the scene into two, without being too harsh. We’d like to see this one printed to at least a metre wide and hanging on a wall.

www.amateurph

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IN ASSOCIATION WITH

4 Bogdan Zarkowski

UK 70pts

Canon EOS 5D Mark III, 24-105mm at 24mm,

CAMERA CLUB

1/4sec at f/22, ISO 50

A beautiful and hugely imaginative composite from Bogdan. It’s the kind of image where it’s possible to observe something new each time you come back to it. The viewer feels as if they are seeing deserts, seascapes and sunsets among the abstract lines and tones, when in fact (stop reading if you don’t want a spoiler) what we are looking at is nothing more exotic than passing lorries. For consistency, Bogdan used the same focal length and shutter speed for each image. If this sequence doesn’t demonstrate that there is beauty in everything, then nothing will.

HIGHEST SCORE

5 Mike Martin UK 60pts Olympus E-M1 Mark II, 40-150mm at 43mm,1/250sec at f/5.6, ISO 200

Winning kit

We see this technique – which entails capturing puffs of ﬂour at just the right moment – quite often in APOY, but this is a particularly good example. The model’s pose is very pleasing, particularly the fact that he’s poised on his toes. The lighting is excellent, too, with beautifully balanced light and shade areas, and capturing the translucency of the ﬂour very well.

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from MPB The gear our winners used can be found at MPB

6 Daniel Newton Dubai 50pts Sony A7R IV, 24-70mm at 70mm, 1/4sec at f/14, ISO 50

You can almost hear the thrum of these wild Arabian oryx’s hooves as they bustle past, on their way to who knows where. Shooting at 1/4sec and panning as they trot has captured just the right level of movement. We can imagine the speed at which their legs are moving, but there’s just enough sharp detail to balance out the scene. The processing does a good job of highlighting the harsh desert conditions in which these creatures live.

ROUND SIX WINNER, YOUNG APOY Olly Hill UK 100pts Unknown

Olly says this image is an updated version of the Harris shutter effect technique, in which an image is shot through red, green and blue ﬁlters, with the subject moving between each frame. It has a pleasingly retro feel to it, and the dynamism of the model has been nicely captured – she looks natural and as if she’s having fun. It’s an imaginative way of capturing the theme of movement and fulﬁls the brief very well.

Angela Lambourn’s subtle third-placed image was shot using a Nikon D750. This DSLR, launched in 2014, includes technology from the ﬂagship D810, but in a smaller body. It features a 24MP sensor, 6.5fps shooting and is weather sealed. This superb full-frame camera can be picked up at MPB for £874 for a model in excellent condition, and £784 for one in good condition. In ﬁfth place, Mike Martin used an Olympus M.40-150mm f/2.8 Pro for his compelling capture. Compact and lightweight, its equivalent full-frame focal range is 80-300mm, making it a highly versatile lens. It’s also dust, splash and freeze proof, and has a minimum focus range of 50cm throughout its range. This desirable lens is available at MPB for £879 in excellent condition, and £789 in good condition. Alexa Popovich, who was awarded 9th, took her engaging action shot using a Canon EOS 80D. With its 24.2MP APS-C CMOS sensor, 7fps capability and 45 all cross-type AF system, it’s a great choice for capturing split-second moments. This DSLR is available at MPB for £629 in excellent condition and £564 in good condition.

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To browse the extensive range of stock at MPB, visit www.mpb.com 30

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IN ASSOCIATION WITH

APOY 2021

The 2021 leaderboards

7 Ron Tear UK 45pts Canon EOS 5D, 75-300mm at 185mm, 1/640sec at f/9, ISO 400

Here we have two moving elements coming together in all their natural drama. First, the calving glacier creates a huge impact, and then it causes the ﬂock of seabirds take ﬂight in response. The moment has been captured very well. The black & white conversion brings out the textures of the glacier extremely well, although there was some discussion between the judges, with one or two saying they would have liked to see it in colour. Either way, it’s an atmospheric scene that captures the brutality of nature effectively.

7 8 8 Edwin Godinho UK 40pts Canon EOS R5, 400mm +1.4x converter, 1/8000sec at f/4, ISO 640

This is a superb action shot of a moorhen racing across the water, apparently defying gravity. Everything about this image has come together beautifully, from the splashes the bird is leaving in its wake, to the separation between the outstretched wing and the bird’s head, to the claws being just clear of the water. It’s all topped off by the backlighting and the gorgeous clean background, which means our attention goes straight to where it’s supposed to.

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CAMERA CLUB COMPETITION

9 Alexa Popovich Russia 35pts Canon EOS 80D, 10-18mm at 10mm,1/250sec at f/6.3, ISO 100

This is another great example of a shot that captures movement, but without a hint of blur to be seen. The effort on the young boy’s face is what jumps out of the frame, as does his ﬂying hair and dynamic pose. Shooting from a low angle has heightened the sense of energy, and the wideangle focal length was a good choice. The background is perhaps a little cluttered, but overall it’s a fun, lively shot.

Angela Lambourn, who received 80 points for her imaginative third-placed image in this round, has leapfrogged Pete Baker into ﬁrst place on the APOY leaderboard. A number of other photographers, including Pete, are snapping at her heels, so a lot could change over the course of the remaining rounds. Lucy Monckton, who has been extremely consistent with the standard of her entries, retains her lead in Young APOY. Launceston Camera Club and Royston Photographic Society are managing to maintain their ﬁrst- and second-placed spots in the camera club rankings, while Bristol Photographic Society move from fourth to third.

APOY 1

Angela Lambourn

170

Pete Baker

160

Daniel Newton

150

Mike Martin

150

Jayne Bond

140

Ron Tear

135

Marco Tagliarino

130

Nguyen Tan Tuan

130

Tuule Müürsepp

130

Ian Bramham

120

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YOUNG APOY

9 10 Allan Copson Australia 30pts Olympus E-M5 Mark II, 60mm Macro, 0.3sec at f/20, ISO 100

There’s something of the Jack Vettriano about this capture. The way the light, the composition and the anonymity of the two ﬁgures as they walk across the sand come together makes for a very pleasing whole. The green and blue tones give it a rather sombre atmosphere, as opposed to a warm one, but that makes it all the more intriguing. It’s the kind of image that triggers the imagination, making the viewer create a story behind what they’re seeing.

Susanna Hoare

Lucy Monckton

Muhammad Hossain

290

Hugo Begg

220

Josh Lomen

165

Jake Kneale

145

Shashank Bhat

140

Shubhodeep Roy

120

Tallulah Cartlidge

120

Katy Read

335

110

UK 10pts

To see more images from APOY Round 6 and Young APOY, visit www.amateurphotographer.com/APOY2021

over the course of the competition, and her As regular entrants to APOY will know, this year fellow camera club member Paul Nash has you can accumulate points for your camera club accumulated 65 points. Together, their efforts have seen their camera club reach ﬁfth place by selecting it from the dropdown menu when on the leaderboard. you upload your images. Whatever points your Launceston Camera Club is still in the lead, image is awarded, your camera club is awarded, too. Susannah Hoare, who shot the image but all it would take for them to be toppled is above, is one of two regular entrants from Truro for another club to have a winning image, and Camera Club. She has accumulated 40 points the 100 points would see them overtaken.

www.amateurphotographer.co.uk

Nikon Z 6, 200-500mm at 500mm, 1/20sec at f/32 ,ISO 100

CAMERA CLUBS 1

Launceston Camera Club 200

Royston PS

160

Bristol PS

150

Loughton Camera Club

135

Truro Camera Club

105

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Mini Guide

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Travel photography 32 pages of advice, tips and inspiration to pull out and keep

Castles

Documenting the historic fortresses of Europe

PLUS

Top travel tips Shoot better photos of the people and places you visit on your travels

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AP Photo Tours

Cuba

Cuba without the clichés – amazing street photos

Visit the world’s most photogenic destinations with the world’s top photographers

Japan

A photographic journey in this fascinating country

4x4 nomad

How one couple gave up work to travel the world

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Technique TRAVEL TIPS

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Boracay, Philippines

Nikon D800, 24-70mm, 10sec at f/11, ISO 100

Jordan Banks

Be patient

A travel and lifestyle photographer from London, Jordan shoots for National Geographic, Lonely Planet and other travel brands. He is the co-founder of photographic training company That Wild Idea and the founding editor of JRNY, a travel magazine supporting freelance writers and photographers. www.jordanbanksphoto.com, www.thatwildidea.co.uk, www.jrnymag.com, Insta @jordanbanksphoto, Twitter @J_BanksPhoto.

Good things come to those who wait and this has never been truer than with landscape photography. Conditions can change in a heartbeat so if things aren’t looking great then be patient. I can’t tell you the number of times when I was about to pack up and something magical happened. The last thing you want, is to see this happen just as you get back to the car.

Textures

of travel

Dubrovnik, Croatia

Nikon D200, 34mm, 30sec at f/10, ISO 100

Pro travel photographer Jordan Banks shares everything you need to know to get the most from your travels

For landscape lovers

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Research

Research is an essential part of taking great travel photos and is about 80% of my process in producing a great landscape photo. I will ensure I visit at the best time of year for the shots I am looking to take. I will know almost exactly where I need to place myself and at what time and angle the sun will be rising and setting.

Get it right in camera

With the advancements in technology there is a tendency if something isn’t quite right to just say ‘I’ll ﬁx it in post’. I am a big believer in getting everything correct in camera. For me this is the purest form of landscape photography and will help improve your skills as a photographer.

Master ﬁlters

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Filters are an essential part of my workflow and I would highly recommend using them to control and harness the light in your landscapes. From neutral density grads to even out your exposure, polarisers to increase reflection or add a punch to your images, and neutral density filters when you require a slow shutter speed to smooth out that water.

Valley of Fire, Nevada, USA

Nikon D850, 70-200mm, 0.8sec at f/16, ISO 200

Look for something diﬀerent

It’s very easy to head to that classic viewpoint that you have seen before but this isn’t pushing your creativity. Try to ﬁnd a new and unique angle that hasn’t been done before or, even better, a completely unique image from a location.

Don’t be afraid of technology

Dubrovnik, Croatia

Landscape photographers can be very old school in their approach but with the development of smart tech have come a range of apps that are incredibly useful. My favourite is PhotoPills which incorporates AI tech to allow me to track the sun, moon and even Aurora Borealis in real time.

Nikon Z 7, 15mm, 20sec at f/16, ISO 64

Break the rules

We all know the classic rules of composition such as lead-in lines and the rule of thirds, but like any rules these can be broken. As long as you understand the more traditional rules you can play around with your composition and ﬁnd your own unique style and adaptation of photography’s rules. www.amateurphotographer.co.uk

Scout locations

I use my downtime on a shoot to scout new or existing spots. This saves me time later and conﬁrms, or in some cases disproves, that it’s a location worth revisiting. Scouting locations isn’t always possible which is where Google Earth comes in. Google Earth 3D allows me to recce locations and even compose shots from the comfort of my ofﬁce.

Arrive early and stay late

Showing up on location early will give plenty of time to scout your location for the perfect spot to shoot from. It doesn’t matter if I am shooting a sunrise or sunset, I will stay until the light has fully gone. The early morning light following sunrise can still offer some great conditions, as can the blue hour after the sun has set.

Include people in the landscape

Try including a person in your landscape photography to add a sense of scale and place to your image. Adding a person in to your landscape will not only highlight the grandeur of a scene but also help the viewer connect with your image. If you are alone then try including yourself in the shot using a remote shutter release.

www.amateurphotographer.co.uk

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Technique

San Francisco, USA

Nikon D800, 24-70mm, 10sec at f/16, ISO 400

For urban enthusiasts

Tell a story Get creative Cities are brimming with You are never more life so try to portray this in your images. Get under the skin of a city and ﬁnd out what makes it tick. Try to avoid just photographing those hero shots and include people, buildings, interiors and details to provide a true sense of place. Setting yourself the challenge of a photo essay is a good practice to keep you focused on your end goal of producing thought-provoking and powerful imagery.

Move slowly

With the fast-paced nature of most cities, it is easy to get caught up and move around too quickly. Take your time and look around to truly take in your surroundings. I guarantee you will ﬁnd shots that you may otherwise have missed.

Travel light

In general photographing cities will include a lot of walking, so only pack the equipment you are going to need for that day. The last thing you need is to feel so exhausted from carrying a bag full of kit around with you that you don’t need, that you are too tired to shoot when the light is right.

Shoot in bad weather

Don’t be afraid of adverse conditions. Often, we photographers hate the rain but a wet, moody city can look just as appealing as it normally would. The damp streets reflecting the light on the floor add a new dynamic to your shots or a puddle could be used to capture reflections.

providing photographers with fresh new points of interest to shoot. This could be in the form of a new vista from a viewing platform, a new art installation or interesting landmark – so make sure to include these in the planning stages of your trip. People are always more interested in images they haven’t seen before.

There is a tendency to stay in the traditional tourist areas where we feel comfortable, but there is much more to any city than these places. If you really want to capture the true essence of a city look to visit less popular and more local parts of town. Search out events, markets and unique venues. Bo-Kaap, Cape Town, South Africa Nikon D3X, 24-70mm, 1/80sec at f/6.3, ISO 100

Have your camera at the ready

With all the hustle and bustle a city brings, you never know what’s going to happen next. Always have your camera to hand, ready to capture the moment. While I am wandering about, I am very aware of my surroundings so I can see the shot before it happens. I also change my exposure settings as the light and conditions vary. This saves me valuable seconds when a shot presents itself as I then don’t need to adjust my settings to make sure I capture the moment.

than a stone’s throw away from an element of your surroundings that can offer a creative composition. Cities offer unparalleled textures such as the lines of a building, cobbled streets, reﬂections and foreground details that can all add that bit of ﬂair to your photographs. Don’t be afraid to get down low or jump up on a ledge to get a slightly more creative angle.

Unique and new views Cities are constantly changing and evolving, thus

Get oﬀ the tourist trail 

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Tripod I am surprised by how many photographers

discount the use of tripods when photographing cities. Granted, using tripods is slower than shooting handheld but sometimes that’s just what you need. If you want to add some movement or light trails to a scene you will need a tripod to compensate for those slow shutter speeds. Tripods are also handy for busy scenes when you need to clone out elements and require multiple identical compositions to blend in post.

Shoot at night At night cities come to life, the

lights come on and people come out. This can offer a completely new take on what may have been a relatively boring shot a few minutes ago. Play with light trails, look for pleasing colour combinations and shoot at small apertures (f/16) to achieve that starburst effect.

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Barcelona, Spain

Nikon D800, 24-70mm, 1/20sec at f/8, ISO 400

Buenos Aires, Argentina

Nikon D800, 17-35mm, 30sec at f/11, ISO 100

www.amateurphotographer.co.uk

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Technique

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Mostar, Bosnia and Herzegovina

Nikon D300, 10-20mm, 1/80sec at f/5, ISO 320

For people pleasers

Paraty, Brazil

Nikon D3X, 28-70mm, 1/320sec at f/8, ISO 100

Connect with your subject Compliment them, smile and talk, even while shooting.

Multiple compositions

Ask open-ended questions to get your subject engaged. This will make them relax and forget about you. Instead of asking to ‘take a picture’ use terms like ‘make your portrait’ which sounds more creative and collaborative. This allows you to get the best from your subject as they are now part of the creative process.

Experiment with multiple angles. The majority of travel portraits are a one-time deal so make sure to really work the scene and get everything you can from it. This doesn’t mean rush but rather spend a little more time and make sure you nail it. Most people are more than happy to stick around for a pleasant experience.

Don’ t be afraid topeople approach Act while you can, as

Remove clutter Look for clear and

non-distracting backgrounds that allow you to highlight your subject and don’t be afraid to ask your subject to move to a more desirable location. Take care to avoid distractions such as messy foliage, powerlines or a lamppost coming out of someone’s head.

the chance won’t come again. If you see someone who inspires you to make a portrait, then approach them and ask for their permission. In my experience it is better to be rejected than to not ask. Approach people in a relaxed manner with a smile on your face and offer to send them a copy of the image as an extra incentive, as this usually works.

Buenos Aires, Argentina

Nikon D800, 24-70mm, 1/250sec at f/5.6, ISO 200

Environmental portraits

Nikon D3X, 24-70mm, 1/40sec at f/2.8, ISO 400

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encapsulate the local population and tell a story that adds to your work? If so, then be sure to concentrate on the areas of their persona that initially spoke to you and not just ﬁre off a quick snap and be on your way.

When shooting travel portraits, we ﬁrst need to understand what makes a great portrait. For me this is a difﬁcult-to-interpret expression. I want there to be multiple views on what my subject is thinking and who they really are. If you can capture this depth to a person’s personality you will have a very strong portrait.

Holi Festival, Vrindavan, India

shoot a range of different expressions. You never know which photograph will be the hero shot, and the more you shoot the more likely it is that you will produce a great portrait. Try to avoid reviewing your camera’s LCD screen, as this breaks your ﬂow and only acts to make your subject self-conscious or think you are done.

Interesting faces and people Keep an eye out for interesting faces that tell a story and inspire you to photograph them. Do they

A diﬃcult-to-interpret expression

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Capture the action Once you have a person talking, continue to

Environmental portraits use the subject’s normal surroundings as the backdrop, typically their home or workplace. What makes environmental portraits so powerful is their ability to give the viewer an insight into that person’s life by providing the photograph with far more context. www.amateurphotographer.co.uk

Wear light-coloured clothes Wearing a white or light top when you are shooting

natural portraits is a great little tip to help light your subject. The light colour from your top acts as a sort of reﬂector to cast a little extra light on your subject’s face. This is especially useful when you are shooting backlit portraits.

Look for the light As with backgrounds Chefchaouen, Morocco

Nikon D800, 28-70mm, 1/60sec at f/2.8, ISO 400

don’t be afraid to ask people to move in to a more ﬂattering or interesting light. Very rarely will people decline the chance of being made to look better once they have agreed to let you photograph them.

www.amateurphotographer.co.uk

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Photo Stories

When the world stopped

Lisa Morris and Jason Spaﬀord

Four-Wheeled Nomad: Lisa Morris shares her and Jason Spaﬀord’s experience of being travellers during Covid-19

t happened in a blink of an eye as the

afternoons sawing ﬁrewood, learned to weave

news of coronavirus slapped the taste

rope rugs, and operated a 36-geared tractor

from our mouths. A new paradigm

to mow the four-acre paddock. Jase made

surfaced in the frantic hope to control a

myriad improvements to our new digs, and

planet-wide spread. Bar essential

some interesting ones on his hair; so bad

businesses, the economy came to a grinding

had the Yeti look become! We embraced yoga

halt as borders closed. People were forced

and meditation on an intensive level and still

into lockdown, furloughed from their jobs and

uphold those good habits. Ultimately, I think

left wondering how their strange new every

we now better appreciate the simple things in

day would materialise. The global outlook

life, have become more consciously aware.

was dire, not least for us who live to travel

Between lockdowns, I dabbled in

whose only realisable destination would be

paddleboarding but preferred wild swimming,

Costa del Living Room.

and went plant-based. No offence, but my

Travelling together since 2000, Jason and I had long taken for granted the privilege to

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Argentina to Alaska, for instance, was an

Also, it made sense to repurpose our content:

extraordinary four-year adventure, packed with

how-to photography skills, inspirational based

more highs than lows. Suddenly, our world

photographic content for staying creative

shrunk to the size of a pea. Years of sacriﬁce

during a pandemic, and guides for future

to facilitate a location-independent life had to

travelling endeavours. I’m thrilled that our

be shelved. It was time to ﬁgure out what to

efforts enabled us to enact some smart

do in this unprecedented now.

property decisions.

when we bade our farewells to White Rhino,

What now?

our Toyota Hilux. Off he voyaged as we sent

Now that travel to some countries is ﬁnally

him packing to Cape Town – six months into

permitted, multiple trips to Scotland continue

our Cape-to-Cape photographic expedition

to see us sink into our favourite UK region

from Norway to South Africa. Our 4WD had

while concurrently undertaking some

been situated on African soil for one week

photographic work for clients. Next year India

when we instructed the shipping agent to

may be on the cards. of us thrive on adventure, endlessly rugged,

happens, right?’ The upside: we woke up this

near or far. What keeps us going is knowing

morning. My heart goes out to all those

that we are establishing a new norm. The

adversely affected by Covid-19.

pandemic is part of the path that will take you

fourwheelednomad.com

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Top: Ice cave below Mendenhall Glacier, Juneau Valley, Alaska. Middle left: Salmon Glacier, near Stewart, British Columbia, Canada and Hyder, Alaska. Middle: Applecross, Scottish Highlands. Middle right: Applecross, north-west of Kyle of Lochalsh, Highland, Scotland. Bottom left: Huascarán National Park, Cordillera Blanca, Ancash, Peru. Bottom right: South-east Iceland.

quieter moments with fewer distractions and outside inﬂuences? Take the time to ask

too stupid to be poor’. In unparalleled times,

yourself what it is you want to do with your

I guess living below our means struck a chord

life and enjoy the process of pursuing it. Who

with me. Like the world over, we had all this

knows, your new aspiration may lead to

time but nothing to spend it on. Momentarily,

something fresh and exciting. Covid-19, for

we thought, we inhabited a motorhome, which

us, has honed the realisation that there is no

ended up being for 13 months. The pace of

time to hang around and overthink how life

life receded to a glacial one – driving home

should go. It has happened and it’s here to

the need to want what we had.

stay. If nothing else, we have stopped trying

ourselves situated, I spent therapeutic

fourwheelednomad

somewhere else. So why not occupy the

Someone wise once said to me, ‘Never be

Unexpectedly, on the land we found

facebook.com/

I’m sure you can connect when I say many

exercise, but one chalked down to ‘stuff

Pandemic’s silver lining

fourwheelednomad

During autumn, we sought frontline jobs in the NHS while World War Bog Roll ensued.

send him back to England. An expensive

instagram.com/

vegan ‘Corona cream tea’ was to die for.

roam. Life together on motorcycles from

The year 2020 commenced with traction

British-born Lisa Morris and Jason Spafford are location-independent wilderness seekers. Remote exploration is the couple’s driving force, enabling their passion as content creators. Jason’s international portfolio is layered in decades of adventure travel, landscape and commercial. Lisa freelances for publications worldwide.

to matter. It has made us content to simply live.

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Please be patient, your reading enjoyment is about to begin ...

Miyajima Island Fujifilm 14mm, 1/125sec at f/7.1, ISO 400

From Instagram to a book deal

Fukushima

Fujifilm 55-200mm,

1/250sec at f/11, ISO 160



Imagine getting a travel book commission aﬅer

traditional culture of samurai,

just one tourist trip to Japan. Photographer Eren

Zen temples and woodblocks, or

Sarigul tells

such as anime and the vast digital

Geoﬀ Harris how he did it

f you are still sceptical about

background in photography before

the importance of promoting

going to Japan the ﬁrst time.

your photography on social media, Eren Sarigul’s story is a

salutary reminder of the doors it can open. Eren, a young Londoner, went

more contemporary attractions culture. For Eren, it was something more personal.

Childhood connections

‘I wasn’t actually that interested in photography or indeed, anything

‘When I was growing up, my parents

artistic at all!’ he reﬂects.

used to offer accommodation to

‘I ﬁrst went to Japan in 2017 as a

students and many were from Japan.

from posting images of a trip to

tourist, and just before heading

Japan on Instagram to getting a book

out, as a last-minute thought, I

Eren Sarigul is a London-

child, I was always surrounded by

contract to return to the country –

decided to pick up a small point-

Japanese culture. Often the students

with the publisher supporting the

and-shoot camera, something better

based street and travel

trip. The book,

than a smartphone.’

Across Japan, was

released recently (you may have

His ﬁrst camera was a Sony RX100

noticed Japan has been in the news a

and everything just clicked. ‘When

lot of late) so we caught up with Eren

I was out in Japan, I loved using the

to ﬁnd out how he got such a great

Sony, and showing the pictures to

commission so early in his career.

my family. It all started off from

Discovering photography What’s particularly impressive about Eren is that he had no real

there, really… you could say I fell in love with photography.’ Japan continues to fascinate westerners, whether it’s the

So when I was still quite a young

photographer. His work has been featured in publications from Mendo (Amsterdam) and Trope (Chicago) and he has worked with Fujiﬁlm, Samsung and Microsoft. See erenjam.

were with us for quite a long time, for the duration of their studies. They’d bring back these wonderful gifts, so it sparked a fascination with Japanese culture and anime.’ Eren’s ﬁrst trip, back in 2017, was originally supposed to be for two weeks, but he loved it so much that the trip was extended to nearly two

com and @erenjam on

months. ‘They do these great rail

Instagram.

passes, where you can get halfway www.amateurphotographer.co.uk

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across the country on a day trip, which is kind of crazy. I went to the usual spots, such as Tokyo and Kyoto, which was my ﬁrst introduction to the country.’ Schlepping around Japan as a wide-eyed tourist is one thing, but then getting a book commission is a huge leap. How did this come about?

Art of the deal

‘So from 2017, I started posting on social media and building up a following on Instagram,’ Eren explains. ‘Then, pretty randomly, a publisher from Chicago called Trope contacted me. They wanted to publish a book on London in collaboration with 14 other photographers. While working on that, we agreed that Japan would be a really interesting subject and it all started from that. Though when I ﬁrst saw the email from

Ise, Mie

Fujifilm 23mm, 1/200sec at f/8, ISO 200

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Trope I thought it was spam!’ At the time of the commission, Eren’s Instagram audience was about 30,000, but it’s subsequently grown rapidly.

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Above: Lake Kawaguchi Fujifilm 10-24mm, 1/350sec at f/9, ISO 160

‘It’s not exclusively about capturing amazing

Intimidating at ﬁrst

The gear Eren used ‘I researched a few systems for

Across Japan and settled on Fujifilm – I was after a system which was small and light, but also weatherresistant,’ Eren explains. ‘My camera bodies were the Fujifilm X-Pro 2 and the X-T3. For lenses I used the following: 14mm f/2.8, 23mm f/2, 10-24mm f/4, 35mm f/2, 50mm f/2 and the 55-200mm f/3.5-f/4.8.’ For storage, he mainly used portable hard drives, which he religiously backed up and stored carefully. ‘I didn’t always have access to fast Wi-Fi or lots of data for uploading to the cloud,’ he explains. ‘Next time I go to Japan, I will stay in more business hotels and take advantage of their faster connections.’ Eren shot in raw for maximum flexibility and used Lightroom for editing. ‘The publishers gave me a lot of creative freedom, but I didn’t go in for heavy postprocessing,’ he explains.

While Eren is a conﬁdent and outgoing, streetwise young Londoner, he admits to having been a bit intimidated by the commission at ﬁrst. ‘I’d only been seriously into photography for about two years at that point, it was almost overwhelming. I kept thinking, “This is too early”. The team at Trope was great, however, and they were very experienced with photography books, so it was a pretty seamless process.’ What makes Across Japan different can be gleaned from the title. ‘Lots of photography books just focus on Tokyo or Kyoto,’ Eren explains. ‘My book goes chapter by chapter through the different regions, from the south, right up to the north. It was focusing on the lesser-seen and lesser-known parts of the country, as well as the people. ‘I was just amazed by the variety of Japan. Up in the north, in Hokkaido, it can be snowing, while in the south it’s sub-tropical. For example, I went down to an island called Yakushima in Kagoshima, where it pretty much rains every day – it’s almost like a rain forest. Then you have somewhere like

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landscapes. You also have to focus on the details’

Across Japan documents Eren’s travels from the streets of Tokyo, to the forests of Yakushima, to the mountains of Nagano and back again. Publisher: Trope Publishing. ISBN: 9781732693692. Available now for £21.99.

Nagano, which is really mountainous.’

Fukushima surprise

Another big discovery was Fukushima, still best known for the tragic nuclear accident of 2011, which had been triggered by a tsunami and earthquake – it was the most serious nuclear incident since the Chernobyl disaster in 1986. ‘Once I got there I was blown away by how beautiful it was and the amazing colours. It’s like an area www.amateurphotographer.co.uk

readers keen to follow in his footsteps is to do all your research and planning before you arrive (Japan is still effectively closed to UK tourists anyway). ‘Once you are there, the number of people who understand English is still not that high, even in train stations,’ Eren adds. ‘So it can be difﬁcult to start making plans while you are there. For the book, everything was planned out beforehand, and I went with somebody who could drive, which was a big help. That said, Japan is quite an easy place to get around, to be honest, so long as you plan ahead.’

shots all the time, and doing the book reminded me that photography is just a means of telling a story through imagery.’ As you’d expect from a trip to such a photogenic country, Eren ended up with a lot of images to edit down. ‘There was upwards of 5,000, which was kind of crazy. I edited that down to 180 but it took months to sort through, ﬁnding which images worked together, and which ones told the story. That was the hardest part of putting the book together.’ Future plans

These are tough and frustrating times for travel photographers but Above: Fushimi where there is lots of volcanic Eren is hanging in there. ‘It’s been a Inari Taisha, Kyoto Lessons learned activity and there are these really nightmare year, but I have been vivid and bright lakes. The people So what were the biggest lessons that supporting myself by doing food are so nice too… it felt a million Eren learned while shooting for and drink shoots around London – miles away from Tokyo or Osaka.’ Across Japan? ‘Probably that when I have used this as time to explore Above right: So how did Eren ﬁnd the Dotonbori, Osaka you are making a travel photography more of the city, too. In addition, experience of taking portraits of the book like this, it’s not exclusively I started up a YouTube photography locals, as he still doesn’t speak much about capturing stand-out amazing channel, and am getting some Japanese? ‘I didn’t really have any landscapes every day. You also have income from that. I hope to do issues, but I am not the kind of to also focus on the details, how you more books with Trope, but it’s only photographer to get right up in are telling the story of the journey been a month or so since Across people’s faces or personal space and and of the day. You need more Japan was launched – maybe another make them uncomfortable.’ lifestyle-type images, too. I was project on London, and tending to try to get spectacular Eren’s biggest piece of advice for possibly Istanbul.’ Fujifilm 35mm,

1/80sec at f/3.2, ISO 320

Fujifilm 35mm,

1/60sec at f/2, ISO 500

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Human landscapes Cuban photographer Raúl Cañibano talks to Dr James Cliﬀord Kent about his new book, Absolut Cuba, and his chronicling of life in Cuba over the past three decades

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everyday – yet surrealistic – Cuban scenes. Children playing on Havana’s Malecón (the city’s 8km-long sea-facing boulevard) are juxtaposed with images of guajiros (farmers) toiling in the heat, and sugarcane workers taking an afternoon nap in a makeshift camp (constructed in a children’s nursery). Elsewhere in the book, two young men lean slumped on a donkey while other boys play on a shipwreck behind them. Light and shadow are captured masterfully and poetically in black & white.

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Collaboration

I ﬁrst met Cañibano at the Fototeca de Cuba (the island’s main photographic archive) in Old Havana in 2018 while carrying out research for a London exhibition. Our collaboration since that initial meeting has taken us on various adventures both in Cuba and the UK that have involved curating exhibitions, taking photographs, recording interviews, running workshops, and giving public talks. One of the privileges of working alongside Cañibano has been to witness him taking pictures in his native Cuba. It was on our ﬁrst espresso-fuelled walk together around Old Havana that I became aware of his unique way of operating on the street. As we chatted, I noticed him weaving in and out of the bustling crowds on Calle Obispo (the neighbourhood’s main thoroughfare), joking with

Camajuaní, Cuba, 2007 ) T N K D R O F F I C S M A J © 9 1 0 2 , A B U C , A N A V A H NI O N A B I Ñ A C L Ú A R FO H P A R G O T O H P M O R F T R A P A( O N A B I Ñ A C L Ú A R © S E G A M I L L A

aúl Cañibano is celebrated today as one of Cuba’s greatest living photographers. His documentary-style black & white photos have inﬂuenced several generations of photographers – particularly in Havana, where Cañibano is regarded by young artists as a kind of ‘monstruo’; a legend in the world of photography and a national treasure. Absolut Cuba – Cañibano’s latest photobook – is a timely retrospective containing 100 photographs with a foreword written by one of Cuba’s most acclaimed contemporary writers, Leonardo Padura Fuentes. ’There’s always some kind of human element present in my work,’ explains Cañibano when I ask him about his deep connection with his homeland. ‘I identify very closely with the Cuban people – their character and what they are going through. I take landscape photographs – photographs of human landscapes.’ This approach is demonstrated extensively in Cañibano’s new book, in which his photographs offer a unique insight into life in Cuba over the course of the past three decades. Absolut Cuba provides an overview of the themes and subjects Cañibano has explored throughout his photographic career – a whirlwind tour of ‘Cubanidad’ (Cubanness) that is in equal parts powerful, intoxicating and profoundly moving. Cañibano focuses his lens on

Artemisa, Cuba, 2002

Viñales, Cuba, 2013

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STREET PHOTOGRAPHY passers-by, and establishing the type of human connection with his subjects that I’ve since learned charges his photography. I quickly realised that Cañibano appeared to be seeing the world from a different perspective and noticing things other people didn’t. Frequently, he would disappear completely only to re-emerge minutes later having taken some photos, before placing his hand on my shoulder and asking me: “¿adónde vamos ahora, niño?” (where to now, kid?).

exacerbated Cuba’s economic crisis and its impact on tourism saw the country’s economy shrink by 11% in 2020. Widespread shortages have resulted in even harsher conditions for Cubans living on the island and unprecedented protests as people took to the streets in July 2021. ‘Personally,’ Cañibano explains, ‘the current situation has meant searching for food and medicine for my family, especially my elderly mother, meaning I’ve had to put my photography on hold. There have been moments when I’ve seen interesting photographs, but I’ve Context been fully focused on the scramble A series of watershed moments in for everyday necessities.’ The the latest chapter of Cuban history pandemic also disrupted Cañibano’s has led to renewed focus on Cuba publication plans for his photobook, and increased media speculation which was originally due to be regarding its future. released in 2020. The ‘Cuban thaw’ (the muchThe current crisis in Cuba mirrors documented normalisation of to some extent the one the island relations between the USA and Cuba faced in the early 1990s when under the Obama administration) Cañibano was ﬁnding his feet as a was followed by former US president young photographer in the worst Donald Trump’s unravelling of that years of the Cuban ‘Special Period’. détente. The global pandemic has At this time, the island suffered

Right: Malecón habanero, Cuba, 2006

Below right: Viñales, Cuba, 2007 Below: Viñales, Cuba, 2007

economic paralysis following the collapse of communism in Eastern Europe and the end of Soviet subsidies to the island. It was during these difﬁcult years that Cañibano visited an exhibition featuring work by the acclaimed Cuban photographer, Alfredo Sarabia. Its impact on him was life-changing. Walking home from the gallery, Cañibano realised there was a certain magical quality in photography’s ability to capture something extraordinary in the ordinary. ‘I knew right there and then,’ he tells me, ‘that I was destined to devote myself to photography for the rest of my life.’

Beginnings Born in Havana in 1961, Cañibano moved to the Cuban countryside with his mother in the early 1960s and lived in a small town called Manatí in Las Tunas province. He returned to Havana in 1970 and trained as a welder before completing military service in 1983. Cañibano developed an interest in photography in his early 20s, but it wasn’t until 1988 that he borrowed a camera from a friend and began to practise taking pictures. A few years later in 1991, a friend took him to the Biblioteca Nacional (National Library) in Havana, where he pored excitedly over art books. Cañibano would lose himself in what he describes as the ‘vuelos poéticos’ (poetic flights) of the great Surrealists, including Giorgio de Chirico, Salvador Dalí and René Magritte. He also studied the work of master photographers such as Robert Frank, Josef Koudelka and Larry Towell – all of whom would have a major influence on his way of seeing and inspired him to kick on with his own photography. The early 1990s was a very challenging time to be starting out as a photographer in Cuba. Cañibano explains: ‘The situation meant getting hold of a camera wasn’t easy. I borrowed an old Kiev 35mm rangefinder (a Soviet and Ukrainian brand) and started taking photographs around my neighbourhood.’ He photographed birthdays, ‘quinceañeras’ (15-yearold girls’ coming-of-age birthday celebrations) and weddings. ‘I tried out different techniques, using various apertures and speeds, to find ways of capturing a decent

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photograph. And then later I learned to develop and process photographic material in the lab.’ Photographers on the island were dependent on films such as ORWO (an East German manufacturer) but as Soviet subsidies dwindled, so did the film supplies. Indeed, one of the reasons Cañibano’s body of work is almost exclusively shot in black & white was due to that film format – easier to obtain then and cheaper to process – being the only one that was available to him when he first started out. Eventually, in 1995, Cañibano was forced to stop taking photographs completely and resorted to practising taking pictures with an empty camera (without a roll of film loaded). He witnessed, but was unable to photograph, various significant critical historical events, including the ‘balseros crisis’ (a mass emigration of over 35,000 Cubans travelling on makeshift rafts from Cuba to the United States). It was not until four years later in 1999, that Cañibano began taking photographs again and he seized this opportunity to explore the country with his camera.

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Storytelling Perhaps one of the most striking aspects of Cañibano’s

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work is the sheer breadth of Cuban experiences that are covered in his numerous openended essays, which explore wide-ranging themes such as the city, the sea, faith, old age and the countryside. ‘I really like adventures into the unknown,’ he tells me. ‘I love travelling through rural areas in Cuba. But I am also drawn to the sea, which has a great poetic charm, and enjoy photographing Cuba’s annual festivals.’ In his new book, his deep connection with these different themes is immediately clear but it is perhaps his photographs of ‘el campo’ (the countryside) – taken from his two-decade long essay ‘Tierra Guajira’ (Country Land) – that reveal Cañibano at his most autobiographical. ‘I take inspiration for my photography from my personal experiences,’ he tells me. For the photographer, documenting the customs and ways of life of Cuban peasant families has provided him with a way of paying homage to their ‘nobleza’ (nobleness) while at the same time remembering scenes from his own childhood. Storytelling is also central to Cañibano’s approach to composition. He describes his interest in capturing various planes in his photographs, often attempting

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STREET PHOTOGRAPHY

to depict several actions and/or gestures in a single frame. He refers to these moments as ‘instantes’ (instants) and ‘el clímax’ (the climax) in which several stories appear to take place at the same time in the same photograph. ‘When I take a picture, I don’t think,’ he says. ‘It’s all instinctive – an emotional response captured by a shot in just a fraction of a second.’ There is always a lot going on in Cañibano’s photographs and this can often be disorientating and unsettling for the viewer. ‘These photographs are difﬁcult to capture,’ he explains, ‘but that’s the challenge! I am always looking for a human element – that’s the most important and interesting aspect for me. Everything else in the image can exist around that.’

Left: Viñales, Cuba, 2013 Below left: Viñales, Cuba, 2007 Below right: Cienfuegos, Cuba, 2016

the shutter of your camera.’ He continues: ‘Unless you are a press or advertising photographer, you don’t need loads of equipment to carry out a personal project. Most of my photographs have been taken with second-hand cameras, often with mechanical defects. Earlier in my career, it was unthinkable to get your hands on a good-quality camera in Cuba. They weren’t available anywhere. You were more likely to ﬁnd Soviet-made Zenit cameras and they only had four speeds (30, 60, 125 and 250). It was with one of those cameras that I took my ﬁrst important photographs.’ Nowadays, he enjoys the simplicity of using modern digital cameras: ‘I control the aperture and focus manually, and the camera does the rest. For the type of photography that I do, I need to react quickly, so

Equipment

I work with a 28mm lens that has a

Cañibano is always on the move and travels light. He can typically be found wandering around downtown Havana with a 35mm rangefinder hanging around his neck and enjoys talking about camera gear. But when I ask him about equipment for the purpose of this article, he is reluctant to go into detail. ‘I think what matters,’ he says, ‘is the person behind the viewfinder and whatever you want to express when you fire

good depth of ﬁeld.’

Future plans Born in Havana, Cuba, Raúl Cañibano is selftaught, and his work has been published widely and exhibited internationally. It’s held in public collections,

is showing no signs of slowing down. ‘Things are really tough here at the moment,’ Cañibano says as I begin wrapping up the interview. the provinces we should get out into the country and take some

Nacional de Bellas Artes

we had planned to launch a series

and the International

of photography workshops on the

Center of Photography.

island and hope that these will

His latest book, Absolut

ﬁnally happen as the global

August. Prints of his work are for sale at The Photographers’ Gallery, London. Instagram:

situation improves.

Thinking ahead to the immediate future, he tells me about his plans to travel to Austria next month for the launch of his new book before heading to Spain to run a

@raul_canibanofoto

photography workshop. He’s also

About the author:

photographs he has taken in Oriente

hard at work on his next book,

Tierra Guajira, which will focus on

Dr James Clifford Kent is

(the three eastern provinces of the

a London-based

island) and the way these have

photographer and

enabled him to relive experiences

lectures on visual culture

from his youth. Meanwhile, a

at Royal Holloway, University of London. He has published several articles on Cuba and visual culture and is the author of the book

Aesthetics and the Revolutionary City: Real and Imagined Havana. See more on Instagram:

@jamescliffordkent

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He continues, ‘When they open up

more photos.’ Before the pandemic,

Edition Lammerhuber in

www.amateurphotographer.co.uk

Now in his 60th year, Cañibano

including the Museo

Cuba, was published by

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second project, ‘Bojeo’ (perimeter of an island) – inspired by the work of the Spanish painter Joaquín Sorolla – involves collaborating with a Spanish photographer-friend and travelling around the Cuban coastline in various trips over a three-year period. Together they intend to document the lives of Cuban families living in coastal areas, narrating their culture and way of life.

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ARCHITECTURAL PHOTOGRAPHY

King of the

Built on an oval base like a cruise ship, Burg Eltz sailed through history, juxtaposing Renaissance with Gothic as it was enlarged and adapted by the multiple branches of the same family who lived there. Germany, Rhineland-Palatinate, 12th-16th century

castles

Steve Fairclough speaks to photographer

Frédéric Chaubin about his epic ﬁve-year project shooting the castles of Europe

ver a period of approximately ﬁve years journalist and photographer Frédéric Chaubin traversed Europe and shot between 250 and 300 castles in 21 different countries. The results are in his new book Stone Age, which combines historical background texts with Chaubin’s photographs, mainly shot on Linhof view cameras. His pictures showcase a selection of historical European castles, built across a period of 400 years from the feudal Middle Ages to the 15th century, which have endured to this day. Chaubin is the former editor of the French lifestyle magazine Citizen K

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magazine, so I was much more into writing than considering pictures. This magazine was very visual, kind of a lifestyle indie magazine. I started taking pictures for the magazine and including stories, which were very much related to architecture, culture and travel.’ Chaubin started taking pictures with his mother’s Leica M3 camera and admits, ‘it eventually broke’. He adds, ‘I went on from normal size to mid-size [cameras] and then a view camera. The view camera has been broadly used for the Stone Age book. My previous [CCCP] book was mixing different types of cameras – I was using a 6x6, a 7x6 Asahi Pentax, a Kiev Russian camera and the Leica M3.’ Visual arts

With his background as a magazine editor Chaubin spent years commissioning, viewing and choosing photography. He reveals, ‘I was very much committed to selecting pictures, selecting photographers’ work and I had a strong interest for visual arts. So a love of photography didn’t come suddenly from nowhere.’ Chaubin also has a deep love for history and deciphering the stories of the past. He explains, ‘The camera helps very much in writing the story. Basically, when you do a book about castles and you select 200 of them, you’re just offering a very small selection of what is available. This is where the work starts to be subjective, as it’s your choice. If you haven’t been travelling in those countries you buy the book and you flick through it… this is the vision you will have of this world that you don’t know, that the photographer is bringing back to you.’ He adds, ‘I was very much focusing on remote places, abandoned buildings or castles: some kind of nostalgic reception with those remains was my choice. Architecture is very much expressing the past. In France we have a famous architect, Jean Nouvel, who gave a definition of architecture, which, for me, is absolutely perfect. He says that, “architecture is the petrification of a moment of culture” and I’m interested in petrifications of moments of cultures. What is fascinating about castles is they bring several layers of cultures. You don’t have one moment of culture, you have several moments of cultures going through this process of petrification.’

and, in 2011, due to a growing love of combining his writing skills with photography, he produced the book CCCP: Cosmic Communist Constructions Photographed on the

extreme architecture of the former USSR. Like Stone Age, Taschen published it. His love of photography dates back to his childhood: ‘I had an interest in my mother’s photography with pictures of myself. The interest was connected with the fact that the picture is what remains after all. There is this dimension, which, for me, is very important about catching places and dealing with the past. Later on I was an editor of a

Standing in a lunar landscape, far from any human life, the rock castle of Manqueospese merges with the granite. Spain, Ávila, 11th-15th century

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Mudejar and Gothic, Coca combines masonry work in the Moorish style with a double-wall structure in the Western manner. The moat is deliberately dry. Spain, Segovia, 15th-16th century

The remarkable setting for the fortified house Stalker is one reason for its fame. United Kingdom, Scotland, 15th century

Frédéric’s top tips Consider a castle or a building 1architecture as a human being and practise photography as if it were portrait photography. Look for the best proﬁle.

Your partner is natural light. You’re depending on it. Be patient and try not to miss the right moment. Each time of the day, from dawn till sunset, brings a different atmosphere. Choose the speciﬁc one you’re looking for. For example, dusk will offer you the opportunity for dramatic, romantic, backlit compositions.

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Criteria for choosing

When asked about how he chose the castles he shot, Chaubin replies, ‘The idea was to travel throughout Europe and get some kind of big picture, a global vision, to bring buildings from different places and have some kind of a balance. Sometimes you ﬁnd very beautiful castles that I couldn’t photograph because they had scaffolding. But you also sometimes discover a castle that you weren’t expecting that is absolutely beautiful.’ He continues, ‘I wasn’t giving priority to the most famous ones. I was looking for some kind of extraordinary dimension in terms of setting, taking into account the site, the way that the castle connects with the background – that was very important for me. Those are usually the most dramatic castles. Sometimes they may be small or less interesting in terms of architecture – there are a lot which are much more famous – but there is something that the picture will bring that will be special.’ Chaubin adds, ‘There’s no absolute control in the process. It’s a lot of checking through the internet before travelling, then, later on, travelling and using this homogenous 56

perception that brings the view camera to get something that is, in some way, coherent.’ He would sometimes shoot two or three castles in a day and would try not to spend more than a couple of hours in one location unless, of course, he had to return at a later date to get better weather conditions for his shoots. The Stone Age project was shot on two Linhof cameras, mainly because the first one broke when it blew over in Spain. Chaubin worked with just three Schneider lenses without going too wideangle, in order to avoid any distortions. He recalls, ‘Sometimes I have to be brave enough to trespass to get into a place where you may get bitten by a dog that may be there. The worst thing that can happen when you’re using a view camera is the rain. I did some shoots that were really horrendous. It’s terrible because you get even more wet when you’re trying to protect the camera with your coat or your hat and, obviously, using a view camera is a slow process.’ Other challenges included travelling long distances and getting used to hiring cars. Two colour films and one black & white one were utilised for Chaubin’s shoots. ‘I’ve always been floating

Frédéric Chaubin is a journalist and photographer based in Paris. He was the editor of the lifestyle magazine

Citizen K from 1994 to 2013. His ﬁrst book,

CCCP: Cosmic Communist Constructions Photographed, was published in 2011 and won ﬁrst prize at the Perpignan FILAF (International Art, Film and Book Festival). His second book, Stone

Age, was published in 2021. To ﬁnd out more, see www.

fredericchaubin.org.

between the Portra and the Kodak Ektar, which is sharper and less grainy but, for me, is a little bit too strong in terms of the contrast. I was looking for very sharp pictures but, at the same time, very mild, which, in some ways, was contradictory as the films didn’t have the same quality and weren’t providing exactly the same type of pictures. I had to choose between the sharpness of the Ektar and the mildness of the Portra. I used the black & white Fujifilm [Neopan] Acros film, which was absolutely extraordinary. It’s really extremely sharp, without grain and with a very beautiful range of grey and shades of grey at the same time.’ Preparing the book

Chaubin worked on producing Stone Age during the Covid lockdown. He explains, ‘There were a lot of pictures – about ﬁve to ten pictures of each castle. There were a lot of castles that aren’t featured in the book – the pictures are still at home in the cupboard. What is also a little bit confusing is that I did the whole process. Obviously, I took the pictures, I scanned the ﬁlms, I did the post-production… so maybe it’s a problem when there’s not any www.amateurphotographer.co.uk

distance from the subject when you have to choose the pictures, even when you have several shots. I did it, but it was a hard part of the job. ‘For me, the most rewarding [thing]… there is a moment that I love and it’s when I pick up the films that have just been processed because, you never exactly know what you’re going to get. Of course, The book Stone Age: you remember more or less what Ancient Castles of you’ve been shooting. Then you Europe by Frédéric have this picture that is given back Chaubin is published by to you and everything is there. There’s a coffee shop nearby the Taschen Books (ISBN Arka lab I use in Paris and I stop 978-3-8365-8501-9) there, drink a coffee and look at with an RRP of £50. what I’ve got on the films. This is the Discover more at www. most enjoyable part of it besides taschen.com. working and travelling. To discover the places is great. Sometimes when you are facing the castle for the first time, because you’ve just discovered it, there is a kind of joy fulfilment when you know you’re going to be taking a beautiful picture.’ When asked about how he would best describe the Stone Age book, Chaubin replies, ‘There is a written part, which is important, and there is also the photographer’s work. What happened is getting into the topic and going from one castle to

another, and starting to get familiar with the theme, I realised how fascinating they are and how many doors they open. It’s not only about history or heritage – it’s about our European consciousness, about our dreams, about our fantasies. All of these elements make it extremely complex. A castle is a place that may be frightening and, at the same time, it’s a place where you can get shelter. Everything is absolutely paradoxical when you think about castles. The book emphasises this European cultural diversity as seen through the eyes of one photographer.’ Chaubin sums up, ‘I’m very fond of photography. I like being on my own. It’s a very in-deep, personal process, this story. It’s extremely special. There was no one else involved in the project. It was not a commissioned work, so it’s years of personal dedication. It’s very sensitive to show it around in some ways because it’s yourself that you’re revealing… not only the castles but also your vision of the castles. Without being pompous or pretentious I think that it’s what every artist – may they be good or bad – is probably feeling when they show their work.’

I look for neutral photography and avoid distortions. I try to face the building horizontally in order to respect its volume. It’s tough, but if you cannot, just be extreme. Your creative bias must be clearly asserted.

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Slow motion shutter speeds, on a tripod, and a high diaphragm will bring a sharp vision of the subject and offer the best depth of ﬁeld to clearly reveal the surroundings. On a big format print it will look like an open window for the viewers.

The first impression and feeling you get when you discover a building is always at a distance, so you need to find the right distance to try to create this specific mood and emotion that you felt when discovering the building. Sometimes, to avoid being dull, I take some of the pictures very close to the subject but I would spontaneously move and more often keep at a distance.

When you’re shooting castles most of them have been widely documented, so what is challenging and difﬁcult is to ﬁnd some kind of way of shooting them that won’t look too familiar and that will bring some kind of new perspective.

www.amateurphotographer.co.uk

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Capture the world with AP PHOTOGRAPHY TOURS

AP has teamed up with world-renowned tour specialists Zoom Photo Tours to introduce Amateur Photographer Photo Tours, a programme of fantastic photo holidays and workshops to some of the most unspoilt and photogenic destinations in the UK and around the world, led by a team of internationally acclaimed and award-winning photographers

ravel broadens the mind,

accompanied by the likes of

feeds the soul and ignites our creativity. Being in nature

Geographic photographers Steve Winter and

Mattias A Klum, Travel Photographer of the

makes us feel connected to the

to concentrate solely on helping you to become a better photographer. Running throughout 2022 and 2023,

Year Philip Lee Harvey, world-renowned

with more to come, our workshops span

world and boosts our mental health. As a

bird photographer David Tipling, and

everything from photographing birds at

photographer what could be better than

landscape pro Jeremy Walker.

Slimbridge to tigers in India; from the

ﬁnding yourself in a beautiful location

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National

Organised by a professional team with a

scenic landscapes of Skye to the abandoned

ﬁlled with visual wonder? Well there is one

lifetime’s experience in the travel industry

ruins of Chernobyl; and from the frozen

thing better: being in that location with

and a leading provider of photo tours since

wastes of the Arctic Circle to the tropical

one of the world’s leading photographers

2013, you can be assured of a great holiday

rainforests of Costa Rica.

whose sole purpose is to help you to

adventure with good food, quality hotels,

develop your skills behind the camera.

reliable transportation and of course

everyone so take a look over the next few

unparalleled photo opportunities. Each

pages at the destinations we’ll be visiting

exciting programme of tours and

Amateur Photographer photo tour will be

on our tours and the photographers who

workshops to a hand-picked selection of

accompanied by a tour coordinator who

will be leading them. Prices are still being

great photographic locations in the UK and

will take care of all the planning and

ﬁnalised at the time of going to press so

great bucket-list destinations beyond,

logistics, leaving the workshop leader free

check our website for the latest details.

Philip Lee Harvey has

Ulla Lohmann is a

Jeremy Walker is an

David Tipling is one of

Tesni Ward has had a

Ben Hall is one of the

Hans Strand is an

Mats Andersson is an

Göran Strand is an

AP is thrilled to be able to offer readers an

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AP’s Photo Tours offer something for

OUR PHOTOGRAPHERS

Steve Winter has been a Mattias A. Klum is a National Geographic

world-renowned nature

worked in over 120

documentary filmmaker,

award-winning landscape,

the world’s most widely

meteoric rise to success

UK’s leading wildlife

internationally published

Swedish photographer

award-winning astro and

photographer for 25

photographer,

countries from the

photojournalist and

architecture and people

published wildlife

to become one of the

photographers. A regular

landscape photographer

specialising in black &

Northern Lights

years and won multiple

cinematographer, film

Antarctic to the Sahara

explorer who shoots for

photographer and a

photographers, with his

UK’s youngest

contributor to numerous

and winner of multiple

white photography. The

photographer. His photos

awards for his wildlife

director and

for clients such as HSBC,

the likes of

highly experienced

numerous books on

professional wildlife

magazines including AP,

awards including the

winner of multiple

have been published by

work, including Wildlife

environmentalist. He has

British Airways and

Geographic, GEO and the

workshop leader, tutor

birds achieving combined

photographers. A regular

his images are sold

Hasselblad Master

awards including Nature

National Geographic and

Photographer of the Year

shot many features and

Lonely Planet. He has

BBC. An ambassador for

and mentor. A former

sales of over 300,000. A

AP contributor who has

through agencies

Award. He has published

Photographer of the Year

NASA and in 2016 five of

and World Press Photo.

cover stories for

won the prestigious

Canon and Manfrotto,

Nikon Ambassador,

former European Nature

been widely published,

worldwide. Ben has

seven books of his

and the b&w category of

his Northern Lights

He has filmed numerous

Geographic, who referred

Travel Photographer of

she conducts workshops

Jeremy is currently

Photographer of the Year

she also runs regular

made many T V

photography, mostly on

the BBC Wildlife

photos were released as

documentaries for the

to him as ‘one of the

the Year and is listed as

for National Geographic

working with ZEISS, and

David has appeared on

tours and workshops as

appearances including

subjects relating to the

Photographer of the

stamps. Göran has twice

National Geographic

most important natural

one of the top 200

and is a fellow of the

is recognised as a LEE

the BBC and worked

well as hosting sell-out

on BBC

environment and the

Year, Mats has published

won the prestigious

channel, inc on tigers,

history photographers of

advertising photographers

prestigious Explorer’s

Filters ‘Master’. He

behind the camera on

talks at events such as

human relationship to

ten books on his

Astrophotographer of the

leopards and jaguars.

our time.’

in the world.

writes regularly for AP.

many documentaries.

the Photography Show.

nature.

photography.

Year Award.

stevewinterphoto.com

www.mattiasklum.com

www.jeremywalker.co.uk

https://davidtipling.com

National

www. philipleeharvey.com

National

Club in New York.

ullalohmann.com

www.

www.amateurphotographer.co.uk

www.tesniward.co.uk

Countryfile, The One Show, and Walk on the Wild Side. www. benhallphotography.com

www.hansstrand.com

www. matsandersson.nu/

https:// astrofotografen.se/en

www.amateurphotographer.co.uk

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PHOTOGRAPHY TOURS

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PHOTOGRAPHY TOURS

UK Tours Slimbridge Wetland Centre

With David Tipling 28-30 January, 2022

With over 30,000 wintering waterfowl that could include Bewick’s swans, bittern and water rail as well as wheeling ﬂocks of lapwing and golden plover, this wetland provides the opportunity for creative ﬂight photography with subjects that are often very close. David Tipling will show how he creates artistic images of birds using both technique and his imagination. The large grounds and well-placed hides will allow you to explore at your own pace, while David will be on hand for one-to-one tuition to help you improve your technique and get the most from the visit.

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Isle of Skye

Glencoe

With Jeremy Walker 13-16 February, 2022

With Jeremy Walker 17-20 February, 2022

The Isle of Skye is a paradise for landscape photographers and is like no other place in the UK, with its stunning landscape of rugged mountains,spectacular waterfalls and a remarkable coastline. Join internationally recognised landscape pro Jeremy Walker as he shows you the best of Skye, including the iconic Old Man of Storr, the Quiraing and dramatic Cuillin Hills, the Fairy Pools Waterfalls, Neist Point Lighthouse, the ruins of Duntulm Castle and Talisker Bay at sunset. Jeremy will be on hand to offer personal guidance out in the ﬁeld, lectures, and constructive criticism on your photos.

Glencoe is considered to be one of the most spectacular locations in the UK. The valley of Glencoe stretches from Rannoch Moor to Loch Leven and offers a variety of dramatic mountain scenery and beautiful lochs that make it perfect for a photography workshop. In February its soft winter light makes it an experience not to miss. Join award-winning landscape photographer Jeremy Walker for this workshop which will visit places such as the Three Sisters of Glencoe, the Waterfalls of Glen Etive, Castle Stalker, the famous Blackrock Cottage on Rannoch Moor and many more great photo locations.

Sea birds of the Farne Islands

Red Grouse

Beginner’s Wildlife Photography

With Ben Hall 8-10 April, 2022

To become a good wildlife photographer demands a lot of training and guidance. When the tiger emerges from the bush, or a deer is jumping over a fence you have to be prepared. All camera settings should be ready so you just can follow the animal in the camera’s viewﬁnder and press the shutter at the exact right moment to get the image you always dreamed of. On this workshop award-winning photographer Ben Hall will help you improve your wildlife photo skills, and answer your questions so that you gain the full beneﬁt of his tuition and practical advice.

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Why travel with AP Photo Tours?

Amateur Photographer Photo Tours, in association with Zoom Photo Tours, offers unique photo adventures to amazing destinations around the globe, perfectly tailored speciﬁcally for photographers. l Personal guidance and tuition of worldleading and award-winning photographers including daily photo activities, image-editing workshops and lectures to help you improve your photography. l Always small groups. l High-quality food, accommodation and transportation throughout. l We always work with experienced local agents to ensure the smooth running of each tour. l A dedicated Tour Coordinator from Zoom Photo Tours takes care of the logistics and leaves the tutor free to concentrate on the photography. l Free cancellation up to 120 days before departure. l Full refund if tours have to be cancelled or rescheduled for any reason.

Beginner’s Bird Photography

With Tesni Ward 6-8 May, 2022

This workshop at The Lakes, near Uttoxeter, is designed for those new to bird photography who want to develop their skills in this genre. Under the guidance of award-winning wildlife photographer Tesni Ward, the workshop will focus on easy to shoot subjects to give you the greatest opportunities throughout the day to develop and improve. With more than 35 species of waterfowl you will develop an extensive portfolio in a short space of time. Tesni will be on hand to offer personal guidance in the ﬁeld, as well as lectures, and constructive criticism on your photos.

Birds of Bempton Cliﬀs

With David Tipling 12-14 June, 2022

This world-class seabird breeding colony is a bird photographer’s paradise, being home to half a million seabirds, among them the iconic puffin. Gannets hang in the wind, while the cliffs teem with guillemots, razorbills and kittiwakes. David Tipling will be on hand to help you get the most out of this spectacular seabird colony. We will be making the most of the magical light Bempton offers by visiting early in the morning and evening. Weather permitting, we will also take a boat out into the North Sea to photograph diving gannets and hopefully auks including puffins in flight and on the water. www.amateurphotographer.co.uk

With David Tipling 4-7 July, 2022

The Farne Islands are home to more than 100,000 seabirds, including spectacular pufﬁn and tern colonies, terns, auks, kittiwakes, shags and eider ducks that you can get so close to that you can photograph them with a wideangle lens. Nowhere else in Britain offers such close encounters with breeding seabirds. David Tipling has been visiting the Farne Islands annually for more than 30 years to photograph one of the world’s great bird spectacles, so there is no better guide to help you to get the best from the trip.

Deer Rut in Bradgate Park

With Ben Hall 2-4 September, 2022

With Tesni Ward 14-16 October, 2022

With the heather in full ﬂower, the moorlands of the Dark Peak turn to a sea of pink, providing the perfect backdrop for capturing striking images of this charismatic bird. In this workshop we will be spending the days on the moors looking for opportunities to capture the grouse amongst the heather, with the possibility of capturing wider views showing the landscape. During the entire workshop award-winning photographer Ben Hall will be there to help you to develop your photography skills through personal advice, guidance, lectures, and constructive image criticism.

Photograph deer at close range during rut season in the beautiful, varied surroundings of Bradgate Park in Leicestershire, which offers a fantastic population of both red and fallow deer, as well as peacocks, jays, egrets, green woodpeckers, and widgeons and other waterfowl species. The workshop dates are timed to coincide with the peak of the red and fallow deer rut, starting at dawn in order to give you a variety of light conditions to work in. Tesni Ward will be on hand throughout the workshop to offer personal guidance and tuition on both shooting and photo editing.

www.amateurphotographer.co.uk

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30 DAYS FOR FREE

PHOTOGRAPHY TOURS

Overseas Tours Iceland Winter Magic

With Hans Strand & Florian Warnecke 12-18 February, 2022

A lava landscape covered in white that stretches towards the horizons where the mighty Vesterhorn rises with its snow-covered mountain slopes, the highest peaks surrounded by clouds while over the mountain shines a soft evening light. This is a magical photo experience that won’t be forgotten. Join internationally known landscape photographer Hans Strand and the German nature photographer Florian Warnecke – who both have experience from multiple trips to Iceland – on this trip to Iceland during the winter, and you will experience a dramatic landscape with frost, ice, snow and amazing views.

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Zoom Photo Tours is the largest photo tour operator in the Nordic countries and one of Europe’s three largest. The company was established in 2013 and runs around 60 to 70 photo tours per year – from short two-day workshops to overseas tours all over the world. All of the tours are led by worldleading and award-winning photographers who are there to help the guests to improve their photography skills. Zoom Photo Tours has more than £120,000 in travel guarantee under the Travel Guarantee Act.

www.zoomphototours.com

More information

For more details about AP Photo Tours, including tour prices, please visit our website or email us at ap.ed@kelsey.co.uk to go on our mailing list.

www.amateurphotographer.co.uk/ photo-tours 62

In the Shadow of Chernobyl

With Mats Andersson 4-8 May, 2022

Decaying buildings slowly taken over by nature, a Ferris wheel that has long stopped spinning… it’s as if time has stood still. This tour explores the area around the Chernobyl nuclear power plant and the nearby ghost town of Pripyat, an area that was evacuated and abandoned following the terrible nuclear accident of 1986. Mats Andersson will guide us around abandoned buildings and famous locations, and show how to best use the surroundings to create atmospheric images. Enjoy personal tutoring, fascinating lectures and challenging assignments set by Mats.

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Iceland Photo Adventure

Northern Lights in Abisko The Rainforests of Costa Rica With Goran Strand

Kenya Travel Photography

With Philip Lee Harvey 19-27 February, 2022

10-15 March, 2022

Capture the Lapland night in pictures; a sky Join one of the world’s top travel dotted with planets and galaxies, mountain photographers on a photo adventure to birches in a beautiful landscape while the Kenya. In Amboseli we will encounter giraffes, seductive aurora borealis dance takes place zebras, buffaloes, hippopotamus, and lions, over our heads. You will experience this in the and have the opportunity of photographing best place in the world for aurora borealis large elephant herds moving through a photography – Abisko National Park in the fantastic landscape with Mt. Kilimanjaro as very north of Sweden. Under the guidance of our background. We will also visit and award-winning astrophotographer Goran Strand photograph life in a Masai village. From you will learn how to capture the Northern Amboseli, our journey takes us to the coast Lights, the stars and the fantastic landscape where we will be able to photograph the around us at night. We will visit Aurora Sky ﬁshermen and everyday life around the Station which offers magniﬁcent views of Torneträsk and Lapporten. beaches of Mombasa.

Magical Marrakech

With Jeremy Walker September 2022

With Philip Lee Harvey October 2022

Join renowned landscape photographer Jeremy Walker on a trip to experience Iceland’s spectacular scenery. Enjoy the many beautiful waterfalls; discover lava beaches with fascinating rock formations; capture the glacier lagoon Jökulsárlón with its ice blocks on the black beaches; photograph Westerhorn with its dramatic mountains and water reﬂections. Deep ravines, waterfalls and dramatic mountains are found in every direction and Jeremy, with his extensive experience of Iceland, will be there offering his personal guidance to help us to get the best out of our visit.

Strong scents, spicy food, oriental music, street performers and a cavalcade of colors. Join one of the UK’s top travel photographers on a photo tour to the mysterious Marrakech. Explore Marrakech’s colourful bazaars, old streets and narrow alleys where new photo opportunities await behind every corner. During the tour we also visit one of Morocco’s most beautiful oases, Skoura, and we get the opportunity to photograph old forts and beautiful desert cities as well as the world famous Djemaa El Fna market. Philip will be on hand throughout to give personal guidance as well as lectures and photo critique.

www.amateurphotographer.co.uk

Expedition Papua New Guinea

With Ulla Lohmann 17-29 November, 2022

Join an unforgettable expedition to one of the most isolated places on earth with a National Geographic photographer who has visited more than 30 times. Climb and photograph the active volcano Tavurvur, explore paradise islands and snorkel at one of the world’s most beautiful coral reefs. Then we head off road to spend several days in the deep jungle with the indigenous people to experience their unique culture and document life in their village. On jungle hiking expeditions we will see beautiful limestone caves, ancient burial sites and fascinating wildlife.

With Mattias A. Klum 31 March - 13 April, 2022

Costa Rica is a nature photographer’s paradise – beautiful national parks teeming with birds and other animals, rainforests, volcanoes as well as a vast biodiversity that transcends most other countries. Accompany world famous National Geographic photographer Mattias A. Klum on an unforgettable photo tour to this tropical paradise. Photograph everything from tiny insects, spiders, frogs and snakes to larger animals such as bears, tapirs and crocodiles. We’ll be staying in great accommodation connected to the national parks.

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Tigers Forever

With Steve Winter 1-9 April 2023

Join world-renowned photographer and big cat specialist Steve Winter on this unforgettable trip to two of India’s best national parks – Bandhavgarh and Kanha – where you will experience and photograph the most majestic of all big cats, the tiger. Steve will take you to some of India’s best tiger areas where he’s been on assignment for National Geographic and laid the foundation of his book, Tigers Forever. Throughout the trip, Steve will be there to help you develop your wildlife photography skills through personal advice, guidance, lectures and constructive image criticism.

www.amateurphotographer.co.uk

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Amateur Photograp her of the Year COMPETITION

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

Round Eight

Cities provide endless potential for travel shots – whether it’s only a few miles from home or on a different continent. Look for colour, shape and balance in your compositions

Travel

£11,000

Visiting somewhere new, whether it’s another city, country or continent, can really get the creative juices ﬂowing. Every location has its own unique feel and photographing the buildings, landmarks and people you encounter will help to convey the real spirit of a place. Get up early and visit a local market or stay out late and shoot lights reﬂected in water. Talk to people – a smile can go a long way towards securing willing subjects. Try not to ‘steal’ a shot; be patient and courteous.

In association with MPB

of MPB prizes to be won

PRIZES WORTH

£900

Your guest judge

Jordan Banks is a travel, lifestyle and adventure photographer from London. Shooting for the likes of National Geographic, Lonely Planet and a host of other travel brands, Jordan’s work has taken him all over the world to document some of the planet’s most incredible locations.

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What you win

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

Plan your APOY 2021 year Below is a list of all this year’s rounds, including when they open, when they close and the dates the results will be announced in AP. OPENS PHOTOCROWD

OPENS AP

CLOSES

RESULTS

Black & white

6 Feb

13 Feb

1 Mar

AP 10 Apr

Natural world

20 Feb

13 Mar

19 Mar

AP 8 May

Home

20 Mar

10 Apr

16 Apr

AP 5 Jun

Landscapes

17 Apr

8 May

14 May

AP 3 Jul

Architecture

15 May

5 Jun

11 Jun

AP 31 Jul

Movement

12 Jun

3 Jul

9 Jul

AP 28 Aug

Portraits

10 Jul

31 Jul

6 Aug

AP 25 Sep

Travel

7 Aug

28 Aug

3 Sep

AP 23 Oct

Street

4 Sep

25 Sep

1 Oct

AP 20 Nov

Close-ups

2 Oct

23 Oct

29 Oct

AP 18 Dec

YOUR FREE ENTRY CODE Enter the code below via Photocrowd to get one free entry to Round Eight – Travel

APOY31064048

N E YAG UDNESRIS ©

THEME

To enter, visii tt amateurphotographer.co.uk/apoy2021

ALL ABOUT APOY 2021 The camera club award

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

www.amateurphotographer.co.uk

The Young POTY award

This year, we are adding a Young Photographer of the Year category to APOY, in order to encourage our up-and-coming snappers. Entrants should be 21 years old or younger by the competition’s ﬁnal closing date of 29 October 2021. All the categories are the same as for the main competition – simply select the Young APOY option on Photocrowd when you upload your images. This category is free to enter; each category winner receives a £250 voucher, and the overall winner receives a voucher for £500 to spend at MPB.

The winner of each round of APOY receives a £500 voucher to spend at MPB. From top-of-the-range digital medium-format camera bodies, to entry-level DSLRs, telephoto zooms and wideangle lenses, MPB is a one-stop shop for used kit. You can also use your voucher towards your dream piece of kit, if it happens to cost more than £500. For £769, you can pick up a Sony Cyber-shot RX10 Mark III in excellent condition. A versatile bridge camera, it features a 24-600mm-equivalent lens with an f/2.4 to f/4 aperture and 20.1MP sensor. A good zoom lens is a must when shooting travel. The Sigma 24-105mm f/4 DG OS HSM Art offers an f/4 aperture throughout its range, and is impressively sharp, with Hyper Sonic Motor technology ensuring fast and quiet autofocus. It is available in Canon EF, Nikon F, Sigma SA and Sony A mounts, and is priced between £376 and £539 at MPB. Second- and third-placed prizes are £100 and £50 vouchers respectively, while the Youth category winner gets a £250 voucher. Take your pick from thousands of items at www.mpb.com.

www.amateurphotographer.co.uk

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Tech Talk Tony Kemplen on the …

Super Goal Camera

BOOK TICKETS NOW

With a clever design, this 35mm camera certainly pays homage to the beautiful game

t the time of writing England was riding high in Euro 2020, so

The Super Goal camera cleverly folds down to a near-perfect sphere

it seemed appropriate

to revisit a football themed

Try 13 issues for only * £13 Print + digital access included!

camera that I last used in 2012 during that year’s competition. I’m not a football fan, but am happy to show willing and enter into the spirit of things when the national team are doing well. Novelty cameras have been around almost since the dawn of photography. There were cameras disguised as books or cigarette packets, and in the art deco period came stylish vanity sets with built-in cameras. I’ve written about

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18-21 SEPTEMBER 2021, THE NEC, BIRMINGHAM

WE’RE BACK AT THE NEC THIS AUTUMN

an aeroplane-shaped camera, one

details moulded into the body, but

remaining controls are well

that adds a cartoon character to

remain basically camera-shaped.

integrated into the spherical

every shot, and an Action Man

However, this one really pulls out

design, with a wheel to advance

ﬁgure which incorporates a 110

all the stops when it comes to

the ﬁlm, a switch for the ﬂash,

format camera.

paying homage to the beautiful

the rewind crank, the sprocket

game. In its resting state it forms

release and the all-important

sophistication of their design.

a ball, and while I wouldn’t

shutter release. The last two are

Some are merely cosmetic, with a

recommend kicking it, it will roll

quite hard to ﬁnd the ﬁrst time

simple graphic ornament to tie

happily along the ﬂoor if given a

you use them. Of course behind

them to a ﬁlm or other franchise

gentle push.

all the glamour sits a very simple

Such cameras vary in the

that they relate to. Others have

20% oﬀ tickets with code AMPHOTPS21

Professional photographers, videographers and image-making industry representatives can apply for FREE entry to the show. All applications will be veriﬁed against speciﬁc criteria

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Rather like a woodlouse, all the delicate parts are well protected

packaging does boast that the

in its closed state, and in order to

lens has 2 elements, so it’s a

function it has to unfurl. A section

step up from the most basic.

of the ball swings open to reveal

Even if I had been a football

the lens, and also bring the built

fan, with its 32mm focal length

in electronic ﬂash up into its

lens, this would hardly be the

place above it. The clever design

camera for sports photography.

also incorporates the front and

So instead I set myself the task

rear elements of a generously

of ﬁnding round or spherical

sized viewﬁnder into this

subjects to photograph. As we

structure. Once in position the

now know, in the event, as in

ﬂash tube is a good distance

2012, England were beaten by

from the lens axis, so red eye is

Italy, but they managed to

unlikely to be a problem.

progress considerably further in

Another section opens to allow

Tony sought out circular subjects to shoot with his football camera

35mm camera, although the

the competition. Maybe I’ll roll out

the ﬁlm to be loaded, while a

the football camera again for next

small hinged door gives access

year’s World Cup. Oh, and in case

to the battery chamber which

you’re wondering, I have now

serves the electronic ﬂash. The

mowed the lawn!

Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he

*Discount applies to standard adult entry (new bookings) only and cannot be used in conjunction with any other promotion, including concession rates. The code expires at midnight on 15 September 2021.

can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk.

Event supported by

See more photos from the Super Goal at www.ﬂickr.com/tony_kemplen/albums/72157630150770434.

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Summer

SALE! Just £1 an issue

2 EASY WAYS TO SUBSCRIBE

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shop.kelsey.co.uk /AP821

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*Offer available to new UK based subscribers paying by Quarterly Direct Debit including print and digital editions, available until August 31, 2021. You will pay £13 for your first 13 issues, then continue to pay £24.99 every 13 issues thereaﬅer – still saving 62% off the usual shop price. Discounts are calculated on the full cover price and digital edition download fee. For overseas credit/debit card offers, visit our website at shop. kelsey.co.uk. For digital subscriptions, visit shop.kelsey.co.uk/ amateurphotographer. Calls charged at your local network rate. Order lines open 8am-5.30pm, Monday-Friday. Full T&Cs can be found at shop.kelsey.co.uk/terms. Kelsey Publishing takes your privacy seriously and will only use your personal information to administer your account and to provide the products and services you have requested from us. We will only contact you about our special offers via the preferences you will indicate when ordering and you can update these at any time by emailing us at cs@kelsey.co.uk or by calling us on 01959 543 747. **You can unsubscribe from the weekly newsletter at any time.

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Technique 1

REKLAW YMEREJ ©

David is a renowned travel and landscape photographer, and in his 37 years as a pro he has been lucky enough to have chased the light in virtually all four corners of the world. www.davidnoton.com.

I won’t add colour vibrance or saturation; overcooked

images look horrible in print

I composed tightly in

David’s top tips

camera, so no need to

crop; every pixel is precious

Have vision

1 The key steps to producing a beautiful print are taken before the

camera even comes out of the bag. A perceptive photographic vision is the chief requirement that no amount of technical sophistication or expertise in post-production can ever substitute for.

Behind the

print David Noton

Be disciplined

2 Choosing the best image from a shoot is not easy. Editing a tight

selection of quality images is a satisfying culmination to the creative photographic process, especially when a Big Beautiful Print ensues at the end. I strive to be disciplined when shooting and editing. I only process the winners; also-rans get binned.

High/low contrast

3 We tend to be obsessed with the challenges high-contrast scenes

shares the steps he took

present, but low contrast presents just as many problems. Understanding how to expose to maximise the signal to noise ratio and just what can and can’t be achieved in terms of putting contrast back into the image at the editing stage is key.

to make his image of Tombstone Pass ready for printing I’ve just hung this acrylic print on the wall at home, and I must admit I’m very happy with it. Forget Instagram, in my book

4 If in doubt, do nothing. It works for me. Image editing is about deciding

about. Not only is it so satisfying to see the image presented at its best, but it’s a reminder of the adventures we had in Canada’s wild

what a picture needs in terms of adjustments, if any, then doing them in the simplest, subtlest, least obvious way. Twiddling all the sliders hoping to stumble on the winning formula that will transform an uninspiring image into art never works. If you keep it simple, and avoid overcooking your precious raws, you’ll not go far wrong.

and wonderfully remote Yukon Territory. This picture of Tombstone Pass early on a September morning sums up the appeal of that immense landscape, with the scale emphasised by the long lens perspective and the early morning sidelighting painting the interlocking diagonals of the mountains receding into the distance. Like all my best images it’s an uncluttered composition which relies on the drama of the landscape and the lighting. It’s printed beautifully, but as you can see the raw straight out of the camera merely hints at the potential to be unlocked.

in this case a touch of inherent

vignetting simply looks better

recovery will be necessary

I’ll choose not to apply lens proﬁle corrections, because

I’ll need to ensure the dark tones in the trees

don’t block in. A little shadow

WhiteWall recommends

PREPARING FOR PRINTING

Check sharpness at 100% as I shot this with

2 Black and white points

Adjust black and white points to ensure the

3 Add contrast

a 300mm lens in a stiff breeze. Long lens

image shows a full range of tones. This is

appear quite ﬂat due to haze. To combat this,

landscapes can easily lack ultimate crispness

always my ﬁrst adjustment, no question. Of

I added contrast by tweaking the shape of the

due to camera buffering. A large print has to

course, exposing the raw correctly out in the

tone curve into a shallow S. I also use

be bitingly sharp; no amount of sharpening in

ﬁeld is crucial to ensure as much tonal and

Lightroom’s dehaze slider, though cautiously

Lightroom can make up for a soft raw ﬁle.

colour information as possible is captured.

as the colours start to look awful very quickly.

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Keep it simple

making big beautiful prints like this is what photography is all

1 Check sharpness

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IN ASSOCIATION WITH

David Noton

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30 DAYS FOR FREE

Distant scenes shot with long lenses often

www.amateurphotographer.co.uk

4 Gradient tool

Darken the sky using Lightroom’s gradient tool. As I exposed the raw properly the tones are there; they just need pulling back. I use both the highlight recovery and exposure sliders with a soft gradation selected to darken down the top third of the image.

‘For this impressive landscape photo I recommend our ﬂoater frame Basel in brown alder. Thanks to the small gap between the frame and the edges of the image, the picture appears to ﬂoat inside the frame. This gives the picture a unique look. Our ultraHD Photo Prints on high-end Fuji Crystal Pearl photo paper bring even the minutest details to life, crystal-clear and razor-sharp. Also, the metallic sheen of the paper creates a special lighting atmosphere and our Acrylic Glass supports the depth effect of the ultraHD Photo Print.’ Jan-Ole Schmidt, Product Manager, WhiteWall.com

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

No.5

1 The rusting patterns here are

YOUR PICTURES IN PRINT Y L N O S T N E D I S E R U E D N A K U OT S E I L P P A E Z I R P : E T O N

Reader Portfolio

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

Submit your images

Please see the ‘PICTURES’ section on page 3

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

for details on how to submit. You could see your images here in a future issue!

almost reminiscent of a lava lamp. iPhone 8, 1/120sec at f/1.8, ISO 25

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eenan, Bo’ness

vid vid is a graphic designer. avourite subjects Coastal and long-exposure landscapes. How did you get into photography? I was studying graphic design at Dundee College of Art and took photography as my secondary subject. What do you love about photography? Having worked at a desk for 30 years, I enjoy getting outdoors, and being out at sunrise when no one else is around. First camera My first proper SLR was an Olympus OM10. Current kit Fujifilm X-T3 with XF10-24mm, XF16-55mm, XF50-140mm, XF35mm and XF18-135mm lenses; 3 Legged Thing ‘Billy’ carbon-fibre tripod; polarising, +3 stop, +6 stop and +10 stop ND filters. Favourite lens The XF16-55mm is a good all-rounder. Favourite accessory Long-exposure filters – I’ve recently bought Kase circular magnetic filters. Dream purchase I’d love to try the GFX100S. 70

No.4 2

What software do you use? Lightroom and Photoshop, and sometimes OnOne or Nik Efex. Favourite photographers As a graphic designer, I do like the stark and minimal compositions of Bruce Percy. Favourite photo books A small book by Julian Calverley called that shows what can be done with minimal kit. My abstracts here were taken with my iPhone. Favourite tips Keep going to the same locations until the composition and conditions come together. Look at the work of others to identify what they are doing right. Follow them on social and get to know them so you can ask questions. Tell us about your pictures During the ﬁrst lockdown of spring 2020, I would walk our dog Monty along the shore path of the River Forth, which I reached by walking around the perimeter of an industrial estate. I was attracted to the textures and details in the patchwork of corrugated metal and started photographing it with my iPhone 8. It became a mini project. See more dqphotography.com; www.facebook. com/DavidQueenanPhotography

The folds of this

No.3 3

It takes the eye a

No.9 4

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The contrast

fabric help disguise

moment or two to

between nature and

the rusty metal

work out what is wire

man is clear in this

underneath.

and what is shadow

nicely observed

iPhone 8, 1/240sec

in this semi-abstract

composition.

at f/1.8, ISO 20

image.

iPhone 8, 1/190sec

iPhone 8, 1/2000sec

at f/1.8, ISO 20

iPhoneOnly

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Testbench

IN THE FIELD

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The LX100 II is an ideal travel and street camera for unobtrusive shooting Panasonic LX100 II, 24mm, 1/2500sec at f/5.6, IS0 200

Travel titan

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With a blend of portability and high image quality, the Panasonic LX100 II is ideal for travel. Aﬅer spending several months with it, AP staﬀer Amy Davies shares her thoughts At a glance

£749

● 21.7MP Four Thirds Multi-Aspect ● ● ● ● ●

Sensor 24-75mm equivalent f/1.7-2.8 lens 4K video 1.24m-dot 3-inch LCD screen 2.76m-dot electronic viewfinder Wi-Fi and Bluetooth

s you might expect for somebody working on a photography magazine, taking pictures comes quite high up in my list of favourite things to do. That said, over the years there have been fewer and fewer occasions where I’d ﬁnd myself taking a camera out solely for pleasure, my own amusement or to capture the moment. Usually, I’m testing the latest camera or lens (I’m not complaining), which means there’s a job to be done and relaxation not to be had. Having a personal project has

been a good way in the past to maintain a sense of freedom and imagination in my photography, but with an increasingly busy schedule, it’s something that had fallen rather by the wayside in previous years. Having ﬁnally gotten enough mojo to start a new in-depth project at the beginning of 2020, certain other global catastrophic events – along with a number of upheavals in my personal life – also meant that once again I was left without an outlet for my creativity. Feeling compelled to change that, I decided I would once again

start a new project in 2021, but one which would need to be both mindful of any Covid-related restrictions and relaxed enough to take away any pressures of an speciﬁc brief. With that in mind, and with walking pretty much the only permissible activity for large chunks of the past 18 months, I decided to set up a perfunctorily titled blog, Walks of 2021. The next thing I needed, of course, was a camera. Although I wasn’t particularly concerned about always using the same camera (and indeed, there are plenty of occasions when I have www.amateurphotographer.co.uk

used different ones throughout the project), I wanted one that I knew I could rely on, not have to worry about testing it, and importantly, know that it wasn’t imminently due to be returned, as is usually the case with standard review samples. I also wanted it to be small and light enough to be carried around frequently without bother, but also it needed to be tactile enough to use with gloves, as I’d be starting the project on 1 January. Having had the privilege of testing almost all of the cameras on the market, there were a few

that came to mind for the project. It came down to a close-run thing between the Fujifilm X100V and the Panasonic LX100 II. Although the Fujifilm X100V is a wonderful camera – and in an ideal world I’d probably choose both – I decided that the Panasonic LX100 II made for a more flexible choice, with its zoom lens giving better scope for a wider variety of shots. Generously, Panasonic has loaned me the camera on a long-term basis while I work on this project, but, it also has the benefit of being cheaper than the

X100V should I decide to buy it for myself once the loan is inevitably called back in. I’d also had extensive experience of using the LX100, the Mark II’s predecessor, having taken it with me during a month-long visit to New York all the way back in 2015. Back then I’d loved its portability and versatility, and it sealed its fate in my mind as pretty much the perfect travel and street camera. The LX100 II was announced in 2018, some four years after the original iteration. It keeps broadly similar speciﬁcations to its

predecessor, with a series of incremental upgrades that add up together to make quite a comprehensive refresh. That said, you can save yourself a small fortune by opting for the older model, especially on the second-hand market. A quick scan of MPB reveals that you can pick up an original LX100 in ‘good’ condition for as little as £249, which would be an excellent investment if you’re looking for a small and unobtrusive addition to your kit bag and don’t mind missing out on a few of the beneﬁts

www.amateurphotographer.co.uk

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Testbench

IN THE FIELD

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In dim conditions, the LX100 II produces good results

of the newer model. By contrast, the LX100 II currently retails for around £750 new, or around £550 secondhand. My feeling is that it still represents excellent value for money considering what you get for your cash, and in my case, how extensively I have used it.

the AF point, moving around menus and flicking through images in playback. Slightly disappointing was the decision to stick with a fixed screen, though. Here I would have preferred to see a tilting option to give a little extra flexibility when shooting from awkward angles, particularly in discreet street scenes. If you’re anything like me, your Features and main preference will be shooting specifications Using the same 21.7MP sensor through a viewfinder, rather than of the interchangeable lens Lumix via the screen. I briefly GX9 model, a bump in resolution considered using the Fujifilm X70 is one such upgrade from the for this project, a superb little original LX100. What’s pocket-friendly camera with an particularly interesting to note APS-C sensor I’ve had for several however is the fact that it is a years. I knew however that I’d ‘multi-aspect’ sensor (see quickly get frustrated with its lack boxout below). of a viewfinder if I was using it Paired with the sensor is a very frequently. Although not the Leica DC Vario-Summilux biggest, brightest or best 24-75mm (equivalent) f/1.7-2.8 viewfinder in the world, the fixed lens. This is a neat and LX100 II’s 2.76-million-dot OLED compact lens which retracts into EVF is more than adequate the body when the camera is enough to allow for happy switched off, again another plus composition. This viewfinder is point for portability and travel. the same as found on the LX100, Although you can’t quite fit the so no surprises there either. LX100 II into a trouser pocket I’m not particularly bothered by video specifications, but for those (unless perhaps you’re MC Hammer), it can handily fit inside that are, the LX100 II includes 4K video recording, as is pretty much a jacket pocket – or of course, a the standard now. When small bag or pouch. recording 4K, a 1.2x crop is The rear LCD screen is touch-sensitive, which is another applied, so you lose some area of whatever focal length you’re improvement from the original recording at. Perhaps more LX100. It can be used to control various functions such as setting interestingly for stills shooters is

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4K Photo, something we’ve seen on Panasonic cameras for years now. This setting allows you to extract stills from short video clips, and can occasionally come in handy when recording action and movement to grab the exact moment you want. Battery life is important for any camera, but it’s particularly essential when you’re thinking about a travel camera. A small, but key improvement, for the LX100 II is the ability to charge it via USB. This means both that you don’t need to remember to pack a dedicated charger in your luggage, and that you can give it quick power bursts on the go from a power bank. I’ve never had a problem with the battery expiring during a day’s shooting – I always switch off the camera in between shots, and with video being a rarity for me, the quoted overly-cautious 340-shot battery life (270 if you’re predominantly using the viewﬁnder) is generally more than I need.

1/30sec at f/1.7, ISO 1600

Using the camera

It may seem incongruous to talk so frequently about the LX100 II being the perfect camera for travel, yet choosing it for a project at a time when all travel was effectively banned. Indeed, here in Wales where I live, travel was so restricted that all journeys (for pleasure) had to start and end

The LX100 II’s multi-aspect sensor The LX100 II’s sensor is “multi-aspect”, meaning you never actually use the entirety of its 21.7MP sensor at any one time. You can shoot in 4:3, 3:2, 16:9 and 1:1 without narrowing the diagonal angle of view, with a small switch on the side of the lens enabling quick changes between the options. I have found that having the physical switch acts a great reminder to actually use the different ratios available, adding to the scope of creativity at the point of capture, rather than it being a cropping afterthought during editing. Since multi-aspect is achieved by using only up to 85% of the sensor’s area at any given time, the maximum resolution achievable is roughly 17 megapixels. That should still be enough for most scenarios, as well printing up to A3 size at high quality. The example to the right is shot using the 1:1 (square) setting.

Panasonic LX100 II, 24mm,

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from your front door, and could only be carried out on foot or via bicycle. Although I could perhaps have easily argued that I needed to travel by car to take pictures for work, as I was carrying out a personal project I didn’t think that would be in keeping with the spirit of the regulations. While ‘travel’ may have been limited, without transportation being an option, something being light and portable was more important than ever. I challenged myself to ﬁnd new and interesting locations within walking distance of my home, and am fortunate enough to ﬁnd myself living in a place with a great variety of different subjects all easily reachable by foot. Once I’d exhausted the opportunities within a couple of miles radius however, it was time to dig out the hiking boots and www.amateurphotographer.co.uk

explore options further aﬁeld – and it was here that not having the weight of an interchangeable lens system plus multiple optics really came into its own. I felt free to go on 5-10 mile walking trips and not feel encumbered, not only by the weight and bulk of something larger, but also by the extra choice that additional optics often brings. Again, it might seem like an incongruous thing to say, but being restricted can often make me feel freer. It was something I felt in New York with the original LX100, and is certainly something I feel now with its successor. Having just one camera/lens – and no option to swap lenses or systems – while out and about focuses on my mind on actually looking at my surroundings, which in turn leads to picture

Colours are delightfully punchy straight from the camera

Panasonic LX100 II, 24mm, 1/160sec at f/4, IS0 200

www.amateurphotographer.co.uk

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Testbench

IN THE FIELD

opportunities that I might otherwise have missed. We’ve spoken in this magazine before about the beneﬁts of photography for our mental health, with mindfulness often used as an associated phrase. Using the LX100 II for this project very much tied in with that. At a time of severe isolation and heavy restrictions, having the project to set my mind to, and having a simple and unobtrusive camera with which to do it, gave me something to think about other than the less-than-pleasant reality of the overall situation. It also gave me a greater and deeper appreciation for my local area, and taught me to be grateful for the existing opportunities that exist within it. As already mentioned, one of the things that a camera needed to offer – at least in the early cold months of the project – was a good degree of tactility. You get that very well with the LX100 II. Not only does it offer a shutter speed and exposure compensation dial on the top plate, but there’s also an aperture ring around the lens so you can quickly make all the changes you need without having to touch any part of the screen or adjust ﬁddly and small buttons. Also found around the lens is a

switch for choosing one of the aspect shooting ratios, and another for moving between autofocus, manual focusing and – something which I found handy on numerous occasions – macro focusing, which enables you to get as close as 3cm. There are times when using the touchscreen comes in handy. In general, I’ve found that a combination of working with it and the buttons in tandem provides the best shooting experience. But it’s handy to not have to rely on either one or the other to do everything I need or want to do.

1/2000sec at f/5.6, IS0 200

Micro Four Thirds cameras, and I can see why it would be appealing. It gives the same kind of ﬂexibility as a typical 24-70mm type lens, while collapsing down to a very small size. Being able to open up to f/1.7 (at the widest angle) enables the creation of shallow depth of ﬁeld effects and helps with the performance in low light. The future

The pictures

Back in 2015 when I used the original LX100 so extensively I was extremely happy with the pictures that I captured. Having tested out the LX100 II when it came to the market in 2018, as well as the GX9 with which it shares a sensor, I was similarly conﬁdent in its abilities to produce excellent pictures, and I have to say on the whole I have not been disappointed. I’m not going to pretend that the capabilities of the camera match some of other models that I use with frequency – such as the Nikon Z7 II – but neither do I expect it to. There is always a

Pleasing shallow depth of field effects can be created

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Being small and light makes the camera ideal for day trips Panasonic LX100 II, 24mm,

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30 DAYS FOR FREE

compromise to be made when it comes to size and weight, and I’m mostly more than happy with the trade-off that the LX100 II provides me with. A Four Thirds sensor is still much larger than that found in smartphones, and signiﬁcantly bigger even than those found in typical premium compact cameras, such as the Sony RX100 VII or the Canon PowerShot G7 X Mark III, which being small and light were also potential contenders for the project. As such, the level of detail that the LX100 II provides is excellent and it copes well in a variety of situations. I don’t use it all that often in low light, but certainly in the winter months when it wasn’t always bright, it coped admirably well. The LX100 II’s attached lens is one that some have called to be made available as an interchangeable lens option for

Having a short zoom gives a good degree of flexibility

Panasonic LX100 II, 75mm,

1/125sec at f/2.8, IS0 200

1/640sec at f/4, IS0 200

www.amateurphotographer.co.uk

Now being three years old, the time is arguably ripe for an upgrade to the LX100 II. Since 2018, a fair amount has changed within the market, and there seems to be no rumours suggesting that Panasonic is working on evolving the LX100 line. If and when that happens there’s not a huge amount that I would like to see changing - with the big obvious exception being the addition of a movable screen. In an ideal world, I’d also like to see that zoom extended just a touch. Although 75mm is pretty good, going up to 100 or 125mm would make it even more ﬂexible and help grab those extra shots that remained just slightly out of reach on occasion. I’d be prepared for a small amount of extra bulk to accommodate this, especially if it meant keeping the wide maximum-aperture. With its existing prowess in mind however, the LX100 II already makes for one of the best travel cameras on the market today. Since lockdown restrictions have gradually eased, I have found myself using the camera a little less than before. Now that we are permitted to drive again, it’s easier to take out larger and heavier cameras for my outings. But, it’s fantastic to know that the camera is ready to go for those times when I want the perfect blend of portability and image quality, leaving me free to concentrate on the surroundings and enjoy the much-needed freedom that photography provides. For now, my Walks of 2021 blog continues, but includes walks further aﬁeld from those that I can reach on foot from my front door. If you want to see more pictures from my adventures, please visit walksof2021.com.

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20 Testbench

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ACCESSORIES FOR TRAVEL

travel accessories

If you’re ﬁnally planning a trip with photography in mind, you’ll need more than just your camera and lenses. Here’s our pick of the top accessories for travel photography

USB camera battery charger

● £10-£20 ● www.amazon.co.uk These little USB-powered chargers are incredibly useful for keeping spare batteries topped up during a day’s shooting. They’re available for almost every imaginable type of camera, and come in versions that accept one, two or even three batteries. They usually employ a micro USB connector for power input, which means they can be fuelled from a wide variety of sources. For example, you can top up your batteries in the car while driving between locations, or hook one up to a powerbank in your bag while you’re walking around shooting. They’re available under a plethora of labels; we’ve had success with Nitecore and JJC.

Tenba Tools Reload 2 battery pouch

f-stop Gear Dyota Ag+ Ion face mask

Mindshiﬅ Gear Filter Nest Mini

The last thing you need while shooting is to

The coronavirus pandemic has turned life

As a simple but effective means of

run out of power and ﬁnd yourself

on its head over the past couple of years,

organising a small number of ﬁlters in your

scrambling around in your bag for spare

and despite our best efforts to open up

bag, this neat little case is difﬁcult to beat.

batteries. This neat case is designed to

again, there will still be situations where

Measuring 10x9x4cm fully packed, it’ll hold

hold two Li-ion camera batteries, with the

masks are either advisable or required to

four ﬁlters up to 82mm in diameter in

stretchy neoprene pockets capable of

help prevent transmission in enclosed

colour-coded compartments, with a simple

accommodating most shapes and sizes,

spaces such as public transport. This Dyota

velcro closure providing quick access. A

such as the Canon LP-E6 family or the

mask from camera bag maker f-stop Gear is

plush-lined interior prevents marking or

awkwardly blocky Olympus BLH-1. It’s

surprisingly comfortable to wear for

scratches, while the concertina-style design

constructed from water-repellent

extended periods, thanks to its 3-layer

allows it to squash up even more when

polyester fabric and boasts a loop for

construction with a water-repellent outer,

you’re not using all the slots. A nylon

attaching it to a belt or bag strap, along

dense non-woven middle layer and soft liner.

webbing loop handle at the back also allows

with two small d-rings that can be used to

It’s available in a choice of three sizes and

it to be clipped onto a bag or backpack

ﬁx it onto a lanyard.

eight colours.

strap for easy access while you’re shooting.

● £14 ● uk.tenba.com

● £20 ● www.fstopgear.com

● £23 ● www.snapperstuff.com

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SanDisk Extreme PRO SDXC UHS-I

S E C I RP T E E R TS E T A M I X O R P PA E R A S E C I R P L L A

● £42 (128GB) ● shop.westerndigital.com One thing you really don’t want when you’re away on your travels is to run out of card space. Thankfully SD cards are now very affordable, so you can stock up on capacity without breaking the bank. The SanDisk Extreme PRO range represents a sweet spot of high performance at a sensible price, with write speeds of 90MB/s and read speeds up to 170MB/s. Prices range from £24 for 64GB, to £454 for a whopping 1TB. If you don’t regularly shoot video or bursts, then the gold-label Extreme cards are cheaper; conversely, demanding users will beneﬁt from the more expensive UHS-II version. 78

Peak Design Tech Pouch

● £49 ● www.peakdesign.com If you’re fed up with not having enough storage space for your camera essentials, a dedicated pouch to keep all your accessories in one place could be the answer. This organiser is designed for anyone who owns a modular bag, or one that has a spacious open compartment, and allows you to store cables, chargers, powerbanks, earphones and the like neatly together. On the inside you get origami-style pockets of various sizes to separate accessories, as well as a central zipped pocket with four sleeves for storing memory cards. A pair of loops on the back allow a shoulder strap to be attached.

Novo Mantis T3 Mini Travel Tripod

● £69.90 (legs only) ● www.ukdigital.co.uk Chances are you won’t want to carry a large tripod when you’re travelling, but there will always be occasions when you’d beneﬁt from being able to set your camera on a robust support. Enter this neat 27cm-tall mini tripod from Novo. It has many of the features of full-size models, with two-section carbon-ﬁbre legs that can be independently set to three different angles, and chunky rubber feet that unscrew to reveal ground spikes. The matched MBH-25 ball head (£59.90) employs a lever lock to provide impressive strength, and an optional centre column is available for £29.90. www.amateurphotographer.co.uk

BioLite Charge 80 PD

Tilley T5 Cotton Duck Hat

BlackRapid Delta Sling Strap

These days everything seems to be power

It’s important to look after yourself when

If you’re going to be carrying your camera

hungry, not just cameras but smartphones,

you’re travelling, just as much as your kit,

around all day, then why not invest in a strap

tablets, and headphones too. With its

with a good hat being particularly essential

that makes it feel lighter while always

impressive 20,000mAh rating, this hefty

in hot sunny climes. Tilley’s classic T5 is

keeping it handy for shooting? This

powerbank may well be able to keep all your

constructed from durable cotton fabric, with

generously padded cross-body sling strap

devices going for several days. In addition to

both a UPF 50+ rating to prevent sunburn

has a symmetrical design for use over

two standard USB-A ports, it boasts a

and a water repellent coating for less

either shoulder, with a honeycomb-textured

USB-C output that supports the Power

perfect weather. It has an adjustable cord to

inner that should stop you getting sweaty. It

Delivery (USB-C PD) standard. As a result, it

stop it blowing off in the wind that can be

employs a specially designed connector that

should support USB charging with even the

hidden away when it’s not needed, and even

screws into your camera’s tripod socket,

pickiest of cameras, while also being able

boasts a hidden pocket in the crown. The

which allows it to slide easily up the strap

to power a select few directly. The internal

Tilley T5 comes in a choice of three colours

for shooting. A secondary tether can be

battery takes about 5 hours to recharge

(olive, navy and khaki) and eight sizes for a

attached to a strap lug for peace of mind.

fully through its USB-C connection when

perfect ﬁt – just be sure to check the sizing

The Coyote brown option provides a

using an 18W charger.

guidelines ﬁrst.

refreshing alternative to the standard black.

● £70 ● uk.bioliteenergy.com

● £70 ● uk.tilley.com

● £75 ● www.blackrapid.com

www.amateurphotographer.co.uk

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30 DAYS FOR FREE

Testbench

ACCESSORIES FOR TRAVEL

Vanguard Veo Select 42T

Hähnel Modus 360RT

This four-wheeled pilot case is designed to accommodate a substantial amount of kit while meeting most airline carry-on restrictions. It’ll hold two pro DSLR bodies with a good set of lenses, providing quick access via a zipped top panel. Alternatively, it could be used to carry a smaller camera kit along with personal items for a short trip away. There’s also space for a 15in laptop and a tablet in the fold-down front panel. A tripod can be attached to either the top or side, while the removable shoulder strap allows it to be carried as a shoulder bag. It’s available in a choice of green or black.

This compact, lightweight flash unit is a good match for small mirrorless cameras. Unlike other similar units, it’s powered by a dedicated Li-ion battery rather than AA cells, which packs in more energy. As a result, it promises more flashes per charge than its competitors, along with quicker recycling times of just 1.5sec. Its head can be set to almost any angle for bouncing light off a wall or ceiling and zoom to cover 24-105mm equivalent lenses. TTL-Auto, manual and stroboscopic modes are all on offer, along with high-speed sync for daylight fill-in. All in all, it’s a smart little flash that provides a lot of capability for your money while taking up relatively little space.

● £180 ● www.vanguardworld.co.uk

● £169 ● www.hahnel.ie

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Manfrotto Advanced2 Travel Backpack

Formatt Hitech Onyx 85mm Travel Kit by Elia Locardi

This versatile backpack can swallow an impressive amount of kit, while providing convenient access on the go thanks to its side-opening design. It’s large enough to accept a full-frame DSLR with a vertical grip and 70-200mm f/2.8 lens attached, along with at least three more lenses. A small zipped top compartment is perfect for personal items that you want to keep accessible, while there’s space in the padded back compartment for a 10in tablet and laptop up to 15in. But perhaps the standout feature is a clever full-height side pocket that can hold a compact travel tripod, such as one of Manfrotto’s popular BeFree range.

While many photographers favour square filter systems, 100mm set-ups can be bulky to carry around. If you use an APS-C or Micro Four Thirds camera, or don’t usually shoot at angles wider than 17mm equivalent, then a more portable 85mm system may well do the job just as well. This kit is based on Formatt Hitech’s superb Onyx filters, and includes a polariser, a 3-stop soft-edge ND grad for balancing bright skies, and both 4-stop and 10-stop neutral density filters for experimenting with long exposures and motion blur. It’ll fit lens with filter threads up to 77mm, with step rings for 72mm, 67mm and 58mm supplied in the box.

● £142.99 ● www.manfrotto.com/uk-en

● £340 ● www.formatt-hitech.com

Billingham Hadley Pro 2020 ● £260 ● www.billingham.co.uk

When you’ve invested in valuable camera kit, why skimp on looking after it? Britishmade Billingham bags may be pricey, but they offer exceptional levels of protection. This latest version of the ﬁrm’s most popular bag now boasts additional travelfriendly features, including a loop for attaching it to a wheeled suitcase, a removable shoulder strap, and a rear document pocket with a waterproof zip. Its unique triple-layer canvas is both hardwearing and impermeable to water, while the generously padded camera insert provides excellent protection against knocks. Available in seven colour combinations, it’ll comfortably hold a full-frame camera and three or four lenses. www.amateurphotographer.co.uk

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● £390 ● www.3leggedthing.com This compact, fully featured travel tripod kit extends to 138cm, folds down to 35.6cm thanks to its 5-section reverse-folding design and weighs 1.6kg. It boasts an array of travel-friendly features, including a well-padded carry bag whose strap can be removed and attached to the tripod. All the controls are large and easy to use, and the centre column can be inverted or removed altogether for low-angle shooting. It’s even possible to remove the legs and replace them with the included stainless steel Vanz spikes to make a small table top tripod. With a 10kg rated load, it’s fully capable of holding a full-frame DSLR with a telezoom lens.

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Kase Wolverine Magnetic Circular Filter Kits ● £220-£395 ● www.kaseﬁlters.com

X-Trans CMOS 4 sensor, X-Processor 4, a newly developed compact in-body image stabilization (IBIS) system, and new Film

In a brilliant re-imagining of how filters should work, these kits include circular polarising, 3-stop and 6-stop neutral density filters that snap magnetically onto adapters that screw into your lens. This considerably speeds up the process of using filters, which encourages you to use them creatively. It also means you don’t have to buy and carry around different size filters for each lens, just the adapters that cost £12 each. Kits are available in 77mm and 82mm sizes, with adapter rings available in all sizes from 49mm upwards. The Pro kit adds a 10-stop neutral-density filter.

Simulation mode “ETERNA Bleach Bypass”.

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Olympus Tough TG-6

● £369 ● www.olympus.co.uk

If you’d like a rugged compact for shooting around water, sand or snow, this is the best you can get. It marries a 12MP 1/2.3in sensor with a 25-100mm equivalent f/2-4.9 lens, while composition is via a fixed 3in rear screen. Olympus says that it’s waterproof to a depth of 15m, dustproof, shockproof to a drop from 2.4m and crushproof to 100kg force, so it should survive almost any adventure. It’s very much a point-and-shoot at heart, but more advanced users can take a degree of manual control over exposure, and even record raw files for greater processing flexibility after shooting. An array of onboard sensors can be used to record location and environmental metadata to your images. 82

WD My Passport Wireless SSD

● £280 (500GB) ● shop.westerndigital.com If you’re on a once-in-a-lifetime trip, there’s a lot to be said for making copies of all your photos as you go along. This handy device lets you back up your pictures from your camera to its robust internal solid-state drive without the need for a computer and is available in capacities from 250GB to 2TB for £220-£760. It has both a built-in SD card reader and a USB 2.0 port that allows backup of other card types using plug-in readers. Its rechargeable battery will last for hours and even be used as a powerbank to top up other devices, while built-in Wi-Fi allows you to browse through your pictures using a smartphone or tablet.

Panasonic Lumix TZ200 ● £599 ● www.panasonic.com/uk

Sometimes you may not want to carry a large camera around, but something more pocket-sized instead. Panasonic has long been at the forefront of making ‘travel zoom’ compacts, with the TZ200 being its most advanced. It combines a 20MP 1-in sensor with a 24-360mm equivalent f/3.3-6.4 lens and offers a standard sensitivity range of ISO 200-25,600, along with 10 frames per second shooting. Video recording in 4K resolution is also on offer. Both a 2.33m-dot electronic viewﬁnder and a 3in, 1.24m-dot touchscreen are on hand for composing your images. Crucially, it offers a decent range of manual control and delivers pleasing images in a wide range of light conditions. www.amateurphotographer.co.uk

F4 R OIS WR II Normally £899

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GF80mm £2099 GF110mm £2599 GF250mm £2899 GF32-64mm £2149 F1.7 R WR –

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Controls

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

Fast, portable enthusiast mirrorless camera – ideal for street and travel photography Blending high resoluon 32.5mp sensor with advanced video capabiles Wi-Fi , Bluetooth and 180 degree ﬂ ip-up touchscreen Sleek, lightweight mirrorless body – just 408g Versale wide-angle zoom lens plus high quality clip-on Electronic ViewFinder to capture those special moments

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cameras listed & rated

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

Canon EOS M6 Mark II Mirrorless Camera, Black EF-M 15-45mm Lens, EVF-DC2 kit

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132

Lens mount

DSLRs traditionally have relatively large handgrips, while many mirrorless models have much smaller grips to keep size down. However, some can accept accessory grips to improve handling with larger lenses.

Each camera brand uses its own lens mount, and mirrorless cameras use different lenses to DSLRs even from the same brand. However, mirrorless models can often use DSLR lenses via a mount adapter.

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Viewfinder

The biggest difference between DSLRs and mirrorless cameras is that the latter use electronic, rather than optical viewfinders. Some advanced compact cameras also have built-in electronic viewfinders to complement their rear LCD screens.

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

Compact cameras These range from small, pocketable models to large bridge-type cameras with long zoom lenses and SLR-style designs. In this guide, we’re only including those with relatively large sensors for high image quality, raw format recording and manual controls.

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

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

11 Endless Street, Salisbury, Wiltshire, SP1 1DL Prices correct as of 13/08/20. Prices subject to change, check website for latest prices. Credit subject to status and affordability. Terms & Conditions Apply. Castle Cameras are a credit broker and are Authorised and Regulated by the Financial Conduct Authority. Credit is provided by Hitachi Personal Finance, a division of Hitachi Capital (UK) PLC Authorised and Regulated by the Financial Conduct Authority.

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BUYING GUIDE

Olympus OM-D E-M1 III

£1600

•

250

116.3

88.1

58.7

387

Olympus OM-D E-M1X

£2800

4.5

Pro-spec high-speed model with built-in vertical grip

•

305

119.6

49.2

398

Panasonic Lumix G9

£1499

4.5

High-speed, rugged photo-centric flagship camera with in-body IS

•

250

132.5

485

Panasonic Lumix G80

£699

4.5

•

3.2

•

350

135.8

98.3

84.4

660

Panasonic Lumix G90

£899

•

380

138.4

97.5

88.4

680

Panasonic Lumix G100

£590

•

3.2

•

320

135.8

97.5

738

Panasonic Lumix GX880

£400

•

425 6

3.5

•

270

119

67.7

41.1

320

Panasonic Lumix GX9

£699

Panasonic Lumix GH5

£1299

Panasonic Lumix GH5 II

£1499

Panasonic Lumix GH5S

£2199

Panasonic Lumix S1

£2199

Panasonic Lumix S1H

£3600

Panasonic Lumix S1R

£3399

Panasonic Lumix S5

£699

Minor update to M50 with eye-detect AF and slightly longer battery life

APS-C

24.2

Canon M 51,200

3840

•

143 10

Canon EOS M6 Mark II

£869

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

APS-C

32.5

Canon M 51,200

3840

•

143 14

Canon EOS RP

£1400

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

26.2 Canon RF 102,400 3840

•

Canon EOS R

£2350

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

30.3 Canon RF 102,400 3840

• 5655 8

Canon EOS R6

£2500

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

20.1 Canon RF 204,800 3840

•

Canon EOS R5

£4200

4.5

Remarkable 45MP powerhouse capable of internal 8K video recording

Fujiﬁlm X-A7

£699

Sports large fully articulated LCD, but frustrating controls

•

Fujiﬁlm X-E4

£799

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

APS-C

26.1

Fuji X

51,200

3840

•

425 20

•

460

121.3

72.9

32.7

364

Fujiﬁlm X-Pro3

£1799

Employs unusual hidden rear LCD design that polarises opinions

APS-C

26.1

Fuji X

51,200

4096

•

425 20

•

370

140.5

82.8

46.1

497

Fujifilm X-T200 Fujifilm X-T30 Fujifilm X-T3 Fujifilm X-T4 Leica CL

£949 £749 £849 £1349 £1549 £2250

3.5 5 5 5

4.5

Fine SLR-styled model with in-body image stabilisation and large handgrip Fine handling and great image quality, but slow and buggy in use Superb mid-range model that borrows much of its tech from the X-T3 New sensor and improved autofocus make it the best APS-C camera yet Exciting update with in-body stabilisation and fully articulated screen Gorgeous APS-C mirrorless model with viewfinder and touchscreen

Leica TL2

£1700

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

Leica SL2

£5300

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

Leica SL2-S

£3975

Nikon Z 5

£1719

Nikon Z 6

APS-C APS-C APS-C APS-C APS-C APS-C

24.2 26.1 26.1 26.1 24.2

Fuji X Fuji X Fuji X Fuji X Fuji X Leica L

51,200 51,200 51,200 51,200 51,200 50,000

3840 3840 3840 4096 4096

•

425 20

•

425 8

•

425 8

•

425 20

•

425 20

3840

49 10

Leica L

50,000

3840

47.3

Leica L

50,000

5120

•

225 20

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

24.6

Leica L

100,000 4096

•

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

24.3

Nikon Z 102,400 3840

£2099

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

24.5

Nikon Z 6II

£1999

4.5

Second-generation full-frame mirrorless model with useful updates

Nikon Z 7

£3399

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

Nikon Z 7II

£2999

4.5

Nikon Z 50

£849

•

3 3.5

•

• • • • • •

325 270 380 390 500 220

126 121 118.4 132.5 134.6 131

85.1 83.7 82.8 92.8 92.8 78

65.4 55.1 46.8 58.8 63.8 45

465

4/3

20.4

Mic4/3

25,600

3840

•

121 60

•

440

134.1

90.9

68.9

574

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

4/3

20.4

Mic4/3

25,600

4096

•

121 60

•

420

134.1

90.9

68.9

580

20.4

Mic4/3

25,600

4096

•

121 60

•

2580 144.4 146.8

75.4

997

4/3

20.3

Mic4/3

25,600

3840

•

225 9

•

890

136.9

97.3

91.6

658

SLR-style model for enthusiasts with in-body IS and 4K video

4/3

Mic4/3

25,600

3840

•

330

128.4

74.3

505

4.5

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

4/3

20.3

Mic4/3

25,600

3840

•

290

130.4

93.5

77.4

533

Small SLR-shaped camera specifically designed for vloggers

4/3

20.3

Mic4/3

25,600

3840

•

49 10

•

270

115.6

82.5

54.2

345

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

4/3

Mic4/3

25,600

3840

49 5.8

•

210

106.5

64.6

33.3

270

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

4/3

20.3

Mic4/3

25,600

3840

•

900

124

72.1

46.8

450

4.5

Video-focused high-end model with in-body stabilisation and 4K video

4/3

20.2

Mic4/3

25,600

4096

4.5

Update to GH5 that supports wireless live streaming of video

4/3

20.2

Mic4/3

25,600

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

4/3

24MP full-frame mirrorless with exceptional viewfinder

★ ★ ★

•

225 12

•

3.2

•

410

138.5

98.1

87.4

725

4096

•

225 12

•

410

138.5

98.1

87.4

727

10.2

Mic4/3 204,800 4096

•

225 11

•

3.2

•

410

138.5

98.1

87.4

660

24.2

Leica L

204,800 3840

•

225 9

•

3.2

•

380

148.9 110

96.7

899

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

24.2

Leica L

204,800 4096

•

225 9

•

3.2

•

380

151

110.4 1164

4.5

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

47.3

Leica L

51,200

3840

•

229 9

•

3.2

•

360

148.9 110

96.7

898

£1800

4.5

Compact-bodied, enthusiast-focused model designed for both stills and video

24.2

Leica L

204,800 3840

•

225 7

•

440

132.6

97.1

81.9

714

Sigma fp

£1999

Smallest full-frame mirrorless, but compromised features and handling

24.6

Leica L

102,400 3840

•

49 18

3.2

•

280

112.6

69.9

45.3

422

Sigma fp L

£1999

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

61.0

Leica L

102,400 3840

•

49 10

3.2

•

240

112.6

69.9

45.3

427

Sony Alpha 6000

£670

4.5

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

APS-C

Sony E

25,600

1080

310

120

344

Sony Alpha 6100

£830

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

APS-C

24.2

Sony E

51,200

3840

Sony Alpha 6400

£1000

Extraordinary new autofocus system, but in an outdated body design

APS-C

24.2

Sony E

Sony Alpha 6600

£1450

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

APS-C

24.2

Sony Alpha 1

£6500

Flagship model with an unprecedented combination of resolution and speed

4.5

370 383 539 607 403

★

★ ★ ★ ★ ★

•

250

134

399

•

3.2

•

370

147

107

916

225 25

•

3.2

•

510

146

107

931

•

273 4.5

•

3.2

•

470

134

100.5

69.5

675

Nikon Z 204,800 3840

•

273 12

•

3.2

•

330

134

100.5

67.5

675

24.5

Nikon Z 204,800 3840

•

273 14

•

3.2

•

410

134

100.5

69.5

705

Sony Alpha 7

£1300

4.5

One of the lightest, smallest full-frame cameras

45.7

Nikon Z 102,400 3840

•

493 9

•

3.2

•

330

134

100.5

67.5

675

Sony Alpha 7 II

£1498

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

45.7

Nikon Z 102,400 3840

•

493 10

•

3.2

•

420

134

100.5

69.5

705

Sony Alpha 7 III

£1999

Well-specified APS-C mirrorless model boasts excellent handling

20.9

Nikon Z 204,800 3840

•

209 11

•

3.2

•

320

126.5

93.5

450

Sony Alpha 7C

£1900

£899

Lovely-looking retro-styled model with fully articulated touchscreen

20.9

Nikon Z 204,800 3840

•

209 11

•

300

134.5

93.5

43.5

445

Sony Alpha 7R II

Olympus PEN E-P9

£749

Viewfinderless model with 20MP sensor and creative processing controls

4/3

20.3

Mic4/3

25,600

3840

121 15

•

360

118.3

68.5

38.1

337

Olympus PEN E-PL10

£599

Entry-level model with built-in flash and 4K video but no viewfinder

4/3

16.1

Mic4/3

25,600

3840

121 8.6

•

350

117.1

Olympus OM-D E-M10 III

£699

4.5

Excellent entry-level OM-D with simplified, easy-to-use interface

•

330

121.5

83.6

Olympus OM-D E-M10 IV

£699

4.5

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

•

360

121.7

Olympus OM-D E-M5 III

£1100

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

•

310

125.3

4/3

Y R A V YA M S E C I R P T E E R T S , S P R R E R A S E C I R P L L A

4/3 4/3

16.1 20.2 20.4

Mic4/3 Mic4/3 Mic4/3

25,600 25,600 25,600

3840

121 8.6

3840 4096

121 15 •

121

• •

•

• •

•

• •

•

• 3

•

114.2

179 11

•

425 11

•

380

120

66.9

59.4

396

102,400 3840

•

425 11

•

360

120

66.9

49.9

403

Sony E

102,400 3840

•

425 11

•

720

120

66.9

503

50.1

Sony E

102,400 7680

•

759 30

•

530

128.9

96.9

80.8

737

24.3

Sony E

25,600

1080

•

117 5

•

340

127

474

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

24.3

Sony E

25,600

1080

•

117 5

•

350

126.9

95.7

59.7

556

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

24.2

Sony E

204,800 3840

•

693 10

•

610

126.9

95.6

73.7

650

3.5

Compact full-frame design let down by poor handling and tiny EVF

24.2

Sony E

204,800 3840

•

693 10

•

680

124

71.1

59.7

509

£2599

A big step up from the A7R; one of the best full-frame cameras available

42.4

Sony E

102,400 3840

•

399 5

•

290

126.9

95.7

60.3

625

Sony Alpha 7R III

£3200

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

42.4

Sony E

102,400 3840

•

399 10

•

650

126.9

95.6

73.7

657

380

Sony Alpha 7R IV

£3500

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

61.0

Sony E

102,400 3840

•

567 10

•

670

128.9

96.4

77.5

665

49.5

410

Sony Alpha 7S

£2259

Remarkable low-light and video capabilities

12.2

Sony E

409,600 1080

•

380

126.9

94.4

48.2

489

84.4

383

Sony Alpha 7S II

£2500

A specialist camera for low-light shooting and 4K video

12.2

Sony E

409,600 3840

•

169 5

•

310

126.9

95.7

60.3

627

85.2

49.7

414

Sony Alpha 7S III

£3800

4.5

Huge update gains fully articulated screen and new touch interface

12.1

Sony E

409,600 3840

•

759 10

•

600

128.9

96.9

80.8

600

Sony Alpha 9

£4500

Super-fast 20fps shooting and stunning overall performance

24.2

Sony E

204,800 3840

•

693 20

•

650

126.9

95.6

673

Sony Alpha 9 II

£4800

A9 gains professional connectivity options and an improved body design

24.2

Sony E

204,800 3840

•

693 20

•

500

128.9

96.4

77.5

678

£680

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

APS-C

24.2

Sony E

51,200

•

425 11

•

440

113

64.2

44.7

343

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

Mirrorless cameras at competitive low

as in store or online. f our expert team for free impartial nd the perfect camera for your needs.

Keep up to date with us on:

4/3

3.7

★ ★ ★

49 20

•

DIMENSIONS

Superb AF system, super-fast shooting and remarkable in-body IS

•

NEW Nikon Z fc

APS-C

26.1

)G( T H G I E W

387

)MM( H T P E D

58.7

SCREEN

)MM( THGIEH

88.1

)MM( HTDIW

116.3

)S T O H S ( EF I L YRE T T A B

235

NEERCSHCUOT

•

SHOOTING

D C L DE T A L U C I T R A

•

)NI( EZIS NEERCS

HSALF

•

IF-IW NI-TLIUB

•

RED N I F W E I V

•

)SPF( EDOM TSRUB

143 10

S T N I O P FA

£1850

•

T U PNI CIM

Olympus OM-D E-M1 II

3840

OEDIV

299

Canon M 51,200

OSI XAM

35.1

24.2

TNUOM SNEL

67.1

APS-C

) P M ( NO I T U L O S E R

108.2

143 6.1

EZIS ROSNES

)G( T H G I E W

)MM( H T P E D

)MM( THGIEH

)MM( HTDIW

)S T O H S (

EF I L YRE T T A B

315

Very likeable and well-specified entry-level model with viewfinder

3840

NEERCSHCUOT

•

4.5

51,200

★ ★ ★ ★ ★ ★ ★

SUMMARY

•

3840

Fuji X

RRP SCORE

Canon M 25,600

24.2

NAME & MODEL

DIMENSIONS

•

24.1

APS-C

SCREEN

Mirrorless cameras

•

APS-C

Canon RF 102,400 4096

D C L DE T A L U C I T R A

)NI( E ZIS NEERCS

HSALF

SHOOTING

Basic entry-level viewfinderless model gains 4K video recording

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

IF-IW NI-TLIUB

RED N I F W E I V

)SPF( EDOM TSRUB

SUMMARY

S T N I O P FA

Canon EOS M50 Mark II

T U PNI CIM

£649

OEDIV

Canon EOS M50

OSI XAM

£499

TNUOM SNEL

Canon EOS M200

) P M ( NO I T U L O S E R

RRP SCORE

EZIS ROSNES

NAME & MODEL

Fujiﬁlm X-S10

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3840

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BUYING GUIDE

Pentax K 1,600,000 3840

Pentax K

Sigma SD

819,200 1080

6400

•

3.2

•

3.2

153 14 100

105 14 100

•

100

•

100

101 12 100

33 4.4 100

3.2

•

9 3.6 100

9 3.8 100

•

135.5 104

1,240 147

115

2,060 143.5 115.5

1,840 146

3,780 160

3,580 160

410

•

390

•

950

124

1,230 140.5 113

•

3.2

•

3.2

•

970

800

670

N/A

125.5

124

158.5

163

131.5 101

134.5 103.5

136.5 110

147

95.1

69.5

72.5

415

465

720

860

840

78.5 1005

73.5

1405

1450

688

703

820

85.5 1010

90.8

703

708

£549

Canon G7 X Mark III

20.2

24-600

12,800

1080

Useful large-aperture f/1.8-2.8 zoom in a well-designed SLR-like body

1in

20.2

24-100

12,800

1080

5.9

Handles well and gives great image quality, but sluggish AF in low light

1in

20.2

24-120

25,600

3840

4.5

Pocketable body that handles well, with really useful zoom range

1in

20.1

24-100

12,800

1080

£699

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

1in

20.1

24-100

25,600

3840

Canon G9 X Mark II

£449

Slim, stylish, pocketable camera gives great image quality

1in

20.2

28-84

12,800

1080

Fujiﬁlm XF10

£449

3.5

Small, attractive APS-C compact, slightly let down by sluggish AF

APS-C

24.2

51,200

3840

Fujiﬁlm X100V

£1999

Replaces the X100F with new lens, tilting screen and weather-sealing

APS-C

26.1

51,200

3840

Leica C-Lux

£875

Customised, re-badged version of the Panasonic TZ200

1in

20.1

24-360

25,000

Leica D-Lux 7

£1075

Customised, re-badged version of the Panasonic LX100 II

4/3

24-75

Leica V-Lux 5

£1049

Customised, re-badged version of the Panasonic FZ1000 II

1in

20.1

Leica Q2

£4250

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

Leica Q2 Monochrom

£4995

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

Panasonic FZ1000 II

£700

Panasonic FZ2000

£600

Panasonic LX15

)G( T H G I E W

your quote to beneﬁt from the bonus.

819,200 1080

153 7

100

•

82.6 1440

Canon G7 X Mark II

1in

)MM( H T P E D

AVAILABLE! Enter AP-28-AUG when submitting

Pentax K

102,400 1080

•

3.2

•

890

Long zoom range, but let down by slow shooting and no built-in EVF

DIMENSIONS

•

3in

•

200

115

77.9

•

3.2in

•

300

123.3

76.5

105.3 733

•

3in

•

210

112.4

76.4

44.2

377

•

3in

•

230

110.9

60.9

340

•

3in

•

265

105.5

60.9

319

•

3in

•

265

105.5

60.9

41.4

304

8.2

•

3in

•

235

57.9

30.8

206

•

3in

•

330

112.5

64.4

279

•

3in

•

420

128

74.8

53.3

478

3840

•

3in

•

370

113

340

25,000

3840

•

3in

•

340

118

392

25-400

25,000

3840

•

440

136.7

97.2

131.5 812

47.3

50,000

4096

•

3in

•

350

130

91.9

718

47.3

100,000 4096

•

3in

•

350

130

91.9

734

Updates FZ1000 with higher-resolution, touch-sensitive screen

1in

20.1

25-400

25,600

3840

•

3in

•

440

136.2

97.2

131.5 810

4.5

Sophisticated bridge camera with strong focus on 4K video

1in

20.1

24-480

25,600

3840

•

3in

•

350

137.6 101.9

134.7 966

£370

4.5

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

1in

20.1

24-72

25,600

3840

•

3in

•

260

105.5

Panasonic LX100 II

£600

4.5

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

4/3

24-75

25,600

3840

•

3in

•

340

115

Panasonic TZ100

£350

4.5

Long zoom lens in pocket-sized body makes for a fine travel camera

1in

20.1

25-250

25,600

3840

•

3in

•

300

Panasonic TZ200

£500

4.5

Huge zoom range for a pocket camera, but telephoto images lack detail

1in

20.1

24-360

25,600

3840

•

3in

•

Ricoh GR II

£549

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

APS-C

16.2

25,600

1920

•

3in

Ricoh GR III

£799

Slimline, lightweight advanced compact with in-body image stabilisation

APS-C

24.2

102,400 1920

•

Sigma dp0 Quattro

£899

3.5

One of four cameras with the same body design but different lenses

APS-C

19.5

6,400

3.5

Sigma dp1 Quattro

£899

Oddly-shaped body, but logical control layout and clear user interface

APS-C

19.5

6,400

Sigma dp2 Quattro

£899

Sports an excellent lens designed specifically for the Foveon sensor

APS-C

19.5

6,400

Sigma dp3 Quattro

£899

The Foveon sensor is excellent at low ISO but poor above ISO 800

APS-C

19.5

Sony RX0 II

£730

Updated RX0 with tilting screen and internal 4K video recording

1in

15.3

Sony RX1R II

£3450

Fabulous full-frame compact with f/2 lens and pop-up viewfinder

Sony RX10

£829

Excellent bridge camera with constant f/2.8 zoom lens

Sony RX10 II

£1200

Sony RX10 III

£1400

Sony RX10 IV

£1800

Sony RX100

£399

Sony RX100 III

£810

Sony RX100 IV

£896

Sony RX100 V

★ ★ ★ ★ ★ ★ ★

•

SCREEN

)MM( THGIEH

5% TRADE-IN BONUS

Pentax K

•

3.2

1,550 124

167.6

£849

)MM( HTDIW

25.7

Nikon F 3,280,000 3840

•

51 6.5 100

•

3.2

2,850 158

116

765

Canon G5 X Mark II

1080

)S T O H S (

APS-H

19.6

Nikon F 3,280,000 3840

•

153 10 100

•

151

74.8

25,600

EF I L YRE T T A B

Physically identical body to SD Quattro, but with larger APS-H sensor

n i e d a r T l l e s r o r a e g r you 88

APS-C

102,400 3840

•

100

•

900

110.5

701

£599

24-72

NEERCSHCUOT

SD-mount mirrorless camera with unique Foveon X3 sensor

25.7

204,800 3840

•

1,200 144

76.8

515

Canon G5 X

24.2

D C L DE T A L U C I T R A

★

Well-featured full-frame DSLR that’s excellent value for money

APS-C

24.3

Nikon F

1080

3.2

1300 140.7 104.8

76.2

3.5

SHOOTING APS-C

)NI( EZIS NEERCS

★

4.5

Highly specified but pricey APS-C DSLR that boasts a large viewfinder

APS-C

24.2

Nikon F

51,200

•

102.6

449

£799

HSALF

£1499

★

Compact but well-specified DSLR with interchangeable hand-grips

APS-C

20.8

Nikon F

•

3.2

•

131

69.8

Canon G3 X

Rewrites the rule book by ﬁtting an APS-C sensor in a compact body

IF-IW NI-TLIUB

£850

★

Solid performer with fully articulated screen and in-body stabilisation

20.8

Nikon F 1,640,000 3840

•

800

92.6

SUMMARY

RED N I F W E I V

£1799

★

45.7

Nikon F 1,640,000 3840

•

1070 122.4

436

£1149

)SPF( EDOM TSRUB

£1899

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

4.5

24.5

1080

191 16 100

•

77.1

★ ★ ★ ★ ★ ★ ★ ★ ★

Canon G1 X Mark III

T U PNI CIM

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

£6299

£1099

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

25,600

1080

61 7 7 100

•

101.6

475

OEDIV

★

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

24.3

Nikon F

25,600

45 6.5 98

•

129

77.6

OSI XAM

Sigma SD Quattro H

★

20.9

Nikon F

•

45 10 100

•

500

101.3

) V IUQE MM(

Sigma SD Quattro

Great all-round enthusiast full-frame model with tilting screen

20.9

Canon EF 819,200 5496

•

2.7

129

RRP SCORE

EGN A R S N E L

Pentax K-1 II

★

24.1

Canon EF 102,400 3840

•

500

NAME & MODEL

) P M ( NO I T U L O S E R

Pentax K-3 III

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

24.2

Canon EF 102,400 1080

•

DIMENSIONS

Compact cameras

EZIS ROSNES

Pentax KP

Places the excellent sensor from the D500 into a smaller body

★

£5199

£600

Excellent image quality and handling, plus Bluetooth connectivity

20.1

3840

•

)G( T H G I E W

Pentax K-70

30.4

51,200

3840

•

)MM( H T P E D

Nikon D6

£3499

★

4.5

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

26.2

Canon EF

51,200

3840

SCREEN

)MM( THGIEH

Y R A V YA M S E C I R P T E E R T S , S P R R E R A S E C I R P L L A

Nikon D5

£2199

★

4.5

32.5

Canon EF

51,200

1080

)MM( HTDIW

Nikon D850

£1800

★

Super-fast pro model for sports and action photographers

APS-C

24.1

Canon EF

12,800

)S T O H S (

Nikon D780

£1729

Hugely accomplished workhorse model, but pricey

APS-C

24.1

Canon EF

1080

EF I L YRE T T A B

Nikon D750

£1299

Includes 26.2MP full-frame sensor and fully articulated screen

APS-C

12,800

NEERCSHCUOT

Nikon D500

£800

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

APS-C

Canon EF

D C L DE T A L U C I T R A

Nikon D7500

£6499

£499

Super-cheap stripped-back DSLR for budget-conscious beginners

24.1

)NI( EZIS NEERCS

Nikon D5600

★

4.5

HSALF

Nikon D3500

★

4.5

IF-IW NI-TLIUB

Canon EOS-1D X Mark III

£3599

APS-C

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

★

) % ( EG A R E V O C FV

Canon EOS 5D Mark IV

£1999

Minor update to EOS 1300D gains 24.1MP sensor

★

)SPF( EDOM TSRUB

Canon EOS 6D Mark II

£1210

SHOOTING

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

S T N I O P FA

Canon EOS 90D

£820

SUMMARY

★

T U PNI CIM

Canon EOS 850D

£530

★

2.5

OEDIV

Canon EOS 250D

£369

★

OSI XAM

£469

TNUOM SNEL

Canon EOS 2000D

) P M ( NO I T U L O S E R

RRP SCORE

EZIS ROSNES

NAME & MODEL

Canon EOS 4000D

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5.9

•

3in

•

51.4

399

310

66.2

64.2

392

110.5

64.5

44.3

312

370

111.2

66.4

45.2

340

320

117

62.8

34.7

251

200

109.4

61.9

33.2

257

3in

200

161.4

126

550

3.5

3in

200

161.4

87.1

475

3.5

3in

200

161.4

81.6

460

6,400

3.5

3in

200

161.4

101.8 515

12,800

3840

•

42.4

102,400 1920

•

1in

20.2

24-200

12,800

1920

•

Stacked CMOS sensor enables faster shooting and 4K video

1in

20.2

24-200

12,800

3840

Much longer zoom than previous RX10 models, but also much larger

1in

20.1

24-600

12,800

Update to RX10 III with vastly improved shooting speed and autofocus

1in

20.1

24-600

The original 1in sensor compact now looks outdated in terms of features

1in

20.2

Features fast f/1.8-2.8 zoom lens and pop-up electronic viewfinder

1in

4.5

Improves on III with higher-resolution EVF, faster shooting and 4K video

£900

4.5

Sony RX100 VI

£980

Sony RX100 VII Sony ZV-1

NEW Zeiss ZX1

★ ★

3.5

★

3in

•

1.5in

•

240

40.5

132

•

3in

•

220

113.3

65.4

507

•

3in

•

420

129

88.1

102.2 813

•

3in

•

400

129

88.1

102.2 813

3840

•

3in

•

420

132.5

144

1095

12,800

3840

•

3in

•

400

132.5

144

1095

28-100

12,800

1920

•

3in

•

330

101.6

58.1

35.9

240

20.1

24-70

12,800

1920

•

3in

•

320

101.6

58.1

290

1in

20.1

24-70

12,800

3840

•

3in

•

280

101.6

58.1

298

Includes super-fast 24fps shooting and slow-motion video up to 960fps

1in

20.1

24-70

12,800

3840

•

3in

•

220

101.6

58.1

299

4.5

Fantastic pocket travel camera with 24-200mm equivalent f/2.8-4 lens

1in

20.1

24-200

12,800

3840

•

3in

•

240

101.6

58.1

42.8

301

£1200

4.5

Gains Sony’s latest AI-based autofocus tech, including real-time eye AF

1in

20.1

24-200

12,800

3840

•

3in

•

260

101.6

58.1

42.8

302

£700

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

1in

20.1

25-70

12,800

3840

•

3in

•

260

105.5

43.5

294

Unique full-frame camera with 35mm lens and built-in Lightroom Mobile

27.4

51,200

3840

•

4.3in

•

TBC

142

837

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

£5400

•



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

Step 1 Get a quote

our quote at

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Step 2 Send your kit

Simply complete the form at

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

Step 3 Receive your payment or new product!

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

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Mifsuds Photographic Ltd Est. 1954.

Family Run Pro Dealership With Friendly, Knowledgeable Staff. 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

01803 852400 info@mifsuds.com For shop and phone line opening times: - SEE WEBSITE.

www.mifsuds.com New Stock

CANON EOS R5

Body only

£4299

New Stock

CANON EOS 1DX Mark III

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30 DAYS FOR FREE

Body only

£6999

MIRRORLESS R SERIES LENSES EOS R6 body ............................................................... £2599 EOS R6 plus 24-105mm F4-7.1 IS STM............. £2929 MIRRORLESS R SERIES LENSES 14-35mm F4 L IS USM............................................. £1749 15-35mm F2.8 L IS USM ......................................... £2389 24-105mm F4 L IS USM .......................................... £1149 24-105mm F4-7.1 IS STM .......................................... £479 24-240mm F4-6.3 IS USM ......................................... £959 24-70mm f2.8 L IS USM .......................................... £2389 28-70mm f2 L USM ................................................. £3099 35mm F18 IS STM Macro........................................ £529 50mm f1.2 L USM ..................................................... £2389 50mm F1.8 STM ........................................................... £219 70-200mm f2.8 L IS USM........................................ £2729

FULL FRAME CAMERAS EOS 5D MKIV body......................................... £2869 EOS 6D MKII body .......................................... £1429 EOS 6D plus 24-105mm F3.5/5.6 IS STM ................................................ £1819 NON FULL FRAME CAMERAS EOS 90D body.................................................. £1249 EOS 90D plus 18-55mm ............................... £1349 EOS 90D plus 18-135mm............................. £1629 EOS 80D body..................................................... £799

70-200mm f4 L IS USM ........................................... £1699 85mm f1.2 I USM DS................................................ £3299 85mm F1.2 L USM .................................................... £2869 85mm F2 IS Macro ...................................................... £669 100mm f2.8L IS USM Macro ................................. £1479 100-500mm F4.5-7.1 L IS USM............................. £2979 400mm f2.8 L IS USM ............................................£12449 600mm F4 L IS USM...............................................£13409 600mm F11 IS STM ..................................................... £769 800mm F11 IS STM ..................................................... £999 RF 1.4 Extender ............................................................ £579 RF 2x Extender.............................................................. £719 BG-R10 grip ................................................................... £419 LP-E6NH battery ..................................................... £119.99 Mount adapter EF-EOS R ..................................... £119.99

EOS 850D body .................................................. £859 EOS 250D body .................................................. £569 EOS 250D plus 18-55mm................................ £629 OTHER CANON CAMERAS Powershot G5X MarkII ..................................... £849 Powershot G7X MarkIII ................................. £699 Powershot SX70HS ........................................... £579 M50 Mark II plus 15-45mm ............................ £599

See our website for other new stock items

Quality used equipment Part Exchange welcome

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The best stocked dealer in the West Country

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Here to help - just call 01803 852400

QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc. CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED

u Ca 1DX MKIII 1DX MKII body box body box £5699

£1999/2397

£2699

CAnon r dIgItAl AF used

RF 15-35 F2.8 L IS USM box ......£1997 RF 70-200 F2.8 L IS USM box ...£2399 RF 85 F1.2 L USM M- box ...........£2399 CAnon dIgItAl AF used

1DX MKIII body box .....................£5499 1DX MKII body box ......................£2699 7D MKII body box.........................£1097 6D body box..................................... £499 5Ds body box .................................£1599 5D MKIV body box ........... £1999/2397 5D MKIII body box........................£1197 90D body Mint box......................£1049 80D body Mint box........................ £699 20D body box .....................................£69 700D body ........................................ £299 600D body ........................................ £249 550D body ........................................ £129 450D body ...........................................£99 400D body ...........................................£99

5D MKIV body box

350D body ...........................................£69 1300D body ...................................... £199 1200D body ...................................... £199 1000D body ...................................... £149 BG-E20 grip box .............................. £249 BG-E16 grip. ...................................... £199 BG-E13 grip ....................................... £149 BG-E11 grip ....................................... £149 BG-E9 grip box....................................£89 BG-E6 grip........£89 BG-E2 grip .....£39

150-600mm CAF F5/6.3 50-500mm F4.5/6.3 150-500mm Sport HSM OS F5/6.3 APO DG OS

u sia

£799

£599

£1197

17-40 F4 L USM ............................... £399 17-85 F3.5/4.5 EFS serviced ........ £199 18-135 F3.5/5.6 IS nano USM ..... £349 18-200 F3.5/5.6 EFS ....................... £299 24 F2.8 STM ...................................... £129 24-70 F2.8 LII USM........................£1099 24-70 F4 IS USM L........................... £699 24-105 F4 IS USM LII M- box....... £799 24-105 F4 IS USM L ........................ £549 28-135 F3.5/5.6 USM ..................... £219 35 F1.4 L USM MKII Mint box ...£1399 35 F2 IS USM .................................... £399 50 F1.2 L USM box.......................... £997 50 F1.4 USM...................................... £299 50 F1.8 STM box.................................£99 55-250 F4/5.6 IS EFS ...................... £199 60 F2.8 EFS macro .......................... £299 65 F2.8 MPE macro ........................ £849 70-200 F2.8 IS USM LIII ...............£1799 70-200 F2.8 IS USM LII ................£1197

8 F3.5 EX DG fisheye...................... £499 10-20 F3.5 EX DC HSM .................. £279

8-15 F3.5/4.5 AFS Mint box......... £997 10-24 F3.5/4.5 AFS ......................... £499 12-24 F4 DX AFS ............................. £499 14-24 F2.8 AFS Mint- box ..........£1197 16 F2.8 AFD fisheye box............... £549 16-35 F4 AFS VR box ..................... £799 16-80 F2.8/4 VR DX ........................ £549 16-85 F3.5/5.6 AFS DX VR ............ £249 18-35 F3.5/4.5 AFS M- box .......... £599 18-55 F3.5/5.6 AF VR ........................£99 18-105 F3.5/5.6 VR DX AFS.......... £199 18-140 F3.5/5.6 VR ......................... £199 18-200 F3.5/5.6 VRII ....................... £349

18-200 F3.5/5.6 VR ......................... £199 18-300 F3.5/5.6 VR DX box .......... £699 20 F1.8 AFS box............................... £579 24 F1.4 G AFS Mint......................... £997 24 F2.8 AFD....................................... £349 24-70 F2.8 AFS VR M- box .........£1349 24-70 F2.8 AFS box ........................ £897 24-85 F3.5/4.5 AFS ED................... £199 24-120 F4 AFS M- box................... £549 28-105 F3.5/4.5 AFD ...................... £169 28-200 F3.5/5.6 AFG ...................... £199 28-300 F3.5/5.6 VR box................. £649 35 F1.8 AFS DX ................................ £169 35-105 F3.5/4.5 AFD one touch £169 50 F1.4 F............................................. £129 50 F1.4 AFS G ................................... £299 50 F1.8 AFS box............................... £169 50 F1.8 AFD....................................... £129 60 F2.8 AFS ....................................... £449 60 F2.8 AFD....................................... £349 70-200 F2.8 E FL Mint box .........£1699 70-200 F2.8 AFS VRII M- box...... £997

70-200 F4 VR box ............................ £849 70-300 F4.5/5.6 AF-P ED VR ........ £479 70-300 F4.5/5.6 AFS VR................. £349 70-300 F4.5/6.3 DX AF-P VR ........ £249 70-300 F4.5/5.6 G ..............................£99 80-400 F4.5/5.6 AFS VR box ......£1499 80-400 F4.5/5.6 AFS VR box ......£1299 80-400 F4.5/5.6 AFD box ............. £799 85 F1.4 AFS box............................... £997 85 F1.4 AFD Mint box ................... £997 105 F2.8 AFS VR............................... £599 105 F2.8 AFD .................................... £299 200-400 F4 AFS VR II box ...........£4499 300 F2.8 AFS VRII ..........................£3997 300 F4 E PF VR box.......................£1399 500 F4 AFS VR serviced ..............£4499 500 F5.6 E PF VR AFS ...................£3199 800 F5.6 E FL VR AFS .................£13997 TC14-EII box...................................... £329 TC17-EII box...................................... £299 TC20-EIII ............................................. £349 TC-20EII .............................................. £199

XT-2 grip box.................................... £149 XT-1 grip ...............................................£79 Nissin Air 10S box.............................. £49

A 16-80 F2.8 SSM DT ..................... £399 A 17-40 F4/5.6 G SM silver .......... £699 A 18-70 F3.5/5.6 .................................£89

sony neX AF used

mInoltA (sony A mount) AF used

SIG 1.4x EX converter .......................£99 TAM 90 F2.8 SP ................................ £199 Teleplus 1.4x conv .............................£69 Teleplus 2x conv ................................£79 Kenko 1.4x Pro 300DG .................. £149

CAnon m used

M body + 18-55............................... £199 CAnon AF lenses used

10-18 F4.5/5.6 IS STM.................... £219 10-22 F3.5/4.5 USM EFS ............... £349 14 F2.8 USM LII ..............................£1399 15 F2.8 fisheye ................................. £449 15-85 F3.5/5.6 AFS ......................... £299 16-35 F2.8 USM LIII ......................£1399 16-35 F4 USM IS L........................... £799

70-200 F4 IS USM box ................... £699 70-200 F4 L USM ............................. £449 70-300 F4.5/5.6 U L IS box........... £699 70-300 F4/5.6 IS USM II................. £449 70-300 F4.5/5.6 USM ..................... £299 100 F2.8 IS USM L macro ............. £849 100 F2.8 USM macro ..................... £399 100-400 F4.5/5.6 LII box .............£1899 100-400 F4.5/5.6 IS USM .............. £999 135 F2 USM L box........................... £649 200 F2.8 USM LII ............................. £549 300 F2.8 IS USM LII .......................£4499 300 F4 IS USM L............................... £749 400 F5.6 USM L ................................ £799 500 F4 IS USM LII box..................£6999 1.4x ext MKIII .................................... £399 2x extender MKIII............................ £369

sIgmA CAF used

u Ca

500mm F4 IS 100-400mm 300mm F2.8 USM LII box F4.5/5.6 LII box IS USM LII

£1899

£4499

12-24 F4.5/5.6 II HSM .................... £599 14-24 F2.8 DG Art M-box ............. £997 17-50 F2.8 EX DC HS OSM ........... £269 17-70 F2.8/4 DC OS HSM ............. £249 18-250 F3.5/6.3 DC OS HSM ....... £199 24-105 F4 DG OS box .................... £549 50-500 F4.5/6.3 HSM OS .............. £799 50-500 F4.5/6.3 HSM ..................... £599 70-200 F2.8 EX DG OS HSM ........ £599 105 F2.8 EX DG HSM OS box ...... £329 120-300 F2.8 DG OS Sport box £2199 150 F2.8 EX DG OS HSM box ...... £749 150-500 F5/6.3 APO DG OS ........ £599 150-600 F5/6.3 sport ...................£1197 150-600 F5/6.3 contemporary ... £749 TC1401 extender ...............................£19 1.4x EX DG converter .................... £149 2x EX DG converter........................ £149 other CAF used

TAM 10-24 F3.5/4.5 Di II ............... £199

£6999

TAM 16-300 F3.5/6.3 II VC ............ £399 TAM 17-50 F2.8 XR Di VC box..... £279 TAM 28-300 F3.5/6.3 VC PZD box.............................................. £499 TAM 70-200 F2.8 VC USD G2 box ................................................ £799 TAM 100-400 F4.5/6.3 Di VC USD ............................................... £599 TAM 180 F3.5 Di macro ................ £399 TOK 12-24 F4 ATX Pro II DX box £349 TOK 12-24 F4 ATX Pro box .......... £299 Kenko ext tubes box ........................£99

FlAsh/ACCessorIes used

430EX RT MKIII ................................. £239 430EX II............................................... £139 580EX MKII. ....................................... £169 600EX RT ............................................ £299 ST-E3 box ........................................... £249 ST-E2.......................................................£99 Angle finder C.................................. £149

NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED

nIkon dIgItAl AF used

D5 body box...................................£2999 D4s body box .................................£1699 D3X body box .................................. £899 D3 body box..................................... £699 D850 body box..............................£1999 D810 body box..............................£1199 D780 body Mint box ...................£1599 D750 body box................................ £997 D700 body ........................................ £499 D500 body Mint box ...................£1197 D300 body box................................ £299 D7500 body Mint box ................... £749 D7200 body box ............................. £649 D7000 body box ............................. £399 D5000 body ...................................... £179 D3200 body ...................................... £199 D3000 body .........................................£99 D200/D90/D80 body each .......... £149 D50 body ..............................................£99 MBD-15 (D7100/7200) ................. £129 MBD-12 grip (D810)....................... £249

MBD-10 grip ........................................£89 MBD-200 grip (D200) .......................£59 nIkon Z dIgItAl AF used

Z7 body box ...................................£1499 Z6 body box ...................................£1199 16-50 F3.5/6.3 DX ........................... £249 24-70 F4 S Mint box....................... £599 FTZ adapter ...................................... £249 nIkon AF lenses used

sIgmA nAF used

8-16 F4.5/5.6 HSM DC box .......... £399 10-20 F3.5 DC box .......................... £269 10-20 F4.5/5.6 DC ........................... £199 10-24 F3.5/4.5 Di II VC HLD ......... £449 12-24 F4.5/5.6 II HSM .................... £599 18-250 F3.5/6.3 DC OS.................. £199 50 F1.4 DG box ................................ £549 50-500 F4.5/6.3 HSM OS .............. £997 70-200 F2.8 EX DG OS HSM ........ £599 105 F2.8 EX DG HSM OS............... £329 120-300 F2.8 DG OS Sport box £2199 150 F2.8 EX DG OS HSM box ...... £749 150-500 F5/6.3 DG OS HSM ........ £599 150-600 F5/6.3 sport ...................£1197 150-600 F5/6.3 contemporary ... £749 TC-1401 extender ........................... £179 1.4x EX DG conv box ..................... £149 other nAF used

TAM 10-24 F3.5/4.5 Di II VC HLD £449 TAM 16-300 F3.5/6.3 II VC ............ £399 TAM 24-70 F2.8 Di VC USD G2 ... £799

TAM 24-70 F2.8 Di VC USD .......... £499 TAM 28-300 F3.5/6.3 Di VC PZD £499 TAM 60 F2 SP DiII macro .............. £299 TAM 70-300 F4.5/5.6.........................£99 TAM 90 F2.8 SP ................................ £199 TAM 100-400 F4.5/6.3 Di VC USD ............................................... £599 TOK 11-16 F2.8 ATX ProII ............. £349 TOK 11-16 F2.8 ATX Pro................ £299 TOK 12-24 F4 ATX Pro II................ £299 TOK 12-24 F4 ATX Pro ................... £249 Kenko ext tubes box ........................£99 FlAsh / ACCessorIes used

SB-600....................................................£99 SB-700 box ........................................ £219 SB-800........£149 SB-900............... £249 SB-910................................................. £299 Nissin i40 ..............................................£99 DR-6 angle finder ........................... £169 DR-5 angle finder ........................... £169 MC-36A rem.....£89 MC-30A rem £39 SC-17/SC-19/SC-28 cable each .....£49

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FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED

FuJI dIgItAl used

X-T4 body black Mint- box .......£1299 X-T3 body black............................... £799 X-T10 body ........................................ £199 X-F10 black body ............................ £799 10-24 F4 XF R OIS box................... £599 14 F2.8 R box .................................... £529 16-80 F4 XF WR ............................... £549 18 F2 box ........................................... £349 18-55 F2.8/4 XF Mint- ................... £299 18-135 F3.5/5.6 XF ......................... £499 23 F1.4 XF M- box ........................... £649 50-140 F2.8 XR ...............................£1149 60 F2.4 XF box ................................. £479 90 F2 R LM WR XF box .................. £699 2x extender XF WR box ................ £339 X100 Limited Edition kit box...... £599 XT-3 vertical grip G-XT3 box....... £149

A6000 body ...................................... £369 E 18-200 F3.5/6.3 box ................... £429 E 55-210 F4.5/6.3 ............................ £219 E 16-50 F3.5/5.6 PZ OSS ............... £169

MINOLTA/SONY DIGITAL USED

Sony RX10 MKIV Mint box.........£1299 Sony RX100 MKIII............................ £299 Sony A9 body M- box .................£2299 Sony A100 body.................................£79 Sony VG-C70AM.................................£99 FE 24-70 F4 ZA OSS box............... £499 FE 24-105 F4 G OSS box............... £799 FE 35 F1.4 ZA OSS cox .................. £899 FE 100 F2.8 GM macro .................. £897

28 F2.8 ...................................................£79 28-75 F2.8 AFD ................................ £199 28-80 F3.5/5.6 .....................................£49 28-85 F3.5/4.5 .....................................£99 35-105 F3.5/4.5...................................£99 50 F1.8 SAM DT ..................................£99 55-200 F4 SAM box...........................£99 75-300 F4.5/5.6...................................£79 100-300 F4.5/5.6 ................................£99 3600HSD flash ....................................£49

14-42 F3.5-5.6 .....................................£69 14-45 F3.5-5.6 .....................................£69 35 F3.5 ...................................................£99 40-150 F3.5/4.5...................................£99 40-150 F4-5.6 ......................................£69 EX 25 extension tube .......................£99 FL-600R flash .................................... £149

OMD-EM1 MKII body .................... £599 OMD-EM1 body black................... £399 OMD-EM5 body box...................... £299 12-40 F2.8 Pro .................................. £499 12-50 F3.5/6.3 .................................. £149 14-150 F4.5/5.6 MKII...................... £429 25 F1.2 Pro M- box ......................... £997 40-150 F2.8 Pro ............................... £929 75 F1.8 box ....................................... £499 75-300 F4.8/6.7 ED MSC MKII box ............................................. £369 SAMYANG 12 F2 Mint box MF ... £199 MC20 2x converter box ................ £329

olymPus mICro 4/3 used

PAnAsonIC dIgItAl used

olymPus 4/3 used

SIG 18-300 F3.5/6.3 ........................ £299 SIG 50-500 F4.5/6.3 HSM OS ...... £899 SIG 150-500 F5/6.3 box ................ £599

OMD-EM1 MKIII body Mint- box .........................................£1399 OMD-EM5 MKIII body blk Mint- box ........................................... £799

Lenshoods various ..................... £20/50

mAmIyA 7 rF used

other mIn/sony AF used

G7 body Silver Mint box .............. £299 7-14 F4................................................ £599 14-42 F3.5/5.6 .....................................£99 20 F1.7 ................................................ £179

25 F1.4 box ....................................... £379 45-200 F4/5.6 ................................... £199 200 F2.8 box ...................................£1299 1.4x converter .................................. £299 PentAX dIgItAl used

K5 body .............................................. £299 16-45 F4 ED DA box....................... £199 18-55 F3.5/5.6 AL ...............................£69 18-250 F3.5/6.3 DA ........................ £249 28-80 F3.5/5.6 silver FA ...................£69 35 F2.4 DA AL......................................£99 35-80 F4/5.6.........................................£49 50 F1.8 DA ......................................... £119 55-300 F4/5.8 ED WR ..................... £299 DG-4 grip for K5 .................................£79 other PentAX AF used

SIG 17-50 F2.8 DC HSM box........ £199 SIG 50-500 F4.5/6.3 HSM OS ...... £899

BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED

BronICA 645 used

ETRS + AEII prism + 75 PE + speed grip ..................................... £699 ETRSi body box ............................... £299 150 F3.5 E .......................................... £149 200 F4.5 PE........................................ £299 ETRSi 120 back RWC late ............. £119 ETRS 120 back early..........................£99 Polaroid back box..............................£29 Plain prism E box ............................ £169 AEII prism .......................................... £169 Motor winder ................................... £169 EI winder ...............................................£99

Speed grip E ........................................£99 Lenshoods various ............................£40

BronICA 6x6 used

SQAi + 80 + WLF + 120 back.......................................£1097 SQB body ........................................... £299 110 F4.5 PS macro .......................... £399 150 F4 PS ........................................... £299 2x converter S .................................. £119 SQAi 120 back late ......................... £219 SQA 120 back early ........................ £149 Polaroid back ......................................£29 SQAi WLF ........................................... £199

hAsselBlAd 6x6 used

43 F4.5 L + V/F box ........................ £997 50 F4.5 + VF ...................................... £799 Viewfinder for 150 F4.5 ................ £199 Polarizing filter ZE702................... £149

150 F4 CF box .................................. £699 150 F4 Blk T* box ............................ £499 PME5 prism ....................................... £499 WLF chrome late............................. £299 Pola+ back box ...................................£79 Lenshood various ..............................£49 RCP80 projector + 150 F2.8 ......£1499

mAmIyA rZ used

mAmIyA 645 mF used

PentAX 645 AF used

Teleplus 2x converter .......................£39 120 insert..............................................£29 Ext tube each ......................................£29

Pro 120 RFH ...................................... £129 100-200 F5.2 W ................................ £299 180 F4.5 W......................................... £299 45 F2.8 FA .......................................... £499 55-110 F5.6 FA ................................. £599 80-160 F4.5 FA ................................. £399

150-300 F5.6 FA ............................... £599 200 F4 FA ........................................... £399 300 F4 FA ........................................... £799 400 F5.6 FA........................................ £799 PentAX 645 mF used

45 F2.8 ................................................ £349 80-160 F4.5 ....................................... £499 120 F4 macro ................................... £399 135 F4 leaf ......................................... £399 200 F4 ................................................. £199 300 F4 ED IF Green * ..................... £599 REF converter angle finder ......... £129 120 insert..............................................£99

PentAX 6x7 used

45 F4 late ........................................... £599 55 F4 late ........................................... £499 55-100 F4.5 ....................................... £699 75 F4.5 ................................................ £399 90-180 F5.6 ....................................... £499 100 F4 + macro adapter............... £699 120 F3.5 soft focus ......................... £399 200 F4 late......................................... £399 300 F4 latest ..................................... £349 2x rear converter grey .................. £299 Wooden grip .................................... £199

www.mifsuds.com

35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED

Open 8am till 8pm daily. RING NOW!

Or email equipment details to info@mifsuds.com

Sensor cleaning carried out on the premises and Pro equipment hire available - please ask for details ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 15/08/2021. E&OE. Family Run Pro Dealership With Friendly, Knowledgeable Staff.

CAnon AF FIlm BodIes used

EOS 5 body ..........................................£89 EOS 600 / 650 body each ...............£39 EOS 3000 / 300 body each .............£39 EOS 50E / 500N body each ............£39 EOS 1000/1000fn body each.........£39 CAnon Fd used

A1 body.............................................. £169 AE1P black body ............................. £169 AE1P silver body ............................. £169 T90 body............................................ £199 T70 body...............................................£99 A1 World Cup 1982 body box.... £249 AV-1 body .............................................£99 50 F1.8 ...................................................£69 50 F2.......................................................£69 135 F3.5.................................................£69 2x extender B ......................................£49 FD bellows ........................................ £149

ContAX used

CZ 180 F2.8 AE................................. £399 CZ 300 F4 AE .................................... £399 leICA used

IIIg body box ..................................£1199 lIghtmeters used

Minolta Flashmeter IVF ................ £199 Sekonic L358 box ........................... £329 Sekonic Digilite F ............................ £149 mInoltA AF used

7Xi body................................................£69 Dynax 3 body......................................£29 7000i/500Si/300Si body each .......£29 505Si Super body ..............................£29 mInoltA md used

X700 body ......................................... £169 X300s body black ..............................£99 X300 body blk/chrome ...................£99 35-70 F3.5 .............................................£69

50 F1.7 ...................................................£79 50 F3.5 macro .................................. £149 70-210 F4 ..............................................£99 Kenko Teleplus macro conv ...........£69 Auto bellows III................................ £149 Bellows IV box.................................. £149 Macro ext tube ...................................£49 Auto ext tube set ...............................£89 nIkon AF FIlm BodIes used

F5 body box...................................... £599 F4s body ............................................ £499 F801 / F801s each .............................£79 F601M body ........................................£39 nIkon mF used

Nikon Photomic FTn box ............. £599 F3HP body......................................... £599 F3 body .............................................. £499 CF22 or CF20 case F3 each ............£39 F2a body black ................................ £599

F2 Photomic + DP-1 chrome ...... £599 F Photomic Apollo blk b/o .......... £499 FM2n body Blk or Chrome each £599 DW-4 finder for F3.............................£89 F301 body ............................................£69 28 F2.8 AI ........................................... £249 28 F3.5 AI ........................................... £169 28 F4 shift .......................................... £499 28-48 F4 ............................................. £129 28-85 F3.5/4.5 AIS........................... £299 35-70 F3.5 AIS .....................................£99 35-105 F3.5/4.5 AIS ........................ £149 50 F1.4 AIS box ................................ £299 50 F1.4 AI ........................................... £249 50 F1.8 AIS......................................... £149 50 F2 AI .................................................£99 55 F2.8 AIS micro ............................ £199 80-200 F4 AIS ................................... £249 85 F1.4 AIS......................................... £497

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Final Analysis

Photo Critique

Paul Hill considers…

ne day Nick Lockett would be accompanying the late John Thaw to the Oxford location of the latest episode of Inspector Morse and the next to the set of Spitting Image, having just arrived home from photographing a documentary in Australia. This was the enviable photographic career of Nick Lockett. Then, following a ﬂurry of corporate mergers, Nick was made redundant. The shock was enormous and potentially ﬁnancially catastrophic. But ever resourceful, he decided that this enormous volte-face could be the chance he wanted to be his own man instead of following the limiting demands of being for decades the photographic face of companies like Central, and later Carlton Television, where he was the chief photographer. He ‘returned to school’, got a distinction on a Master’s course, and most importantly produced an exceptional body of work on The Portway – a Neolithic route that probably ran from North Africa to Ireland. And the irony is that this important ancient artery ran along the side of his house – literally under his nose – in a small Derbyshire village. Some sections are now tarmac lanes through villages, some are way-marked bridleways that pass under dual carriageways and over railways and rivers, and some are reduced to mere grooves barely discernible as they cross open moor. But how do you photograph it? ‘It started as a landscape project using a 5x4 view camera and developed into a series of

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contemporary environmental posed portraits made with a DSLR where person and place have equal importance,’ Nick told me. ‘On wet days I read and researched about ancient trackways, trading routes, stone circles, cairns, henges and burial chambers, lead mining and local industry. On ﬁne days I walked the route end-to-end many times as the work progressed. I made a sketchbook of my travels, my observations, my impressions every day on the route for nine months.’ In this image, Beverly and Andrew Rowland, who have

‘On ﬁne days I walked the route end-toend many times as the work progressed’ farmed in the Derbyshire Dales for generations posed by the Bradstone, an ancient marker stone that guided travellers. Nick admits he’s a history nut, and with friend and colleague, Martin Shakeshaft, he recently made a ﬁlm on the UK’s oldest city-based photographers, W.W. Winter of Derby (established in 1855) that also melds the old with the new, see more at youtube/8GMUjYaI4jw. The Portway book has

become a wonderfully crafted A3 magnum opus that will be pored over in years to come by those eager to reﬂect on what is not just a name on various maps and a sign on a thousand streets, but a living trace left by our ancestors. As Nick puts it, ‘The Portway is a powerful metaphor for the ﬂow of time between birth and death, stretching back to a time before our own birth, and reaching forward beyond our own death.’

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

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