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X-Tve1rs0ion
Fujsmialfiler,lmm
ore affordable
Fancy a
ad our test!
of the amazing X-T1? Then re
10 commandments of
street
photography
Three top street shooters share their
expert tips for great reportage photos
Philip Jones
Griffiths
Major retrospective of the
legendary photojournalist
Canon
50mm f/1.8
WILDLIFE WATCH Richard Peters shows how to get perfect pictures of pufns
7days
If a picture says a thousand
words, then photographers
have the ability to convey a lot
of messages in a single shot.
Despite the fact that were
bombarded with images on a daily basis, the
right photo still has the ability to stop us in our
tracks to make us laugh, cry or reect.
In this issue we show you some images from
this years Environmental Photographer of The
Year competition (pages 30-33). The
In this issue
11 10 Street
photography
commandments
Three top street shooters
share their expert tips for
great reportage photos
28 Wildlife watch
Richard Peters shows
you how to get perfect
pictures of pufns
30 Life on earth
Images from Environmental
Photographer of the Year to
stop you in your tracks
JOIN US
ONLINE amateurphotographer.co.uk
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Facebook.com/Amateur.
photographer.magazine
Follow us
on Twitter
@AP_Magazine
22 Exposing the
face of war
Philip Jones Grifths
images portrayed the
realities of the Vietnam
War. We speak to Will
Troughton, curator of the
legendary photojournalists
major retrospective
36 Reader portfolio
Spotlight on readers
excellent images and how
they captured them
40 Appraisal
Expert advice and tips on
improving your pictures
from Damien Demolder
46 Fujifilm X-T10
Andy Westlake tests
Fujilms X-T10, which
promises the best bits
of the popular X-T1 at
a lower price
53 Canon EF
50mm f/1.8 STM
Canon has replaced the
EF 50mm f/1.8 II with the
all-new EF 50mm f/1.8
STM. Is it a bargain at
129? Michael Topham
investigates
Regulars
3 7 days
19 Inbox
44 Accessories
57 Technical
Support
90 Final Analysis
GREGORY KNOWLES
A week in photography
Win!
If youd like to see your work published in Amateur Photographer, heres how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 20.
Via our online communities Post your pictures into our Flickr group, Facebook page or the gallery on our website. See details above.
Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 20.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
Adobe
challenge
AUGUSTO SCHILLACI
North Korea
blocks Instagram
Photographer
shirks digital
Film conveys emotion and
texture, and achieves a
permanence digital cant, says
Augusto Schillaci, an American
fine-art photographer. He opted
for black & white film, mainly
using Ilford HP5 Plus, for a
shoot to promote Shinola
watches. I enjoy every part of
the process, from choosing the
film, to developing and printing
it in my wet darkroom, he says.
4
WEEKEND PROJECT
BIG
picture
The inaugural 2015
European Games
Last month saw the launch
of the rst European Games,
otherwise known as Baku 2015.
The games held in Azerbaijan
and featuring 6,000 athletes
from 50 countries competing in
50 sports are an international
multi-sporting event for athletes
representing the National
Olympics Committee of Europe.
The event courted controversy
with several news outts reporting
that they had been barred from
entering xtures. However, many
journalists did gain access and
here we see an image showing
the beautiful display of Julia
Echeberria Esquivel and Irene
Toledano Carmelo of Spain
competing in the Synchronised
Swimming Duets Free Routine
Final on day three of the games.
Bill Brandt
British photographer (1904-1983)
40,000
CALLUM MCINERNEY-RILEY
Remember youre a
guest. Dont hide behind
your LCD, or obsess
over checking your focusing and
that youve nailed every shot.
Instead, engage with your
subjects and enjoy being social
at this important occasion.
It is part of the
photographers job to
see more intensely than
most people do. He
must have and keep in
him something of the
receptiveness of the child
who looks at the world
for the rst time.
CHRIS CHEESMAN
AP is heading a
campaign
against
Committed to defending
your photographic rights!
controversial
European plans to restrict
photography of public buildings
which threaten to censor millions of
amateur and professional photos.
There are growing fears that
proposed changes to European
copyright law will require
photographers to obtain permission
from architects and possibly pay
them royalties before publishing
pictures of tourist attractions such as
the London Eye and the Shard, even
just on Facebook.
Similar restrictions on commercial
images are already in force in some
European countries but, so far, not in
the UK where the so-called
Freedom of Panorama applies.
AP has backed an open letter,
drawn up by Wikipedia operator
Wikimedia and published in The
Times, which has been signed by
organisations including the Bureau of
Freelance Photographers and the
British Photographic Council.
The letter calls on UK MEPs to
vote against the proposal in
Strasbourg, France on 9 July and to
defend our right to make and use
photos of public spaces.
AP Editor Nigel Atherton said, This
unnecessary attack on personal
liberty, designed to solve a problem
that doesnt exist, will fundamentally
transform photography in public
places. It will destroy the century-old
tradition of reportage and street
photography thats provided us with
such a rich and valuable visual history
of our collective past.
He added, Moreover, itll make it
RIGHTS
WATCH
Photo mystery
solved
THE identity of a girl
pictured in 102-yearold photos has been solved
by a member of the public
who came forward after
the pictures were
published on websites.
The mystery girl in the
1913 autochrome
portraits was thought to be
Christina, the daughter of
Mervyn OGorman, the
amateur photographer
who took them but
research showed
OGorman had no children.
The images were
recently published in
connection with an
exhibition of the Royal
Photographic Society
Collection at the National
Media Museum (NMM) in
Bradford, West Yorkshire.
After seeing the shots,
Stephen Riddle contacted
the NMM to say he had a
set of stereoscopic slides
by the same photographer,
Mervyn OGorman, passed
to him by his father-in-law.
The slides captions show
she was called Christina
Bevan and that OGorman
was a family friend.
Subscribe to
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Get up & go
The most interesting things to see, to do
and to shoot this week. By Jon Stapley
Watering
Melon, West
Bengal, India
AELTC
The tournament reaches its apex this weekend, with the singles
finals on Saturday and Sunday. Even if you havent got tickets for
the main event theres plenty of atmosphere to soak up and
photograph, on the hill and beyond.
Until 12 July, www.wimbledon.com
THE COAST
RICHARD JOHNS
BIRMINGHAM
Shipwrecked
Mariners Society
photography
competition
At Home with
Vanley Burke
From 22 July
www.ikon-gallery.org
LIVERPOOL
Open 1
Swift recently advocated for musicians rights
DEBORAH KELLY
VANLEY BURKE
AN amateur
photographer from
India has won
Environmental
Photographer of the Year
2015, bagging the
5,000 top prize.
Uttam Kamatis winning
image shows a couple
watering watermelon
saplings on the Teesta
riverbed in West Bengal.
Kamati, a lmmaker as
well as a photographer,
focuses on humanitarian
projects, transforming
these endeavours into
candid, touching scenes,
according to competition
Wimbledon
Until 23 August
www.openeye.org.uk
London Life
Part of a promotional book tour
by veteran London photographer
Colin OBrien, this exhibition at
The Society Club in Soho shows
off vibrant and eloquent images
of the city and its citizens over
the decades.
18 July-1 August
www.colinobrien.co.uk
LONDON
COLIN OBRIEN
UTTAM KAMATI
LONDON
V wpoint
L rs Rehm
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
The G4 is making
me wonder if my
previous judgement
was premature
smartphones before: a colour-spectrum
sensor that reads infrared light in order to
recognise objects and RGB information to
analyse their colour. The data is then used
to optimise white balance and colour
processing. For those who like to capture
the occasional self-portrait, a front 8MP
sensor is combined with an f/2 lens.
Innovation is not limited to the camera
hardware. The stock camera app has
received a complete overhaul and, thanks
to full support of Android 5.1s Camera2
API, offers full manual control over ISO,
white balance and shutter speed, allowing
for long exposures.
Additionally, you get the option to save
DNG raw les, allowing for post-capture
ne-tuning in Adobe Lightroom or
another raw processor. At only 0.6
seconds, the camera shoots very quickly,
allowing you to capture decisive moments.
To ensure youve got enough storage
for those 16MP raw les and 4K videos,
the G4 comes with 32GB of memory that
is expandable via a Micro SD card slot.
The IPS Quantum Quad HD display
offers the same 2560x1440 resolution
as before, but comes with improved
contrast and colour, which should make it
ideal for image framing and viewing. To
top things off, an optional leather back
gives the G4 a real camera look and feel.
Its fair to say that on paper the G4
already looks like the current king of
smartphone cameras, and a worthy
alternative to the more established
competition from Apple and Samsung.
Do you have something youd like to get off your chest? Send us your thoughts in around
500 words to the address on page 20 and win a years digital subscription to AP, worth 79.99
8
LG
New Books
Harry Gruyaert
Thames & Hudson, 40, hardback,
144 pages, ISBN 9-780-50054-448-8
MAGNUM has certainly been
delivering the goods recently. Not
content with a captivating recent
volume about Eve Arnold (AP 18
April) and a major exhibition of
Philip Jones Grifths (see pages
22-26) we now have a lavish tome dedicated to the
European master of colour and light, Harry Gruyaert.
This is the rst English-language monograph of
Gruyaerts work and it is a more than generous
introduction to the mans work. Harrys busy eye has
travelled the length and breadth of the world, and the
photographer has taken great pleasure in drawing out
the striking interplay of primary colours and gorgeous
light. There are some absolute gems contained within
this book, opening with Gruyaerts eerie 1972 series
TV Shots and ending with his more recent digital
imagery, a body of work that demonstrates that some
photographers never lose their touch. +++++
0
:
9
-(8 :0 /-+ ;5(- 55 4* , + ,158 : 6 @0$$: :@$.0.
Technique
10
commandments
of street
photography
RUPERT VANDERVELL
Technique
STREET PHOTOGRAPHY
Antonio
Olmos
Short fixed-focal
lenses force you
to get close to
the subject
A great image
comes from
perseverance,
patience and
complete focus
If you dont like people and think most of them are complete idiots, then I suggest
you steer well clear of street photography. I nd human beings endlessly interesting.
I love the way they move, I love their faces, I love the way they dress, I love how they
interact with the urban environment in fact, I love everything about them. Its a joy
taking their pictures, and I truly believe people can see that about me. They also read
my body language and get a sense that I am no threat to them.
If you walk around taking photos in the street, constantly worried about getting
mugged or questioned about what you are doing, you are going to give others the
sense that you are not comfortable.
13
Technique
Jerry Webb
Jerry worked in publishing as a designer,
followed by a number of years as an art
editor with EMAP. In 1988, he turned
freelance and has remained so ever since.
Despite moonlighting as a photographer
during his publishing days, Jerry took up photography for himself
in 2007 after buying a Nikon D80. He shoots mainly in monochrome
around Brighton and Hove. www.jerrywebbphotography.com
5 Proximity
Interaction does
not prevent you
from getting
strong images
Dont be afraid to
shoot into the light
Technique
Rupert Vandervell
Born and based in London, Ruperts
photographic style is highly representative
of his personality. Hes always been
obsessed with clean lines and the
geometrical appearance of things. Through
the lens he finds people captivating and his work explores our
relationship with the world and how we interact with our
environment. www.rupertvandervell.co.uk
8 Shoot at night
When I go out to shoot, I want to feel like Im one of the crowd, and blend in and
remain anonymous. The last thing I want to do is to draw attention to myself. I see guys
lugging bulky and heavy-looking cameras and gear around with them and wonder how
they manage. For street photography, carrying too much gear around with you is a
mistake. Its tiring and restricts your movements. I can be out for hours at a time and
I may get tired from constantly being on my feet, but never from carrying a heavy
camera bag. A smaller camera is easier to conceal and you wont be advertising what
youre up to. Between shots you can hide it under your jacket or behind you as you
move into position sometimes its all about stealth. I remember seeing Joel
Meyerowitz shooting on the streets of New York. He moved like a cat. You wouldnt
know what he was up to until it was too late and hed got the picture.
There are so many great small and lightweight cameras around. I use an Olympus
OM-D E-M5 with a 20mm lens. Its fast, small and very light. I prefer to use my feet to
do the framing and get myself into the right position for the shot. Street shooting is about
being in the right place. If you are more mobile, youll give yourself a better chance.
11 July 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
10 Be patient
You may nd a
place that you think will be
the perfect setting for a
shot, but something isnt
quite as you want it. The
light may not be right or
perhaps people havent
yet walked into the frame.
Some photographers are
too ready to move on if
they dont immediately see
something to their liking.
Its not just about looking
at whats in front of you, as
you have to look right into
a scene to see its potential.
A slight movement to the
left or right, or moving in
closer, can reveal a whole
new dimension to a shot.
I will always stay with an
area if I think it might yield
something. I get more
excited by the minute at
the prospect of capturing
just what I have in mind.
I love watching how the
light plays with a scene. Ive
learned to be very patient
and I wont leave until
I think Ive got the best
I can. The light can change
very quickly depending on
the time of year, and I have
watched shadows sliding
into new positions to create
a completely different feel.
When shooting people,
I try to anticipate their
movements and how they
might feature. You need to
be ready and poised for
that moment when they
hit the right spot.
If youre lucky and youve
combined the perfect light
with everything else, then
youll feel happy that you
waited around to get it.
Good shots come to
those who wait.
When shooting
people, I try to
anticipate their
movements
17
Inbox
F
D E
A
C
B
In AP 20 June we asked
Win!
Shadow play
35%
28%
24%
6%
6%
1%
Left eld
NIGEL ATHERTON
Analyse this
INBOX
Contact
photographer and
reader of AP for nearly
70 years. Perhaps it explains
why Roger is a successful
professional photographer,
whereas I remain a stumbling
(albeit happy) amateur.
Graham Peglar,
Cambridgeshire
Subscriptions
Email magazinesdirect@quadrantsubs.com
Telephone 0330 3334555 or +44 (0)330 3330 233 (overseas)
One year (51 issues) UK 150.55; Europe e259;
USA $338.99; Rest of World 221.99
Camera hunt
I recently embarked on a
similar search to Andrew
Sanderson for his green
Pentax SP500 35mm
camera (My life in cameras, AP
13 June). My sister-in-law is a
professional photographer in
the Czech Republic, and
recently celebrated a big
birthday. Shes long been
pining for her Pentax K1000,
even though nowadays shes
fully digitised. So it wasnt
hard to think of a suitable
birthday gift for her.
Finding one on eBay wasnt
too tricky, but nding one that
looked as though it might
actually work was a little more
difcult. Eventually, I stumbled
on one being sold by a chap
who recovers cameras as part
of his business, and its now in
the Czech Republic being put
through its paces by its
delighted new owner. Happily,
apart from the meter needing
a new Wein Cell battery, its
proved fully functional.
Tony Turner,
Cambridgeshire
Pricey prints
Test Reports
Contact OTC for copies of AP test reports. Tel: 01707 273 773
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Email mark.rankine@timeinc.com
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Deputy Technical Editor
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Features & Technique Editor Phil Hall
Senior Features Writer
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Staff Writer
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Photo-Science Consultant Professor Robert Newman
Senior contributor
Roger Hicks
Special thanks to The moderators of the AP website Andrew
Robertson, lisadb, Nick Roberts, The Fat Controller
Advertising
Advertising Director
Advertisement Manager
Account Manager
Production Coordinator
Mark Rankine
Felix Barlow
Simon Gerard
James Wise
Marketing
Surreal macro
insects
Vivid colours
and extreme
detail we look
at how to take
creative closeup shots of the
small lifeforms
around us
Leica Q
Its a new product line
for Leica, and may be
the companys best
digital camera yet
Master
depth of field
Mark Bauer shows how
to get front-to-back
sharpness in your
landscape images
Fujifilm 16mm
f/1.4 lens
NADAV BAGIM
20
Marketing Manager
Publishing team
Chief Executive Ofcer
Managing Director
Publishing Director
Group Magazines Editor
Marcus Rich
Paul Williams
Alex Robb
Garry Coward-Williams
PHOTOJOURNALISM EXHIBITION
Exposing
W
War
ith the rise of
citizen journalism
and social media,
people have greater
exposure to pictures of conict than
ever before. There are fears from
some that, perhaps, the increasingly
graphic nature of these images
has desensitised us to what we are
seeing. At the time that Philip Jones
Grifths Vietnam photographs
were taken, however, they were
some of the rst to show the public
the full extent of the horrors of war.
What strikes you now, looking back
through the archives, with our more
jaded eyes, is how shocking and
moving they remain.
Its no wonder that Grifths rst
book on Vietnam, Vietnam Inc,
published in 1971, is regarded as
one of the pivotal photojournalism
books on the period. His natural
instinct for communicating emotion
and meaning shines through every
22
the
Face
of
Creating a narrative
What Grifths does so well is use
framing, juxtaposition and human
expression to create a story in each
image and help you connect with
what youre seeing. The captions are
integral in enhancing this narrative
and evoke a feeling of immediacy.
A young Viet Cong boy lays dying:
the caption tells us he fought for
three days with his intestines
strapped to his body in a cooking
bowl. A child chained to the bed
goes berserk whenever he hears
helicopters pass by: he is reminded,
we are told, of when his mother was
shot, dropping him from her arms.
Young Vietnamese patients lay
in hospital beds, their
Older soldiers
who missed
their families
often befriended
children and
sometimes dogs
PHOTOJOURNALISM EXHIBITION
Changing opinions
Below: US policy in
Vietnam was based
on the premise that
peasants driven
into the towns
and cities by the
carpet-bombing of
the countryside
would be safe
PHOTOJOURNALISM EXHIBITION
25
PHOTOJOURNALISM EXHIBITION
Framing
A LOOK through Grifths contact sheets is
quite revealing, and gives an insight into how he
composed his pictures. He claimed he only
ever put the camera to his eye for three
seconds to take a picture, and believed good
composition on its own wasnt enough to make
a shot it also had to have strong content.
SIMON EVANS
Equipment
PHILIP Jones Grifths used a wide array of cameras
over his career, and had phases where he favoured
different models. The cameras shown above possibly
the ones used in Vietnam, where he used Nikon Fs
and Leicas were found in boxes in his archive
alongside a number of Olympus bodies, Contaxes,
Minoltas, underwater cameras, panoramic cameras,
digital cameras and small compact cameras.
Film use
Grifths was heavily inuenced by Henri CartierBresson and preferred shooting in black & white, but
the desire to nance his trips meant he needed to sell
images whenever he could and magazines wanted
colour. He shot colour slide lm, favouring
Kodachrome or Ektachrome, and then printed in
black & white for his own use. However, he felt new
lm tended to have a slightly green cast. Having
trained as a pharmacist, he came up with his own
method of incubating the lm in a dark box on the
roof of his hotel in Saigon, using the reaction from
the heat of the sun to get rid of the green cast.
26
Griffiths legacy
Grifths would publish two more
books about Vietnam, Agent Orange
and Vietnam at Peace, returning to
the country more than 20 times. He
also worked in Northern Ireland,
Cambodia and visited over 100
countries in his career, often
seeking out stories himself rather
than waiting for a commission.
Grifths died in 2008, and left a
legacy of work that remains an
important part of history. His
archive offers a wealth of contact
sheets, cameras, documents,
personal papers and artefacts
stored at the National Library
of Wales.
The exhibition, Philip Jones Grifths: A Welsh Focus on War and Peace, runs until 12 December
at the The National Library of Wales, Aberystwyth, Ceredigion SY23 3BU. Tel: 01970 632 800 or
visit www.llgc.org.uk
11 July 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
+++
+
7..9 '4.$/ &)/ 5*1:16:*"
WILDLIFE WATCH
Atlantic puffins
Richard Peters
Richard Peters is a UK-based wildlife
photographer whose passion stems from
watching natural history documentaries
in his youth. Now his photographs and
articles are published regularly, and his
images have won numerous awards.
www.richardpeters.co.uk
Tracking puffins from a distance and picking your moment carefully makes flight shots easier
Nikon D800, 600mm, 1/4000sec at f/7.1, ISO 800
Habitat
28
Lenses
Gimbal
KIT LIST
A puffin takes a rest among a sea of green on Skomer Island, south-west Wales
Nikon D800, 600mm, 1/1000sec at f/6.3, ISO 125
WILDLIFE WATCH
Technique
Shooting
advice
Mind your step
Pufns are very small and
show little fear of man. This
makes them easy to get
close to and photograph,
but it also means care
must be taken as burrows
can often be at the edges
of pathways. A poorly
placed tripod leg, or hastily
stepping as you spin the
camera round, could result
in injury of any inquisitive
birds that have decided to
wander under your feet
en route to and from their
burrow while you are
looking the other way.
Dress for
the occasion
The very nature of pufn
colony locations means
the weather is often
changeable. Sometimes it
can be cold, wet and hot in
the space of half an hour,
depending on the coastal
weather. The right clothing
will ensure youre able to
keep comfortable and
really concentrate on
taking photographs.
Time of day
On some breeding
colonies, such as the Farne
Islands in Northumberland,
the sky can be lled with
thousands of birds at
any one time.
However, depending on
which colony you visit and
when, youll be limited to
the time of day you can
gain access to shoot. For
example, the Farne Islands
will only allow access well
after sunrise, with mainland
departure way before
sunset. Unfortunately, for
those wanting that warm
golden light, its not
possible at this spot.
Skomer Island, however,
will allow overnight guests,
but you must book at least
six months in advance to
guarantee youll get
accommodation. Many
of the access restrictions
for day-trippers to
Skomer Island also apply
to those who visit the
Farne Islands.
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
29
RIZALDE CAYANAN
Rizalde Cayanan
Sandstorm in the city,
Kuwait, 2011
Theres something near-apocalyptic
about this incredible scene captured in
Kuwait back in 2011. Kuwait is a city
subject to dramatic heat and weather
conditions, not least among them the
awesome displays of the regular
sandstorms. By choosing to frame and
compose his scene in this way, Rizalde
has given us a good sense of the vast
scale of the storm as it covers the city
in a rich red blanket of sand.
PHOTOGRAPHY AWARDS
Life on earth
We take a look at some of the incredible images shortlisted
for this years Environmental Photographer of the Year awards
he Environmental
Photographer of the
Year competition has
always been a hotbed of
incredible and, at times, almost
overwhelming images, and here
we look at some of the shortlisted
PHOTOGRAPHY AWARDS
Kazi is an award-winning
documentary photographer from
Bangladesh, who is particularly
interested in photographing people living
off the land and the consequences that
can occur when that land erodes or
disappears altogether. In this strong
portrait shot, we nd a gentleman by
the name of Majid on his way to market
after collecting crabs. Shooting from
such a low angle has given the subject
real dignity and poise. It has also meant
the blue sky contrasts beautifully with
Majids skin.
HOANG LONG LY
Hoang Long Ly
Fishing Net Checking,
Vietnam, 2014
Hoangs images are notable for
their sincere degree of optimism
about the human spirit and our ability
to engage and be at peace with our
environment. This beautifully
composed image shows, as the title
suggests, a sherman checking the
nets that will hopefully capture him a
hearty bounty of sh. This is an image
that has so much going for it. The
light hitting the nets is a particularly
beautiful sight, as are the ghostly
breaths of mist to the left. Its also hard
not to be amazed by the design of the
shing mechanisms themselves.
CARLOS AYESTA AND GUILLAUME BRESSION
Carlos Ayesta
and Guillaume
Bression
Retrace Our Steps,
Fukushima, 2014
This image by French
duo Carlos Ayesta and
Guillaume Bression is part
of a wider project that began
two or three years ago. The
pair felt compelled to respond
to the series of disasters that
beset Japan, most notably the
2011 Fukushima Daiichi
nuclear power plant tragedy
that contaminated several
parts of the country. Here
we see a woman (actually
an actor) moving through
a real abandoned food store
as she searches for her
groceries among the
spoiled food and potentially
contaminated displays.
32
PHOTOGRAPHY AWARDS
EDUARDO LEAL
Eduardo Leal
Plastic Tree #20, Bolivia, 2014
Jashim Salam
Life in Tidal Flood 3, Bangladesh, 2014
It will probably stagger you to hear that the world consumes one
million plastic bags every minute. In fact, they were found by the
Guinness World Records to be the most ubiquitous consumer item in the
world. They are also one of the central sources of pollution worldwide.
Here, Eduardo effectively communicates the distances these pollutants
can travel on the wind as they spread like an infection.
33
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Reader Portfolio
Spotlight on readers excellent images and how they captured them
Gary Turner, West Yorkshire
Landscapes and architecture feature most
prominently in Garys photographs. Working in
black & white really allows the details to be
captured, says Gary. Removing the distraction
of colour allows me to place the emphasis on
the lines, shapes and details in nature and in man-made
structures. Gary was recently introduced to street
photography, which he sees as a fantastic opportunity to
capture new images. He would also like to introduce a little
more colour into his portfolio.
Hepworth
1
The Folly
4 This is a beautiful
image of an iconic
structure at Castle
Hill in Huddersfield.
As Gary says, the
cloudy sky was
perfect for a long
exposure
Canon EOS 7D,
10-20mm, 60secs
at f/16, ISO 100,
tripod, ND filter,
remote trigger
5
36
By Whitby Pier
5 Gary was aiming
for a fine-art,
minimalist,
long-exposure image
here. Its a perfect
location to achieve
such an end and Gary
has succeeded
Canon EOS 7D,
10-20mm, 50secs
at f/16, ISO 100,
tripod, ND filter,
remote trigger
Stairwell Light
6 Gary found this scene in Bath and was
keen to capture the light streaming from the
stairwell. With just the right exposure he has
managed to achieve his goal and retained a
good amount of texture in the walls
Canon EOS 7D, 10-20mm, 15secs at f/13,
ISO 100, tripod, remote trigger
Blackstone Edge
7 With this image,
Gary converted it to
black & white and
tweaked the
Contrast, Levels and
Clarity settings. He
then added a vignette
and gradients to
darken the sky
Canon EOS 7D,
10-20mm, 1/80sec
at f/11, ISO 100,
tripod
7
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
37
Dave Fieldhouse,
West Midlands
Reader Portfolio
Hamelin Bay
2 A fallen jetty in
Hamelin Bay, Western
Australia. Dave has
gone for a minimalist
style here. The
gulls are a huge
compositional bonus
Canon EOS 5D Mark
III, 24-70mm, 60secs
at f/16, ISO 50,
tripod, Lee Big
Stopper
3
4
Winnatts Pass
1
5
4 The glowing
foreground is a great
way to draw our eye
towards the main
point of focus in the
image the road. The
leading lines motif is
also present in the
dispersing vapour
trails in the sky
Canon EOS 5D Mark
III, 16-35mm, 0.4sec
at f/16, ISO 200,
hard grad filter,
tripod
Bamford Edge
5 Bamford Edge
in the Derbyshire
Peaks is a classic
well-known sunset
spot, says Dave.
The cliff rocks were
brightly lit by the
wonderful side light,
so I decided to focus
on these, rather
than the interesting
rock formations at
my feet
Canon EOS 5D Mark
III, 16-35mm, 1/5sec
at f/13, ISO 100, ND
filter, tripod
39
Appraisal
Expert advice and tips on improving your photography from Damien Demolder
BEFORE
AFTER
Distant sunset
Alex Harford
Canon PowerShot G1 X,
15.1mm, 1/60sec at f/4, ISO 1000
IM REALLY not sure what were looking at
here, but Im guessing its some sort of circular
room with a roof in need of repair, and a view
over a valley or the sea. It reminds me of a
Greek beach caf thats seen better days.
Either way, what my eyes see are two
BEFORE
ANDREW has caught an interesting moment
as this white-clad lady emerges from the
towering stone gates of this imposing building.
She might be stepping out of jail or out of
anywhere, actually, as Andrews contrast has
concealed much of the information we need to
know what sort of place it is. Those deep, dark
shadows hide even what the walls are made of
and ll much of the frame with blackness.
A lower-contrast approach, at the time of
shooting as well as in processing, would have
opened the shadows to reveal more of the
scene. The lady still stands out, as the contrast
between her and the background is more than
sufcient to ensure we look at her rst.
Andrews building also suffers from not being
quite straight, because the
AFTER
camera wasnt straight, so some rotating and
a bit of keystone correction have been used to
simulate what the picture could have looked
like perfectly lined up.
It is a common mistake to treat alreadycontrasty scenes with more contrast, when
in fact what they need is less.
A lower-contrast approach,
at the time of shooting as
well as in processing, would
have opened the shadows to
reveal more of the scene
Win!
Send up to six prints, slides or images on CD (include the original files from the camera along
Submit your images
with your versions on the CD). Tell us about the pictures and include details of equipment used
Please see the Send us your pictures section on page 3
and exposure settings. Send your images to Appraisal at the address on page 20. Enclose an SAE if you
want them returned. The picture of the week will receive a years digital subscription to AP worth 79.99 for details or visit www.amateurphotographer.co.uk
40
YOUR PICTURES
AFTER
BEFORE
Picture
of the
week
Damien Demolder is a photographer, journalist and photographic equipment expert, speaker, judge and educator. He has worked in the photographic publishing industry for 17 years, including 15 years at
Amateur Photographer. He uses a wide range of equipment, from wooden plate cameras to the latest DSLRs, and is a great fan of all products that make good photography more accessible to more people
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
41
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Accessories
Front
compartment
The front compartment
can accommodate a 15in
laptop, 10in tablet and any
additional filters or
accessories.
Versatile design
rolling transportation
Verdict
Its quite a statement, but having used the RL
x450 AW II extensively, Im left with the lasting
impression that its the most versatile camera
bag Ive ever used. Its not light (4.3kg), but its
dual-purpose design is superbly implemented
and the zips and material used in its
construction are second to none.
44
Zips
The zips pull around the
bag effortlessly. Their YKK
locking design allows you to
secure them together with a
small padlock.
Carry-on
compatibility
The bag is designed to be
carry-on compatible, but always
check that dimensions comply
with your airlines carry-on
baggage requirements.
GOLD
G-Technology G-Drive
ev ATC with Thunderbolt
180 www.g-technology.com
GOLD
I REGULARLY use portable hard drives for taking my images, videos
and documents to and from work. However, the nish on them tends
to get a little battered and the inevitable knocks my bag takes during
the commute have made me realise I may do some damage to the
hard disk drive.
There are a few rugged hard disk drives on the market, but
G-Technology has come up with a particularly good solution. The
G-Drive ev ATC is a hard drive tted inside a waterproof and drop-proof
rugged case. Out of the box, it has a 1TB disk that spins at a rate of
7,200rpm and is available in Thunderbolt or USB 3.0 versions. Theres
no need to ddle about with plugging in external cables, as its powered
by the Thunderbolt or USB 3.0 connections, and the leads are built into
the case and come with a protective rubber cap.
When in the case, the hard disk is rated as being able to withstand a
2m-drop on to a carpeted concrete oor and it can survive in up to 1ft
(30cm) of water for up to 30 seconds but, brilliantly, it oats, so this
shouldnt be too much of an issue. As an added bonus, the case
provides pressure resistance and also prevents dust creeping in.
However, the really great part is that its compatible with the standard
G-Drive ev and G-Drive ev SSD ranges so you can pop out the 1TB disk
it comes with and insert another drive. This is useful if you already have a
drive, or wish to use an SSD drive for even faster transfer speeds.
Ive been using the drive for a month or so now its travelled in my
bag, been on planes and gone out shooting along with my laptop and
I cant fault it at all. Obviously, Ive knocked and kicked it about far more
than Id normally treat a hard disk drive, but its still working perfectly.
As for the transfer speed, Ive been using it with the built-in
Thunderbolt lead to store and edit video and as a scratch disk in Adobe
Premiere. So far, its performed brilliantly all round.
If youre a photographer or
videographer who
regularly carries a
disk with you, or
you sometimes
nd yourself editing
in the eld in a
far-from-perfect
environment, I highly
recommend the G-Drive ev
ATC with Thunderbolt.
Richard Sibley
subscribe 0330 333
Try it today
www.amateurphotographer.co.uk/digital-edition
45
Testbench
CAMERA TEST
At a glance
16.3-million-pixel, APS-C
X-Trans CMOS II sensor
ISO 200-6,400 (raw),
100-51,200 (JPEG)
2.36-million-dot
OLED viewfinder
3in, 920,000-dot tilting LCD
New 77-area AF system
8fps continuous shooting
499 body only
Fujifilm X-T10
Andy Westlake tests Fujifilms X-T10, which promises
the best bits of the popular X-T1 at a lower price
For and against
Traditional control dials
make shooting a pleasure
Fujifilm X-T1
Price 880 body only
Fujifilm X-A2
Excellent viewfinder
Compact, portable
body design
Fujifilms entry-level
CSC uses a 16.3MP
Bayer-type sensor in
a small body with
much simpler
controls
46
Data file
Features
The X-T10 offers an impressively
broad feature set, with a
specication that would have
looked outlandishly advanced just
a few years ago. The sensitivity
range covers ISO 100-51,200,
although raw-format recording is
frustratingly restricted to ISO
200-6,400. Continuous shooting
is available at 8 frames per
second, with continuous autofocus
during shooting.
Shutter speeds range from
Testbench
CAMERA TEST
Autofocus
THE X-T10 comes with a new
advanced autofocus system,
which will also be available in a
rmware update for the X-T1 (as
Version 4). For static subjects
this employs Fujilms familiar
49-point grid covering most of
the frame, with the AF area size
selectable in ve steps to match
the subject. However, it adds
eye-detection AF for portraits,
along with two completely new
modes for continuous focusing
on moving subjects.
The Wide tracking mode uses
an expanded 77-point grid
covering effectively the entire
sensor. Its designed to follow
subjects moving across the frame
and keep them in focus. The
subjects expected starting point,
where the camera will initially
attempt to acquire focus, can be
set anywhere in the frame.
Group mode uses sets of AF
points positioned in a dened
area of the frame, and is
designed for when you wish to
maintain a specic composition.
When shooting at 3fps in CL
mode, its possible to select
between 3x3, 5x3 and 5x5
focus-point sets, and move them
48
A wide range of
lenses can be used via
adapters. This was shot
with the 300 Laowa
60mm f/2.8 Macro,
which is capable of
2x magnification
Focal points
The X-T10 resembles a slimmed-down X-T1,
but with a few new features of its own
Flash release
Cable release
The shutter button
has a thread for
an old-fashioned
screw-in mechanical
cable release.
40.8mm
A lever next to
the drive-mode
dial releases
the built-in
pop-up flash.
Hotshoe
Mode switch
This is compatible
with Fujifilms
external flash units
and third-party
alternatives.
Connectors
Battery
82.8mm
118.4mm
At higher ISO settings, the X-T10 gives strong colours and low noise
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
49
Testbench
CAMERA TEST
Lab results
Andrew Sydenhams lab tests reveal just how the camera performs
Performance
With the same sensor and
processor as other X-system
cameras going back to the
20-month-old X-E2, I wasnt
expecting any great surprises from
the X-T10 with regard to image
quality, and didnt really see any
either. On one level this is a good
thing, as it means you get Fujilms
signature lovely colour rendition,
via its lm-simulation modes that
are designed to mimic classic lm
emulsions. Personally, I prefer the
Astia/soft and monochrome +
red lter settings, but there are
plenty of other options to suit
different tastes.
However, weve seen equally
nice colour from the X-A2, which
50
Dynamic range
Because of its X-Trans CMOS sensor, weve had to treat the X-T10 slightly
differently to usual in our Applied Imaging tests, and as a result the numbers
dont necessarily compare directly to conventional Bayer-sensor cameras. We
measure 12.4EV range at ISO 200, which gives plenty of latitude in exposure
and post-processing. This drops monotonously as the sensitivity is increased,
but even at ISO 3,200 we see a quite respectable 8.2EV range.
Resolution
JPEG ISO 100
32
30
The competition
Our cameras and lenses are tested using the industrystandard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
Noise
Both raw and JPEG images
taken from our diorama scene
are captured at the full range
of ISO settings. The camera is
placed in its default setting
for JPEG images. Raw images
are sharpened and noise
reduction applied, to strike
the best balance between
resolution and noise.
JPEG ISO 100
Olympus
OM-D E-M10
Panasonic
Lumix DMC-G7
Sensor 16.1MP,
Four Thirds Live MOS
ISO 200-25,600
Price 400 body only
Panasonics latest
contender has a larger
body with a chunky
handgrip and fully
articulating screen. It
can record 4K video
internally, and includes
Panasonics 4K Photo
mode for extracting
high-resolution stills
from video footage.
Our verdict
JPEG ISO 1,600
At ISO 100 (which is only available in JPEG), the X-T10 gives an essentially
noise-free image, with good rendition of fine detail and attractive colour
(although highlights visibly clip). Switch to ISO 200, the lowest setting available
in raw, and the image quality is still excellent but theres more detail retained in
the highlights. Noise only really starts to have an impact at ISO 1,600, with
shadow detail starting to block up a bit. From this point onwards it has
increasing impact, but even ISO 6,400 gives quite acceptable results for less
critical purposes. The top three settings ISO 12,800 through to ISO 51,200
are only available in JPEG, and give very marginal results. Indeed, the top
setting is barely usable at all.
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
Recommended
FEATURES
BUILD & HANDLING
METERING
AUTOFOCUS
AWB & COLOUR
DYNAMIC RANGE
IMAGE QUALITY
VIEWFINDER/LCD
8/10
8/10
8/10
9/10
9/10
9/10
8/10
8/10
51
FREE
SEMINAR
KATE HOPEWELL-SMITH
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DQDFWLYHUROHLQWKHSKRWRJUDSK\LQGXVWU\DQGKDV
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she also writes for a variety of photography
PDJD]LQHV6KHLVDOVRDSDQHOPHPEHUIRUWKH
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WKHLU8.$PEDVVDGRUV
Over the last few months Amateur Photographer
and Nikon School have teamed up to bring you
free training seminars held in London
FREE TICKETS
To apply for
to the seminar
RSVP to NikonSchoolLive@timeinc.com
LENS TEST
Testbench
The shallow depth of field
in this shot was created
by setting the lens to its
maximum f/1.8 opening
Canon EF
50mm f/1.8 STM
Features
It should be pointed out that being an EF lens,
the EF 50mm f/1.8 STM is fully compatible
with both Canon full-frame DSLRs and those
that employ an APS-C sensor. Coupled to the
latter and with the 1.6x multiplication factor of
an APS-C camera taken into consideration,
the EF 50mm f/1.8 STM becomes a highly
practical and creative short telephoto lens
thats equivalent to 80mm. To establish the
lenss optical performance across its full image
circle, I tested it coupled to a Canon EOS 5D
Mark III full-frame DSLR, with which it
offers a 46 diagonal angle of view.
Just like the two previous generations of
the lens, the EF 50mm f/1.8 STM employs a
six-elements-in-ve-groups arrangement. The
main difference in its construction is that it now
features seven rounded diaphragm blades, as
Although still
predominantly made of
plastic, the replacement of
a plastic lens mount at the
rear for a metal one has
enhanced its durability
54
f/1.8
f/2.8
f/4
f/5.6
f/8
f/11
LENS TEST
Testbench
f/1.8
f/1.8 at edge
f/8 at edge
f/16 at edge
f/4
Opening the lens to f/1.8 exhibits strong vignetting in the corners, but it disappears when you reach f/4
Image quality
With an EF 50mm f/1.8 II residing in our stock
cupboard, we ran a few comparison tests and
found the results to be virtually identical. Just
like the EF 50mm f/1.8 II, the trade-off in
using the EF 50mm f/1.8 STM at its maximum
aperture is the critical sharpness it resolves in
its images, both at the centre and edges of the
frame. When fully opened to f/1.8, images
appear perceptibly softer than those taken with
the lens stopped down to f/2.8. Users shouldnt
disregard opening the lens fully and using it at
f/1.8 to create a super-shallow depth of eld.
Its just worth knowing that centre sharpness
and edge sharpness improve signicantly by
stopping the lens down a stop or two. To get
the very sharpest pictures, the ultimate sweet
spot is found between f/8 and f/11.
As one can expect from a fast prime,
vignetting makes an appearance when the lens
is used at its widest aperture settings. The
vignetting features a gentle fall-off thats rather
complementary to portraiture and subjects
where youd like to draw the viewers eye
towards the centre of the image. Closing the
aperture from f/1.8 to f/2.8 sees corner
shading gradually disperse, and by the time
you reach f/4 its unnoticeable.
Studying our images for chromatic
aberrations revealed some purple fringing
along high-contrast edges, but its very
indistinct and youll only know its there if you
go in search of it. Our distortion chart did ag
evidence of some barrel distortion towards the
corners, but youll be hard pushed to notice it
in your images unless you apply a lenscorrection prole and then compare it
back and forth with the original.
Our verdict
THE EF 50mm f/1.8 II has long been due
a replacement and the arrival of the EF
50mm f/1.8 STM has been met with great
interest from the Canon faithful. The addition
of the STM motor delivers a much quieter
performance, and although its not entirely
silent in operation, unless youre recording
video where theres no ambient sound its
not an issue that should be a concern.
Despite still being predominantly plastic, its
build quality and overall nish is in a different
league to the previous two versions. We
particularly like the smooth manual ring that
offers precise control for ne focusing
adjustments and that Canon has listened to
its users and reintroduced a metal mount.
So should you spend a bit more on the new
EF 50mm f/1.8 STM? Theres an argument
that since theres no
Data file
difference in terms of
sharpness, the EF
50mm f/1.8 II still makes Price 129
Filter diameter
a great buy. But when
49mm
you consider the
Lens elements 6
autofocus and buildGroups 5
quality gains from the
new lens its a small price Diaphragm blades 7
Aperture f/1.8
to pay for a signicantly
Minimum focus 35cm
better-made optic that
Length 39.3mm
will last longer.
Diameter 69.2mm
Weight 160g
Lens mount Canon EF
Shading
Shooting wide-open at the maximum aperture
(f/1.8) results in strong vignetting at the corners
and its a similar story at f/2 where you cant fail
to notice dark corners at the edges of the frame.
Stopping down to f/2.8 sees vignetting reduce
significantly, and although still present its not as
obvious in real-world images. Setting the lens to
f/4 and beyond sees traces of vignetting vanish.
Curvilinear distortion
As to be expected from a fixed-focal-length
standard lens, distortion is well handled. Our
distortion chart did show a little barrelling towards
the corners, but its by no means anything to be
concerned about and youll struggle to observe it in
real-world images unless you go looking for it.
SMIA TV = -1.2%
GOLD
55
IN ASSOCIATION WITH
The distance
learning was very
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c not commit to
re ular days in the
w ek. I enjoy the
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L Hyett-Powell
D loma in Digital
Photography
Technical
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E X PERT A DV ICE
TIPS
T RICK S
Developing old lm
HACK S
KNOW- HOW
ANDY WESTLAKE
ISO speeds
Dense filters such as infrared work best with the camera in live view
Canon metering
57
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Andy Westlake
Not t for lm
I have a Fujilm
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Asph lens that works well on
my Nikon F3HP lm camera
Because of this, I bought a
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61
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+ 45-150mm 549*
GF7 Body Only 199*
*With 2 Year Warranty
Panasonic Lumix
GX7+14-42mm 449*
Panasonic Lumix
GX7 + 20mm f1.7 ll
......515*
GX7 Body Only 399*
*Less 50 Cashback, Free
Case & 2 Year Warranty
Lumix SZ-10....................129
Lumix FZ-72...................215*
Lumix FZ-200................299*
Lumix LX-7......................285*
*Less 30 Cashback
Lumix TZ-57..................179**
**Less 20 Cashback
LumixTZ-60.................265***
LumixTZ-70.................299***
***Less 30 Cashback &
5 Year Warranty
Lumix FT30......................129
Lumix FT5.........................259
Lumix LX100.............599****
LumixFZ1000...........599****
****Less 50 Cashback &
5 Year Warranty
All Lumix Cameras Now
Have A 2 Year Warranty
Ixus160.................................79
PowerShotSX610HS179*
*Less 20 Cashback
PShot SX710HS.......279**
PowerShot SX520HS.229
PShot SX530HS.......268**
** Less 30 Cashback
PowerShot SX60HS....315
PowerShot G16.............339
PowerShot G1X Mkll....449
PowerShot G7 X.............419
Panasonic Lumix
G-7+14-42mm 599*
Panasonic Lumix
G-7 + 14-140mm HD
......749*
G-7 Body Only539*
*Claim 5 Year Warranty
Panasonic Lumix
GH4+14-140mm HD
......1449*
GH4 Body Only
......1089*
*Less 100 Cashback
& 5 Year Warranty
EOS100D+18-55STM....369* 19mmf2.8A-DN(Pan4/3,Sony).........149
Above+40mmSTM........519* 30mmf2.8A-DN(Pan4/3,Sony).........149
60mmf2.8A-DN(Pan4/3,Sony).........149
*Less 30 Cashback
30mmf1.4A...................................................369
35mmf1.4DGAHSM.................................699
EOS M3 + 18-55 IS.STM..569* 50mmf1.4DGAHSM.................................649
*Less 50 Cashback
85mmf1.4EXDGHSM..............................635
105mm f2.8 EX DG OS HSM Macro......379
EOS750D+18-55IS.STM.599 150mmf2.8EXDGOSHSMMacro......665
EOS750D+18-135STM...879 180mmf2.8EXDGOSHSMMacro..1179
f3.5 EX DC HSM..............389*
EOS750D+Sigma18-250839 10-20mm*Less
50 Cashback
EOS750DBodyOnly........549 12-24mmf4.5/5.6MK2DGHSM.........599
EF-S 24mm f2.8 STM.....................139* 17-50mm f2.8 EX DC OS HSM ......309
EF-S 10-18mm IS. STM.................195* 17-70mm f2.8/4 DC Macro OS HSM.....329
EF16-35mmf4L.IS.USM.................729 18-35mmf1.8DCA...................................625
EF-S18-55mmIS.STMUnboxed..128 18-200mmf3.5/6.3DCC...................265
EF24-70mmf4L.IS.USM.................695 18-250mmf3.5/6.3DCOSMacro.....299
EF-S 55-250 f4/5.6 IS.II...................185 18-300mmf3.5/6.3DCCOSHSM.....389
EF-S 55-250 f4/5.6 IS.STM..........215* 24-70mmf2.8EXIFDGHSM.................599
EF70-200mmf4L.IS.USM..............865
EF70-200mmf2.8L.IS.USM......1529 24-105mmf4AOSHSM(Can/Nik).....645
EF70-300mmf4/5.6MKIII................99 50-500mmAPOEXDG(Can/Nik).......999
EF50mmf1.8Mk2..................................89 70-200mm f2.8 APO EX DG OS....749
EF50mmf1.8STM................................119 70-300mm f4/5.6 APO DG Mac II.....159
EF 85mm f1.2.L.USM.II...................1399 120-300mmf2.8EXDGOSS............2579
EF135mmf2.0.L.USM.......................719 150-600mmf5/6.3DGOSC..............899
EF100mmf2.8LMacroIS.USM....639
150-600mmf5/6.3DGSOSHSM...1499
*Less 25 Cashback
(For full range see our website) 1.4xAPOEXDGConv(EXlenses)...........199
2xAPOEXDGConv(EXlenses)...............239
14mmf2.5Mkll..........................................................309
20mmf1.7Mkll(BlackorSilver) (Un-Boxed).199
20mmf1.7Mkll(BlackorSilver)..........................279
30mm f2.8..................................................................279
42.5mm f1.7 (Black or Silver)............................329
7-14mm f4.................................................................829
12-32mm f3.5/5.6...........................................269
12-35mmf2.8..........................................................829
14-42mmf3.5/5.6MkllHD(Un-Boxed)........129
14-140mmf3.5-5.6O.I.SHD..........................499
35-100mmf4/5.6..................................................269
35-100mm f2.8......................................................889
45-150mm f4/5.6.................................................215
45-200mm f4-5.6 ...............................................259
100-300mm f4-5.6.............................................415
Leica15mmf2.8.......................................................469
LeicaSummilux25mmf1.4ASP........................415
LeicaElmaritDGMacro45mmf2.8...................549
* Less 20 Cashback
**Less 50 Cashback
E-mail: sales@mathersoflancashire.co.uk Shop Address: 23, Market Street, Bolton. BL1 1BU.
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VOTING HAS NOW OPENED for the 2016 Good Service Awards.
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PHOTOGRAPHY
T H E U LT I MAT E H A N D B O O K TO CA P T U R E YO U R B EST EV E R S H OTS
ONLY*
9.99
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*plus P&P if bo
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1
64
PAGES
LEARN
SHOOT
Expert capture advice
EDIT
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
89
Photo Critique
Final Analysis
Roger Hicks considers
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website
at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Alfred T Palmer
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