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COVER PICTURES © KELLY HASKETT / ANGELA NICHOLSON
In this issue
4 Christmas
cover stars
The winner and runners-up
6 News review 2019
What do you remember?
15 Out and about
Our own favourite images
20 Take the throne
Winners from 2019’s
photographic competitions
28 Our images of
the year
Enjoy the talent on show
36 The big
picture show
Jeff Bridges talks all
things photography
42 Favourite reader
photos 2019
Revisit some great images
49 APOY Round 8
And the 2019 winner is...
60 Ad infinitum
A nostalgic look at old ads
66 Ultimate
hardware tips
Get the best from your kit
75 Second-hand
classic
Fujifilm X-T10
79 Best kit of 2019
What we loved this year
86 Readers’ kit of
the year
What you loved this year
93 Is the DSLR dead?
We give our thoughts on
the state of the market
96 Boxing Day
bafflers
AP’s Christmas quiz
Regulars
12 Viewpoint
26 Inbox
58 Behind the print
114 Final Analysis
7days
A week in photography
In 2019, births, deaths and Hero award, launched this week (page 46) to
anniversaries played a larger recognise someone who uses photography to
than usual role in our world. make the world a better place for others. In
We celebrated the centenary between we’ve reviewed some amazing kit,
of Olympus, and 135 years of told many inspiring stories and showed lots
AP. We said goodbye to some of the greatest of incredible images. This week’s Christmas
names in photography, and announced a Special looks back at our highlights. Why not
couple of great new initiatives: a bursary of subscribe today and get all of this for less?
£5,000 to enable one lucky photographer to You’ll find the details on page 90. See you
pursue a dream project, and a new Unsung next year! Nigel Atherton, Editor
Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.
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Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.
amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
This week in 1932
TREASURES FROM THE HULTON ARCHIVE
Fun in the Rigging
by Fox Photos
THIS charming moment captures a
passenger on the LNER steamer
Vienna climbing up on the rigging to
accept a tempting invitation from a
young lady with a bunch of
mistletoe. The fact that they are
crossing the North Sea does not
seem to be deterring them from
enjoying Christmas traditions. The
SS Vienna was built in 1929 – just
three years before this photo was
taken. In 1941 the ship was
requisitioned by the Ministry of War
Transport in order to serve time in
the Mediterranean Sea off Algiers
and Bari. By 1945, SS Vienna was
a permanent leave ship for the
British Army of the Rhine
between Harwich and Hook of
Holland. The ship was scrapped in
Ghent in 1960.
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 the Hulton houses over 80
million images spanning the birth of photography
© GETTY IMAGES
to the digital age, across glass, paper and film.
Explore it at www.gettyimages.com.
CHRISTMAS COVER COMPETITION
Christmas
cover stars
The robin’s red breast stands out strongly against
the neutral background, while the side view adds
shape and eye contact, which is always important
C
hristmas comes but once
a year, as does our annual
cover competition. It’s the one
time we throw caution to the
wind and allow you, the readers, to put
forward your most seasonal images for
consideration for our front cover. Since
we first launched the competition in
2013, we’ve had everything from robins
to steam trains take over what is the most
important page of any magazine.
Nearly 1,300 images were uploaded to
Photocrowd for judging. The criteria for
the competition are the same as for the
other 50 covers we choose each year: the
image has to be bold and striking; it has to
reflect the content of the magazine; there
has to be a strong focal point; and there
has to be plenty of space to include the
masthead and cover lines.
While we nearly always give priority
to portrait-format images, there are
4 21-28 Decem
© MARIA MAERCER
© ELLE WALLACE
Photocrowd
winner
This image is a wonderfully seasonal composite
that’s been extremely well planned in terms of
composition and use of colour
occasions when we might choose a
different aspect ratio and crop accordingly.
Kelly Haskett’s winning image is a case in
point. Despite not being in portrait format,
there was still plenty of space to include
the required ‘furniture’ – as the masthead,
cover lines and cutouts are called –
without detracting from the overall image.
Once the judges had made their choice,
they were pretty amazed to learn that
Kelly hadn’t shot the image on a DSLR
with a macro lens, but on her Samsung
Galaxy S8+ phone! Find out more about
how she shot it opposite.
As you can see from these pages, there
was a particularly strong set of
entries this year. If you think
you can do better, why not set
yourself a project this winter?
You never know – it might be
your image gracing the front
cover next Christmas.
© CLEMENTINA CABRAL
A great example of hair, make-up, accessories and
styling all coming together to create a considered,
well-thought-out image. She’s a real Snow Queen
The prizes
Kelly wins the latest model in the Billingham
camera bag range – the Hadley Pro 2020,
worth £240. Features include a leather-
reinforced top handle, a removable shoulder
sling, a luggage trolley strap and a weather-
proof zipped back pocket. It accommodates
most DSLRs or mirrorless cameras with
three small to medium-sized lenses and
accessories, and comes with a five-year
guarantee. Visit www.billingham.co.uk.
Elle Wallace, who won the public vote
on Photocrowd, receives a one-year digital
subscription to Amateur Photographer.

© NADIA PAUL
The red bauble provides a great pop of
colour against the icy-blue background.
Plenty of space for cover lines here
© JAY BIRMINGHAM
An atmospheric shot that shouts winter
from every pixel. A little more space at the
top would make it excellent cover material
© ADRIAN MORTIMER
This image strikes a good balance of filling
the frame and grabbing attention, while
also leaving space for the ‘furniture’
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
© CHRIS ADAMS
The reflections on the bauble and points
of light jump out of the frame, while the
out-of-focus areas are good for cover lines
© KELLY HASKETT
© JASON FREEMAN
Who doesn’t love a reindeer at Christmas?
This image would probably be flipped if it
were to be selected for use on a cover
© KYLIE MACBETH
Excellent lead-in lines, and plenty of space
at the top for the masthead. The peachy
sky lifts the otherwise monochrome tones
CHRISTMAS COVER COMPETITION
A creative and clever image, with lovely high-key tones
The AP winner
Kelly Haskett
KELLY Haskett, from Chelmsford, loves
the challenge that photography brings.
She doesn’t, however, have what some
might call a ‘proper’ camera. In fact, her
winning image was taken using her
Samsung Galaxy S8+ phone. ‘I love
capturing the moment,’ she says. ‘It’s
such a good way of keeping memories alive. These days,
having such good phones available and being able to snap
wherever you happen to be means you can have real fun
with photography. I do what I can with what I have.’
Her successful photograph was a simple set-up, using an
old piece of jewellery – a Christmas earring that had broken
– placed on to a fluffy scarf her mother had given her as
a gift. ‘I played around with it until it worked, taking quite
a few different versions,’ she explains. ‘Some were straight
on, while others I looked down on to it. You can take a
hundred pictures before finding one you like!’
She lit it using a simple camping light, which, she finds,
picks up colours well. She also, at times, uses a dressing-
table light to introduce a different source.
Kelly processes her images using one of a variety of apps
she has on her phone, and plays around with everything from
Mirror Photo, Photoshop Express or Lightroom to LightX or
Photo Warp. Her cover shot was processed using Photoshop
Express to introduce the cool blue tone.
Her interest in photography was boosted on joining
Photocrowd about three years ago. ‘I’d been snapping
happily away before that,’ Kelly says, ‘and had never thought
about putting my pictures on a group until that point. I like
the challenges they give you to work towards as it keeps
you thinking about pictures. I’m into many different things,
but I love nature in particular and am obsessed with taking
photographs of flowers. The most challenging thing I do
with my phone is capturing insects in close-up. It’s really
difficult as you have to be so quick and so accurate.’
5
365 days News review 2019
A year in photography

News review 2019

Geoff Harris recalls some of the year’s photographic highs and lows

January February
● The RPS revealed its 100 Heroines, a non-ranked list of ● Canon announced the EOS RP,
top contemporary female photographers. The number of a compact and affordable full-frame
nominations from the public was bigger than expected.
● The Travel Photographer
mirrorless camera featuring a 26.2MP
sensor that’s borrowed from the EOS What’s
of the Year award went to 6D Mark II. up
©STEFAN PENSOTTI

Stefano Pensotti from Italy. ● The RPS moved to new premises in

He beat over 20,000 images the Paintworks on the edge of central Bristol. The new HQ
from 142 countries. is situated next door to the Martin Parr Foundation. Olympus, which chalked up
a century in business and got
March April good reviews for its E-M1X
● Fujifilm follows up the X-T3 with the XT-30, equipped ● Huawei unveiled the P30 Pro smartphone.
with a 26.1MP APS sensor. Other highlights include Key features include a four-lens Leica camera,
a 425-point AF system and 30fps burst shooting. a 5x periscope lens and a ‘Dewdrop’ notch
● Leica updated its Q housing a front-facing 32MP camera capable
fixed-lens, full-frame compact of shooting Super HDR.
with the Q2. The new camera got ● Scientists captured the first-ever image of
a significant boost in resolution, a black hole, based on data from the Event
from 24.2MP to 47.3MP. Horizon Telescope (EHT) project. Sigma, which surprised
everyone by bringing out the fp
May June full-frame mirrorless and lenses
● Despite being a Sony France ambassador and ● DxO announced Nik Collection 2.
social-media star, an ‘overwhelmed’ Victor Habchy The biggest change was the Indian legend Raghu Rai, who
nounced he was giving up inclusion of DxO’s own raw- trousered e120,000 after
photography altogether. processing software, PhotoLab winning the William Klein
● Some interesting new lenses came 2.3 Essential Edition. Académie des Beaux Arts
out, including an 85mm f/1.2 for the ● Canon UK and Ireland announced it was moving its Photography Award
Canon R mirrorless range, and the UK offices from Reigate in Surrey to Stockley Park
myang 45mm f/1.8 for Sony E-mount. business park near Heathrow Airport.
Huawei, blocked from using
July August Google services and Android on
● Sigma announced what ● Sony announced one of the
it claimed was the ‘world’s biggest cameras of the year, its phones, and facing delays to
smallest and lightest’ full-frame the Sony A7R IV. This full-frame its own operating system
camera. It takes L-mount lenses mirrorless powerhouse features
and has a fixed screen but no viewfinder. a 61MP sensor, 10fps burst shooting, an ISO range
● A major row kicked off when the Big Issue ran expandable to 102,400 and 4K/30fps video.
a ‘photograph of a photograph’ on its cover. The original, ● Fujifilm announced plans to open a new concept centre
of movie director David Lynch, was taken by Nadav Kander. and store in Covent Garden.

September October
● Canon launched the 32.5MP EOS 90D ● Canon announced the EOS M200, featuring a 24.1MP Jessops, forced to appoint
DSLR and EOS M6 Mark II mirrorless. sensor, the latest DIGIC 8 processor and 4K recording up administrators to property arm
It also added a pair of fast zooms to to 25fps.
its full-frame RF lens line-up. ● Nikon unveiled the Z 50, its
JR Prop Limited in order to
● Nikon announced the development first DX-format mirrorless in the restructure its debt
of the D6 pro DSLR, while Panasonic Z series. Key features include a US photographer Robert
unveiled the full-frame Lumix S1H. Sony revealed 20.9MP sensor, 11fps continuous Koester, 52, jailed for 25 years for
the entry-level Alpha 6100 and high-end Alpha 6600. shooting and a tilt touchscreen.
molesting young models
November December
● Leica reveals the SL2, featuring a ● Fujifilm officially opened its House of Photography on What’s
47.3MP sensor and 5.76m-dot electronic
viewfinder. Meanwhile Panasonic
announced two premium full-frame zoom
Long Acre, Covent Garden, on 3 December. See www.
fujifilm-houseofphotography.com.
● Very rare Leicas continue to
down
lenses, a 16-35mm f/4 wideangle and a make big money, with the second
70-200mm f/2.8 telephoto. Leica MP to be made going for
● Top portrait photographer Terry O’Neill passed away. £861,233 at auction in Vienna.

6 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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365 days News review 2019
A year in photography

A good year for camera innovationÉ

LAST year’s news review
opened with the headline
‘2018: the year of full-frame
mirrorless’, and it’s a similar story
of mirrorless innovation for 2019
– though not all centred on full
frame. In terms of resolution
firepower, let’s start with two of
the year’s biggest releases – the
Fujifilm GFX100 and the Sony
Alpha 7R IV. Fujifilm’s GFX100
medium-format mirrorless
completely redefined what’s
possible in a sub-£10,000
camera, according to our technical
editor Andy Westlake. He went on
to praise its superb image quality,
as you’d expect from a 102MP
sensor, reassuringly effective
in-body stabilisation, superb The high-resolution Sony Alpha 7R IV generated a lot of interest this year
viewfinder and overall ease of use.
Meanwhile Sony took full-frame action or wildlife. Other attractions sensors. Staying with Fujifilm, its the future, while the Olympus
image quality to new heights this include improved phase-detection 26.1MP, APS-C X-Pro 3 stood E-M1X impressed us with its
year by developing a brand new AF coverage, an excellent out from the pack by including AI-based subject-detection AF
61-million-pixel sensor without electronic viewfinder and the a hinged rear screen that’s not and LiveND mode for long
compromising on speed or high ability to use Sony’s outstanding visible during normal shooting. The exposures. All this goes to show
ISO performance. The option to Real-time Eye/Animal AF focusing release of the Nikon Z 50, the first there is still plenty of life left in
switch over to APS-C mode also during video recording. APS-C camera in the Z mirrorless smaller sensors. Turn to page 77
turns the Alpha 7R IV into an We also saw some innovative range, suggests we can expect for a round-up of our favourite
accomplished camera for sport, mirrorless releases with smaller other APS-C Z-series cameras in kit of the year.

…but sales continue to fall

DESPITE all this innovation,
times are tough for the big
makers. Back in August, we
reported that Nikon recorded a
sobering 71% plunge in earnings
in its financial results for the first
quarter of this year and a 15%
fall in revenue. While sales of its
full-frame mirrorless cameras
and lenses appear robust, the
company has been hit hard by
falling sales of entry to mid-range
DSLRs in Asia, particularly in
the important Chinese market.
‘Although efforts will be
continuously made to expand the
sales of (mirrorless) cameras and
Z-mount lenses, declining sales of
entry/mid DSLR and compact DSC
is expected to suppress the overall
revenue,’ the company said.
Canon, meanwhile, reported
that unit sales for the second half
of this year had fallen 22% to
1.08 million, blaming DSLR
market contraction, the US/China
trade spat, and the general
economic slowdown in China and
Europe. Bad news came in threes,
and another report from Japan’s
Camera and Imaging Products
Association showed camera sales
dropped by almost a million in
June. It’s a perfect storm for
makers, so expect them to focus
on the most profitable markets. DSLR sales continued to fall in 2019

THE YEAR IN NUMBERS

£80,000 $84 billion 96.7% $195,000 5km

The annual salary offered for a Apple’s revenue for Canon and Nikon’s The Buy it Now price on eBay for The closest you
lifestyle photographer to follow a 2019 first quarter, hit by combined share of the a rare contact sheet featuring can now fly drones
British family around the world an iPhone sales slump Japanese DSLR market photos of Marilyn Monroe around UK airports

8 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 News review 2019 365 days
A year in photography

© GEOFF HARRIS
2019: the year
second-hand rose
WHILE there has always been
a strong market in second-
hand gear, this market sector has
The Brexit effect been particularly buoyant in 2019.
Larger retailers such as Park
NO REVIEW of 2019 Cameras and Wex Photo Video
could avoid the B word now have a thriving business selling
– Brexit. It’s a period of used, with lots of opportunities for
great uncertainty, but one customers to trade-in. ‘Used sales
thing is sure: any continued represent a signficant part of our
weakness in the value of business... we are increasing
the pound is unlikely to investment and expanding our
make cameras and lenses operations,’ said Wex Photo Video’s
cheaper any time soon. Matt Devine. Smaller used
We’ve seen this throughout specialists are reporting brisk sales,
2019, and the relatively too. ‘The pre-owned market is very
high price of new kit strong at the moment, not just
partially explains the because of the current economic
current boom in buying climate but because customers are
second-hand. A weaker looking to get as much for their
pound could, however, be £ as possible due to this strong Wex Photo Video is expanding its used sales operations
better news for British market,’ notes Ffordes’ Alister
exporters of photo Bowie. ‘The biggest growth we have a hefty chunk of capital funding hardly new, but what is making a
accessories, as it helps seen this year is in film.’ this year to enable it to grow its difference now is the high price of
them stay competitive in MPB also seems to be going from operations in the US and Germany. new cameras and lenses,’ notes
a tough global market. strength to strength, and secured ‘The second-hand camera market is MPB founder and CEO, Matt Barker.

‘Hard’ times?
If there is any further delay
to a Brexit deal after the
general election, or a
Gone but not forgotten

© ROGER HICKS
perception in the City that WE END on a poignant note, remembering some
a deal is too ‘hard’, the of the celebrated AP journalists who died this year,
pound is likely to stay along with some great photographers.
weak, again keeping prices It was a big shock to all of us on AP to learn of the
of imported tech higher. death of our freelance colleague Roger Hicks on 7
And that is even before April. As well as being a true gentleman and a fine
taking into account the writer and photographer, Roger did so much for AP
effect of any trade barriers over the years, and was determined to keep writing his
or higher tariffs imposed Final Analysis column as long as he could. Back in
post-Brexit. One upside March, we reported the death of former editor Roy
might be more Green, who ran AP from 1980 to 1985, and helped
comprehensive trade the magazine achieve its highest-ever circulation. Ivor
deals with China, a major Matanle, another respected freelancer and expert
photography accessory on vintage cameras, also passed away in February.
maker, but only time will As for great photographers no longer with us, we
tell how this will affect bade farewell to documentary photography pioneer
photographers’ pockets. Robert Frank and the hugely respected portrait and
Whatever happens, let’s commercial photgrapher, Terry O’Neill. Other sad
hope for more economic losses include influential fashion photographer Peter
certainty in 2020. Lindbergh and rock photographer Michael Putland.
RIP Roger Hicks, an AP stalwart who defined the magazine

169 81% 2,400 85 1 billion

Number of different Nikon Decline in Canon’s Number of previously unseen Number of years Fujifilm The number of
F-mount bodies released operating profit in the first pictures of 9/11 found on CDs has been in business; it’s active Instagram
since 1959 quarter of 2019 at a house-clearance sale been a busy year users in 2019

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 9

 365 days News review 2019
A year in photography

News of
the world
TWO WORDS sum up the spirit of 2019: anger and anxiety. Here
in the UK, there has been a lot of anger and concern about the
tortuous path of Brexit, on both sides of the debate; the year saw some
very large demonstrations in London, not to mention some worrying
personal attacks on MPs. Angry protests also made the news in Hong
Kong, while worries about the future fuelled the demos and disruption
caused by Extinction Rebellion. It’s not all gloom and doom, however,
as our round-up of some of the world’s best news images reveal.
© ANDREW MILLIGAN/AFP/GETTY IMAGES

© DAVE ROGERS/GETTY IMAGES

Boris Johnson Extinction Rebellion

Andrew Milligan, AFP/Getty Protests
London Getty Images
Boris Johnson realised his dream of London
becoming the UK Prime Minister in 2019,
Closer to home, London and other major cities
but it has not been an easy tenure. This creative
witnessed major demonstrations by Extinction
image by Andrew Milligan captures the frustration
Rebellion, a grassroots environmental group buoyed
he must have felt over his various setbacks and
by the increasingly high profile of Greta Thunberg
obstacles over the year and the growing pressure
and growing public anxiety. This image captures the
to ‘get Brexit done’. It’s also an image that reveals
group’s increasingly fractious relations with the police.
the man under the cheery public façade.
© GETTY IMAGES

© FABIEN BARRAU/AFP/GETTY IMAGES

Notre Dame
in flames
Fabien Barrau,
AFP/Getty
Paris
A huge fire swept through
the roof of the famed
Notre-Dame de Paris Cathedral
in central Paris on 15 April. The

world, watching through the eyes
of 24-hour rolling news channels,
stood by in horror as the roof, and
later the spire, collapsed. Huge
clouds of grey smoke billowed into
the sky as thousands of passers-
by stopped to gaze at the iconic
structure, which caught fire just
after closing time and the last of
the tourists departed the building.
News review 2019 365 days
A year in photography
Rugby World
Cup final
Dave Rogers, Getty
Tokyo, Japan
Even though England failed
to stop the Springboks in
the final, the team had a great
campaign. It was a very successful
Rugby World Cup for hosts Japan
generally, despite the damaging
effect of typhoons. Getty Images
photographer Dave Rogers is one
of the UK’s most experienced
rugby photographers and his image
really captures the atmosphere
and spirit of the momentous day.
Well done, South Africa, and
a great victory for rugby, too.
Hong Kong
Protests
Vincent Yu
Hong Kong, China
This year was the 70th
anniversary of Communist
Party rule in China, but the
jingoistic celebrations were rather
overshadowed by massive street
protests in Hong Kong over
Beijing’s increasingly repressive
policies towards its territories. This
image, taken of a demo back in
June, is a technical masterpiece
that captures the sheer size and
unique flavour of the protests.
The first
photo of
a black hole
Various, Event
Horizon Team
Collaboration
M87 galaxy,
outer space
Back in April, a global
team of astrophysicists
© VINCENT YU
revealed the first-ever
image of a black hole. In
fact, what became the
© EVENT HORIZON TEAM COLLABORATION
final picture was taken over
five days of observation
in April 2017 using eight
telescopes around the
world. The black hole is
at the centre of the M87
galaxy, a mere 54 million
light years away. This
image is a great antidote
for anyone feeling
depressed by 2019.

Viewpoint
Nigel Atherton
None of the greatest pictures of all time
were taken on a Sony A7R IV, so don’t be
disheartened if you can’t afford the latest kit
A
s the general election has
reminded us, Britain is a very
divided country and while
plenty of people are pretty
comfortably off, many others live on the
breadline. The resentment this stirs up
often spills into AP’s Inbox, with emails
asking, ‘Why do you review such expensive
cameras?’ and, ‘Who can afford them?’
The answer to the first question is that
part of our remit is to offer authoritative
and unbiased reviews of all new cameras,
and few of them are cheap these days.
The obvious response to the second
question is: lots of people. Clearly.
Otherwise the entire photo industry
would come to an abrupt end, and all our
camera shops would have closed down.
Time and money
A few letters point to our largely retired
readership as a reason not to review
expensive new kit, but some of the most
well-off people I know are retired, with no
mortgage, no kids, a pot of savings and
a pension bigger than the average salary.
It’s only the retired who have the time and
money to afford all these luxury cruises.
But here’s the thing. One of the great
joys of photography is that you don’t need
much money to do it. If you shoot digitally,
it costs nothing to take pictures and share
them online. Second-hand photo retailers
are doing a roaring trade from cash-
strapped (or just canny) photographers
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED
looking for the injection of creativity that
a new bit of kit provides, and then there
are boot fairs and auction sites. You can
find vintage lenses and film cameras and
even old DSLRs for peanuts, if you look.
Unless you’re a pro in need of the
highest resolution, it doesn’t much matter
if your camera is ten years old. Look at
the world’s best pictures from ten years
ago; they’re no less great today, and they
were taken using cameras just like yours.
Many pros still use relatively ancient
DSLRs. If your own pictures are not good
enough it isn’t your camera’s fault.
For most people, the only reason for
buying a new camera is because they
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 26 and win a year’s digital subscription to AP, worth £79.99
12
In next week’s issue
On sale Wednesday 1 January
© GETTY IMAGES/ISTOCKPHOTO
© BENCE MATE
Part of Bence Mate’s portfolio that won
Wildlife Photographer of the Year 2010.
Taken on a Nikon D300, which you can now
buy used from about £120
‘For most people, the
only reason for buying
a new camera is because
they want it’ 101 ideas
for 2020
want it, and they want the pleasure they
will get from using it more than they need
the money that it costs. Which, I guess, is
the main reason for buying most things
that you can’t eat.
From stars to self-portraits,
Put an end to envy our guide means you’ll never
This Christmas, how about making a
resolution to put an end to camera envy? run out of things to shoot
Don’t be fixated on what other readers are
using. Don’t be discouraged from enjoying Best of
photography just because you can’t afford
the latest kit. Would you stop driving your British
old Toyota and stay at home, just because John Wade
your neighbour bought a new Mercedes? looks back
Either way, we’re going to continue testing at the era
the latest camera gear, because many of when
our readers are interested in buying it – Britain led
otherwise our advertisers would be the way in
wasting their money. But we won’t forget camera
about those on more limited budgets. No making
COURTESY OF GANDOLFI
other magazine does more than we do to
promote free and cheap photography,
with features on second-hand kit, vintage
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
cameras and inspirational people who
have done amazing things with limited
resources, and we’re going to keep The power of change
doing that, too. Meet the photographers who embraced
the new – and have never looked back
Nigel Atherton is Editor of Amateur Photographer.
Canon RF 70-200mm f/2.8L
A fast and compact telephoto zoom for
Canon’s full-frame mirrorless system
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 OUR FAVOURITE IMAGES

Out
and
All year round we bring you the
most stunning and inspiring
pictures from many parts of the

about ‘Agil’, MS Maasdam

Nigel Atherton, Editor
world, but the AP team loves
taking pictures too. Here are some
of our own favourite images that
we have taken during 2019

Fujifilm X-T3, 56mm, 1/60sec at f/1.4, ISO 800

This year I was invited to become a
guest presenter on a cruiseship, and
sailed on two voyages. During the first one
I started photographing the crew at work
to test the limits of the Fujifilm X-T3 kit
that I’d taken with me, and before I knew it
I found myself shooting a documentary
project about crew life, which I continued
on my second trip a few months later. This
is Agil, from Indonesia, who greets diners
at the restaurant. It is one of the first
pictures I took, and though I’ve since
taken better ones this was the one that
first made me think ‘there is a project in
this’, and sold me on the idea of doing it in
black & white. Shooting a mixture of
candid and posed shots, using fast prime
lenses and mostly high ISOs, this portrait
was captured using the gorgeous
XF 56mm F1.2 R, at ISO 800, in Acros
© NIGEL ATHERTON

mode. I look forward to continuing this

project when I return to the MS Maasdam
in a few weeks’ time.

‘Amerika Mura’, Japan

Geoff Harris, Deputy Editor
Nikon Z 6, 50mm, 1/125sec at f/4, ISO 100
One of the best things about this year has been
returning to Japan – twice – after a long
absence. I took this quick street portrait in Osaka’s
Amerika-mura neighbourhood, a uniquely Japanese
take on American pop culture and a celebration of all
things oddball. Basically, these two guys were worse
for wear, but politely nodded at my halting Nihongo
and agreed to a picture. I’m not usually a fan of ‘posed’
travel portraits or gurning subjects, but I feel I did
manage to capture something of the guy in the beret’s
extrovert character (I’m not sure his mate knew what
day it was). I think the picture also shows the strengths
of the Nikon Z 6 and the sharp 50mm f/1.8 lens,
which make an ideal travel combination when you
don’t want to lug around anything heavier (or more
© GEOFF HARRIS

distracting to the subject). This picture reminds me

that you should never let shyness get the better of you
when taking street shots. Anywhere.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 15

OUR FAVOURITE IMAGES

‘Pandanus heterocarpus’,
Kew Gardens, London
Tracy Calder, Editorial team
Fujifilm X-T2, 18-55mm, 1/40sec at f/10,
ISO 800
Earlier this year I picked up a copy
of The Hidden Geometry of Flowers
by Keith Critchlow, which explores the
structure, social value, symbolic and
cultural use of flowers. Such insights led
me to begin a photographic project on
the graphic nature of plants, which in
turn led me to visit the Royal Botanic
Gardens, Kew. It was gloomy and chilly
on the day of my trip, so I naturally
headed to the warmth of the
glasshouses. Having taken some shots of
leaves pressed against the glass outside I
opened the door and immediately came
upon this Pandanus heterocarpus. This
glorious plant is endemic to the island of
Rodrigues in the Indian Ocean, but
thrives in the cosy conditions created by
the team at Kew. Trying not to get in
anyone’s way, I explored the plant from
all angles, with my camera handheld.
Once I had found a pleasing composition

© ANDY WESTLAKE
I set up my tripod and started fine-tuning
my shot. The leaves were quite thick and,
being inside, there was little movement
to contend with. As a result, I was able
to use an aperture of f/10, and let the ‘Rainbow over
© TRACY CALDER

shutter speed fall to 1/40sec. It was the Lundy Island’, Devon

start of a project that continues to give Ailsa McWhinnie,
me much pleasure and satisfaction.
Editorial team
Fujfilm X-T3, 35mm, 1/125sec at f/8, ISO 400
© AILSA MCWHINNIE

As we rounded the corner from

the car park on to Woolacombe
beach, Devon, I nonchalantly said, ‘Oh,
look. A rainbow.’ There was then a
pause for a split second before I
shrieked, ‘Oh my god! A rainbow!’ and
took off across the sand like an arthritic
Katarina Johnson-Thompson, leaving a
faintly bemused husband and
greyhound in my wake.
This isn’t the best picture I’m ever
going to take, but it was an interesting
exercise in making choices. There are
half a dozen images in this sequence. In
the earlier ones, the rainbow colours are
more intense, but the composition is
weaker. I did a lot of umming and aahing,
but settled on this one as giving the best
balance between composition and colour.
Photography is a never-ending
education, and the reason I like this
image so much is because I learned
several useful things from it. First, your
favourite picture doesn’t necessarily
have to be your best picture. Second,
always visit popular tourist resorts out of
season. Third, learn to see into the
future in order to predict rainbows, and
if you can’t, consider taking up regular
exercise to be able to get into position
before the rainbow starts to fade.
‘Last of the light’,
Rolvenden, Kent
Michael Topham,
Reviews Editor
Canon EOS 5DS R, 70-200mm, 1/1250sec
at f/4, ISO 400
I’ve lost count of the number of
times I’ve set out with my camera
only to return home with what I
consider an average result. To achieve a
stunning image that stands out from
© MICHAEL TOPHAM
‘Alpine Panorama’, Austria camera. After a 5.30am start to catch a ski-lift to
Andy Westlake, Technical Editor the top of the nearby 1,712m Hahnenkamm peak,
Olympus OM-D E-M5 Mark III, 12-40mm, 1/1250sec we photographed the dawn and sunrise before
at f/5.6, ISO 200 trekking back down to the town. This reservoir was
a stopping-point partway down, and on a still day its
One of the greatest privileges of my job is that surface was as flat as a millpond, perfectly
I get to travel to exotic locations to try out the reflecting the alpine range behind. I shot low down
latest cameras and lenses. This image was shot on a to the water, using the 16:9 aspect ratio to
mid-October trip with Olympus to the winter-sports emphasise the panoramic view. A pair of red-
town of Kitzbühel in Austria, for the launch of the jacketed mountain bikers added a tiny splash of
OM-D E-M5 Mark III Micro Four Thirds mirrorless colour in contrast to the clear blue sky.

others often involves lots of patience

and requires different variables to come
together at the same time. Over the
years I’ve learnt that the location and
the quality of the light are essential to
getting a great shot. Get both of these,
combine it with an interesting subject,
and you’re usually onto a winner. The
shot that I consider to be the best I’ve
taken this year is an example of
everything coming together during the
golden hour. At the end of a long day of
photographing in dismal conditions, I
was finally treated to the sun bursting
between the clouds, beautifully
highlighting the last train of the day as it
climbed towards Tenterden on the Kent
and East Sussex Railway. The glint on
the side of the locomotive and
carriages, combined with the billowing
trail of steam, was a wonderful
moment to witness. I headed home
thrilled to have captured an image that
epitomises such a beautiful area of Kent
in such splendour.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 17


‘Climbing-Rose Pruning
at Asthall’, Oxfordshire
Andrew Sydenham,
Studio Manager
Canon EOS 5D Mark IV, 24-70mm,
1/320sec at f/3.2, ISO 320
Over the course of the year,
I cover everything from studio
still-life to location portraiture and
food, but gardens have never
entered the equation before. I love
arriving at a location before sunrise
to capture the very best light and
© ANDREW SYDENHAM
‘Sensō-ji Temple’, Tokyo
Amy Davies, Features Editor
Nikon Z 7, 24-70mm, 1/100 sec at f/4,
ISO 100
This year was a great year for
travel for me, especially in the
summer when I had a fantastic
opportunity to visit Japan – somewhere
I’ve been longing to go to for many
years. Choosing just one image from my
short trip, never mind the entire year, is
a difficult task. Faced with a wealth of
brand new sights, sounds and smells, my
© CLAIRE GILLO

to avoid any footprints on the
dew-laden grass. This was
captured on a misty November
morning with the gardeners dutifully
pruning and training the climbing
roses. A peaceful image I’m most
pleased with.
© AMY DAVIES
finger barely left the shutter button
while I was there, and I’m still working
my way through the editing some
months later. In the end I’ve settled on
this shot because whenever I look at it
I’m transported back to that day, staring
up at the sights with wonder. The actions
of the people in it also reflect my
gratitude that I was able to visit this
wonderful, friendly and beautiful country
– I hope I get to go back one day.
‘Flamingods’, Sea Change, Devon
Claire Gillo, Editorial team
Nikon D810, 50mm, 1/8000sec at f/3.2, ISO 2000
I took this image last May at a festival in Devon
called ‘Sea Change’. I am a mother of two young
children, which means I have relatively little time for
my own photography. On this occasion I was granted a
press pass to the festival for the whole weekend, and it

was one of those rare times when I didn’t have a small

child hanging off my arm while trying to multitask
various other jobs. I felt a great sense of freedom, and
this image not only captures the girl’s emotions but
also my own. This frame is one of five that I shot, and
at the editing stage it was clear this was the moment
I wanted to capture. Watching someone who is
completely free in their expression is such a joy to
photograph. At the editing stage I converted the
image to black & white so that a viewer’s eye is drawn
first to her and the shapes she is creating with her
arms, and then around to the rest of the crowd who
have their own interesting characters.
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COMPETITIONS 2019
Take the
throne
Find inspiration from this round-up of
winning entries from some of this year’s
major photographic competitions
Insight Investment
Astronomy Photographer
of the Year 2019
Overall Winner
László Francsics
Into the Shadow
Taken in Budapest, Hungry,
this image captivated and
astounded the judges in this
competition. The creative
composition depicts the 35 phases
of the total lunar eclipse that
occurred on January 21 of this year.
Competition judge Ed Robinson
said, ‘For a single multiple-exposure
image to capture this event with
such positional precision, creative
innovation and beauty is nothing
short of masterful.’
Dog Photographer
of the Year 2019
Overall Winner
Denise Czichocki
Dreaming Merlin
The winner of the ‘Oldies’ category,
this beautiful image of 14-year-old
rescue dog Merlin, a podengo, was taken
in Switzerland.
Describing her photograph, the
photographer says, ‘I was lucky to find this
beautiful magnolia tree near my home.
And still more lucky to get the chance to
take photos of wonderful dogs. It wasn’t
easy to take photos of him because of his
absolute deafness, so I couldn’t work with
noises to get his attention, but he still gave
me so many beautiful moments as you
can see in this picture.’
Bird Photographer
of the Year 2019
Overall Winner
Caron Steele
Dancing on Ice
Caron Steele has had an amazing
year, taking home the much-prized
Bird Photographer of the Year award, as
well as being crowned as the champion of
our own Amateur Photographer of the
Year competition (see page 49).
Describing this image, Caron says, ‘On
arriving in Greece to photograph the
Dalmatian pelicans in their breeding
plumage, I discovered that Lake Kerkini,
their favoured haunt, had frozen for the
first time in 16 years; all the pelicans had
flown off. Fortunately, a few holes started
to thaw in the lake and the birds slowly
began to return. Unused to the slippery,
icy surface of the lake, they regaled us
with hilarious antics as they slid across
the lake surface trying to retain control
as they took off and landed.’

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 21

 Pink Lady
Food Photographer
of the Year 2019
Overall Winner
Jianhui Liao
Cauldron Noodles
A celebration of the
goddess Nuwa, during
which villagers wear Qing
Dynasty costumes, took the
crown in this year’s coveted Pink
Lady Food Photographer of the
Year competition. This year,
more than 9,000 entries were
received from 77 countries,
which the organisers say is the
most it has ever had.
This image won the Food for
Celebration category, about which
the judges said, ‘It stood out from
the rest in its category for the way
in which he made the subject
matter, a community feast, so
beautiful and atmospheric.’

22 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 COMPETITIONS 2019

Sony World Photography World Press Photo 2019

Awards 2019 World Press Photo of the Year
Overall Winner John Moore
Federico Borella Crying Girl on the Border
Five Degrees Quite possibly one of the most
Chosen from the 10 category controversial images of the past
winners of the Professional couple of years, John Moore’s viral
competition of the Sony World image of a Honduran toddler crying on
Photography Awards, Italian the US border picked up the top prize
photographer Federico Borella’s series at the World Press Photo awards.
focuses on male suicide in the farming Taken on 12 June 2018, the image
community of Tamil Nadu, southern was widely used as criticism for President
India, which is facing its worst drought Trump’s ‘zero tolerance’ policy at the
in 140 years. border, which often saw children
Close-up Photographer Now in its 12th year, the 2019 separated from their parents. In this
of the Year 2019 competition attracted a record- case, the child, Yanela, was not
Overall Winner breaking 326,997 submissions from separated from her mother, but the
photographers across 195 countries image is thought to have helped reverse
Emanuele Biggi and territories. the contentious policy on 20 June 2018.
Peringuey’s adder
The inaugural Close-up
Photographer of the Year
competition attracted more than 3,000
entries from 42 countries. There were
five categories, with the overall winner
chosen from the Animals category.
It was taken by Italian television
presenter Emanuele Biggi and shows
a Peringuey’s adder in the Namib
desert. To get the shot, he followed
the snake’s tracks in the sand before
finding it under a shrub.
Tracy Calder, a long-time contributor
to this magazine, co-founded the
award, which will be run again in 2020,
and said, ‘I have been blown away by
the standard of entries, and genuinely
moved by how positive people have
been about the competition.’

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 23

British Wildlife Photographer of the Year 2019
Overall Winner
Daniel Trim
Behind Bars
This year marks the 10th edition of the British Wildlife Photography
Awards. This image of a grey heron was photographed in London,
where herons thrive around the capital’s waterways. This individual was
hunting under the cover of a bridge – presumably fish were taking
shelter among the fallen leaves and plastic bottles.
Reflecting on the awards, wildlife photographer Mark Carwardine
commented, ‘With so many photographers scouring the globe for exotic
megafauna, it’s easy to forget how much wildlife we have in our own
small and densely populated backyard. Just look up – from behind your
desk, the kitchen sink or inside your car – and the chances are you will
see a wild creature of one kind or another.’
Wildlife Photographer of the Year 2019
Grand Title Winner
Yongqing Bao
The Moment
This image shows a rarely observed species
displaying behaviour that few people have ever
witnessed. It is this rarity that helped to elevate the
photograph above the 48,000 entries received from
100 countries in this year’s prestigious Wildlife
Photographer of the Year competition.
It shows the moment a female Tibetan fox, hunting to
keep her three cubs alive, engages in a fight for survival
with a Himalayan marmot. This kind of fox is only found
on the high Tibetan Ladakh plateaus which extend into
Nepal, China, India and Bhutan.
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YOUR LETTERS

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LETTER OF THE WEEK Stereopanocam
Email samuel.shaw@ti-media.com What a wonderful article

Thanks to Mike Maloney for his advice

Inserts Call Mona Amarasakera,
Canopy Media, on 0203 148 3710 by John Wade about the
Editorial team ‘stereopanocam’ built by
Group Editor Nigel Atherton
Deputy Editor Geoff Harris my late father Leslie
Technical Editor Andy Westlake Your mention of Mike Maloney in Inbox Thomson (AP 9
Reviews Editor Michael Topham
Features Editor Amy Davies (9 November issue) reminded me of November). He has really
Technique Editor Hollie Latham Hucker the times I’d send in contributions for done Dad proud. Having
Production Editor Jacqueline Porter
Chief Sub Editor/Features Jolene Menezes his AP critique page. On one occasion an original example of a
Acting Chief Sub/Features Amanda Stroud Mike rang me to say one of my images Wray Stereo Graphic to
Art Editor Sarah Foster
Senior Designer Steph Tebboth had won his Pic of the Week. At first I compare with the modified
Studio Manager Andrew Sydenham
Photo-Science Consultant thought it was a wind up until I realised camera really makes the
Professor Robert Newman I was indeed speaking to the Fleet article, in my view, and
Office Manager Hollie Bishop
Special thanks to The moderators of the AP
Street legend. A few months later Mike indicates how much work
website: Andrew Robertson, lisadb, rang again. But it wasn’t to say I’d won went into making the
Nick Roberts, The Fat Controller
pic of the week this time. He’d been conversion from stereo to
Advertising
Head of Market Liz Reid impressed with a shot of an arch I’d panoramic. Just making
07949 179 200 taken at St Mary’s Cathedral in my the new frame counter
Senior Account Manager Samuel Shaw
07970 615 618 home town of Newcastle. alone took many hours.
Production Coordinator Chris Gozzett He suggested the photo would make The inspiration for
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Publishing team a good fine art print. I followed his making the
Chief Executive Officer Marcus Rich suggestion and had a few copies ‘stereopanocam’ came
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Managing Director Kirsty Setchell printed off. A mate put them in his from extensive use of a
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPL ES TO UK AND EU RESIDENTS ONLY

Printed by Walstead UK Limited weekend market photo stall and they Russian FT-2 swing-lens
Distributed by Marketforce sold like the proverbial hot cakes. I had Former AP columnist Mike Maloney panoramic camera. Dad
5 Churchill Place, London E14 collecting his OBE
Telephone 0203 787 9001 more printed and they too sold well. produced many stunning
Sadly, I lost the original file when I transparencies with this
Editorial Complaints We work hard to achieve the highest
standards of editorial content, and we are committed to accidentally dropped the portable hard was a huge thrill. I trust he’s still out camera, but there were
complying with the Editors’ Code of Practice (www.ipso.co.uk/
IPSO/cop.html) as enforced by IPSO. If you have a complaint drive it was stored on. But how nice of there, camera in hand. Cheers, Mike! times when its angle of
about our editorial content, you can email us at complaints@
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Legal Department, 161 Marsh Wall, London E14 9AP. Please
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and explain your complaint by reference to the Editors’ Code.
We will endeavour to acknowledge your complaint within 5 was friendly, chatty and to hear a Mike is indeed still out there and still this called for a different
working days, and we aim to correct substantial errors as
soon as possible. photography legend like him on the reads AP, so he will read your kind camera with a narrower
All contributions to Amateur Photographer must be original, end of a phone line praising my work comments – Nigel Atherton editor angle of view, hence the
not copies or duplicated to other publications. The editor
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Win!
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submitted. TI Media Limited or its associated companies
reserves the right to re use any submission sent to the letters ‘stereopanocam’.
column of Amateur Photographer magazine, in any format or
medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE I do hope that you will
Amateur Photographer® is a registered trademark
of TI Media Limited © TI Media Limited 2018 Amateur A Samsung 64GB EVO Plus microSDXC with continue to publish John
Photographer (incorporating Photo Technique, Camera Weekly
& What Digital Camera) Email: amateurphotographer@ adapter Class 10 UHS-1 Grade U3 memory c Wade’s excellent articles,
ti media.com Website: www.amateurphotographer.co.uk.
TI Media Limited switchboard tel: 0203 148 5000 Amateur supports 4K UHD. Offering R/W speeds of up to 100MB/s /60MB/s a as I always look forward to
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Coincidence?
or transmitted in any format or medium, whether printed,
electronic or otherwise, without the prior written permission
of the publisher or the editor. This is considered a breach of Pretty good for a near Having tried this route in Take care in
the woods
copyright and action will be taken where this occurs. This
magazine must not be lent, sold, hired or otherwise disposed How do these things octogenarian! Unlike him the past I was slightly
of in a mutilated condition or in any authorised cover by way,
or by trade, or annexed to any publication or advertising happen? Thirty-odd years though I’m just a ‘happy dismayed however to see
matter without first obtaining written permission from the
publisher. TI Media Limited does not accept responsibility for ago my eldest brother and snapper!’ that some brand names Great article on winter
loss or damage to unsolicited photographs and manuscripts,
and product samples. TI Media Limited reserves the right to
I were both using Minolta Bill Houlder are clearly visible in the woodlands (Moody winter
use any submissions sent to Amateur Photographer Magazine SR-T SLR’s. And now, it photos used in the article wonderlands) in the 23
in any format or medium, including electronic. One year
subscription (51 issues) £155.50 (UK), e259 (Europe),
$338.99 (USA), £221.99 (rest of world). The 2015 US annual
turns out, we both have a Taking stock (something I was told was a November issue. There is
DEU subscription price is $338.99, airfreight and mailing in
the USA by named Air Business Ltd, c/o Worldnet Shipping
Panasonic FZ82! I chose I’ve just finished your definite no-no). one point that may not
Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.
Periodicals postage paid at Jamaica NY 11431. US Postmaster:
mine for the price and its excellent article on how to Also, the observation on have been stressed
Send address changes to Amateur Photographer, Air Business
Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd
20-1200mm zoom. I make a few extra drinking page 24 that ‘a technically sufficiently though.
floor, Jamaica, NY 11434, USA. Subscriptions records are
maintained at TI Media Limited, 161 Marsh Wall, London E14
expect that Eric had similar vouchers by attempting to good picture can be a Wistman’s wood is a very
9AP. Air Business Ltd is acting as our mailing agent. needs. Much to my place pictures with a stock terrible stock picture, and ancient, small and delicate
surprise I learned that he’s agency (Stock market: cash vice versa’ seems ecosystem. It’s one of the
using his for freelancing. or crash?, 2 November). contentious as more often few tiny pockets of ancient

26 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

oak woodland left in machine gun knowing
England. Articles like this I’d get five good ones
can lead to increased
visitor numbers, which is
great, but can ultimately
and could discard the
rest. I am not knocking
modern technology.
Back in the day
A wander through the AP archive. This
lead to significant Without it most
damage if visitors do not photographers would week we pay a visit to December 1965
take care. If this article probably not process

1965
inspires people to visit the their own images, but
wood then great, but there still needs to be a
please make every effort place for simpler things.
to leave it as you found it. With the relentless march
It is not as robust an of innovation we seem to
environment as some. be heading to the time
Hopefully then we won’t be when all cameras will
confronted with snapped We are looking forward to eventually just be very
branches and boulders testing the Fujifilm 16-80mm expensive point-and-shoot
stripped of moss. f/4 soon machines, the
Dave Pennington photographic equivalent of
learn he instructs his driverless cars. So please
Lens interest students to expect to use give some praise to the
I am very interested in the at least ten rolls of film more humble cameras,
Fujifilm 16-80mm f/4 as photographing a house. and not just the superstars.
an all round travel lens and This must be the end of Terry Newman
I’m wondering if you are the argument that digital
likely to review it any time photographers shoot too There are many features
soon? There are a few many pictures compared that cameras never used
‘amateur’ reviews out there to their predecessors! to have which are now
that vary from rating the There is no right number. taken for granted. It’s
lens as excellent to rather I hope the rest of the book important to point out
poor in terms of image is as provocative. what’s missing from new
quality. An AP review Tom Frost cameras that readers
would be far more reliable! may expect to be there,
Paul Savage Why the IBIS perhaps because

We’re just as excited obsession? competitors’ products

about this lens as
X-system users are, and
we fully intend to test it
just as soon as a review
sample becomes
available. Hopefully this
will be within the next
couple of months –
Andy Westlake,
technical editor
Provocative book
After reading Geoff’s
article (Viewpoint, 23
November), I have just
bought Daido Moriyama’s
book, How I Take
Photographs. Early on we
Tom Frost found Daido
Moriyama’s book provocative
have them. It is then for
I have recently read several the reader to decide
camera reviews that are whether such omissions IT’S DECEMBER 1965. Dr Zhivago has just opened
ecstatic when describing matter to them. The and, at AP Towers, the secretary has been persuaded
the image quality, focusing several extra stops of to dress up as Mrs Christmas and show off her shiny
speed, tracking ability, usable handheld shutter new Fujifilm X-E3. Inside, E Teskey-King takes us
frame rate etc. But every speeds that IBIS through the complex process of making photographic
one ended with an almost provides is very useful Christmas cards, which involved either sticking photos
audible groan at the lack of for certain types of onto artwork (or models) and then re-photographing
IBIS, which resulted in the photography, and less so them, or using multiple printing techniques. Kids today
camera being heavily for others – Nigel don’t know they’re born with their fancy Photoshop.
marked down. Atherton, editor Meanwhile a small child offers Santa a few gift ideas,
Some years ago I lived in which include a pack of five flashbulbs (3s 9d), and an
the Isle of Man and each Readers’ journeys AP diary (7s 6d). For more extravagant readers the
year during TT Week we I was very chuffed to have ‘Over £5’ section included a Weston Master V (£10
were treated to been featured in the 15s) a Werra 1 camera, with Tessar f/2.8 lens (£19
entertainment from recent 135 years edition in 18s) or, best of all, an AP subscription for £5 10s – or
motorcyclists and from the the AP’s most loyal readers £109.65 in today’s money. Our current annual price is
Red Arrows. I took article (AP 12 October). £91.96, which makes it a bargain!
hundreds of clear photos What struck me about this
of both, using a Nikon FE2 article was the many ways
and various lenses from in which AP had influenced
35mm to 500mm, without these readers over the
the benefit of a tripod, and years. I thought it might be
we rarely used film faster interesting to hear more
than 400 ASA. None of about some of these AP
the lenses were stabilised readers’ photographic
and all shots were journeys – and any other
manually focused. I also AP readers (not just the
found that I had far more auld yins!) for that matter.
keepers when I had to I wondered whether it
think about what I was might make for an
doing, rather than just fire interesting series in AP.
off 50 frames like a Graeme Youngson AP readers were regaled with exciting Christmassy articles

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 27

AP’s IMAGES OF THE YEAR

© JANET MILES
Our
images
of the year
At AP we see thousands of images each year, so it takes
something pretty special to grab our attention. Here,
we each pick our favourites and explain their impact
© KEN HERMANN, DENMARK, SHORTLIST, ZEISS PHOTOGRAPHY AWARD

Claire Gillo Editorial team

From the series
‘Mallakhamba’
by Ken Hermann
It’s hard to decide on one favourite
image from the year, as the quality
of photography in 2019 has been
incredibly high. I was impressed this
year by the standard of images in the
2019 ZEISS Photography Award, and
one in particular from among those that
were shortlisted stood out for me. It’s
a clever image taken by photographer
Ken Hermann from Denmark. It makes

28 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


me think about human strength and
endurance, environment, sport,
architecture, and culture; this is all in
just one image. The art these girls are
performing is a traditional Indian sport
called Mallakhamba, and although that
is impressive in itself, it’s the contrast
between the bright blue sheet hung like
a stage against the ordinary outdoor
scene that makes it so interesting. What
the performers are doing in such an
extraordinary and professional way is
contrasted against the housing in the
background, making you want to know
more about them and their stories.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
Andy Westlake
Technical editor
‘Organic Staircase’
by Janet Miles
The sheer quality of the
photography that graces Amateur
Photographer’s pages every year is
remarkable, so when it comes to
choosing a favourite picture, it can
be extremely difficult to know where
to start. It’s not just the seasoned
professionals or the big competition
winners, either; we have some
incredibly talented readers, too.
AP’s IMAGES OF THE YEAR
One image that really caught my eye
was this spiral staircase by Janet Miles,
which graced her Reader Portfolio in
AP 5 October. Staircases are popular
subjects, and it’s rare to see a shot that
looks fresh and new, but Janet has
managed it with aplomb.
The sinuous curves form an elegant
composition, enhanced by the lovely
warm tones and striking grain patterns
of the wood. But the key here is the
perspective, with the camera placed low
down inside the helix of the staircase.
It’s an unusual angle that elevates this
shot way above the ordinary.
29
 AP’s IMAGES OF THE YEAR

Michael Topham
Reviews editor
‘A House on Skye’ by Thomas Roberts
The Isle of Skye will always have a special place in my
heart. I have fond memories of making the long,
arduous journey north as a youngster with my family, to
take in everything the Scottish Highlands and nearby
islands have to offer – from riding the famous Jacobite
steam train that crosses the equally well-known Glenfinnan
Viaduct to jumping into the crystal-clear blue pools at the
foot of the Black Cuillins on the Isle of Skye.
When I viewed this image for the first time, I immediately
identified it as being taken on Skye, which encouraged me
to take a closer look. Captured by Thomas Roberts, the
image beautifully depicts the ever-changing weather and
incredible opportunities you can stumble upon by just
driving around the island. The scene caught Thomas’s
eye in his rear-view mirror as he drove from the quaint
beach of Elgol back to Portree and he had seconds to
jump out and spontaneously compose his shot before
the rainbow disappeared.
There are so many elements to the image that I love,
but fundamentally it’s the way in which the rainbow aligns
with the white house, combined with the drama of the
mountain range being picked out in a pocket of sunlight
that makes it what it is. It’s an image truly deserving of
recognition, so I was delighted to see the judges awarding
it winner of the landscape category at this year’s British
Photography Awards. See www.britishphotographyawards.
org/2019-Winners.
© THOMAS ROBERTS
© VOLKER MICHAEL

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Geoff Harris
Deputy editor
‘First Rays’ by Volker Michael
© PAN JIANHUA, CHINA MAINLAND, WINNER, OPEN COMPETITION, CULTURE, 2019 SONY WORLD PHOTOGRAPHY AWARDS

One of my favourite competitions

across the photography year is Garden
Photographer of the Year, and I could look at
this image by Volker Michael every single day.
The image shows a famous garden in Jistrum,
Friesland, in the Netherlands and is full of
wonderful morning atmosphere – for me it’s
a really magical time of day. ‘When I reached
the garden I saw this incredibly beautiful light,’
said Volker. ‘This moment was unique, and
I realised that it would never again exist in
this form – it just had to be photographed.’
I really do believe a major part of being
a successful photographer is not only to
become technically competent and to know
your camera inside out, but also to be able to
spot a unique opportunity in the first place. I
guess that is what people mean when they talk
about ‘developing your eye’, but this essential
skill only comes about through experience. So Andrew Sydenham
a big round of applause to Volker for not only Studio manager me among the many excellent and
being in the right place at the right time, but accomplished pictures in the winning
also recognising the huge photographic ‘Shadow Puppetry’ categories of the 2019 Sony World
potential of the scene in front of him. The by Pan Jianhua Photography Awards. This image won in the
image is also perfectly exposed, with plenty of Everything about this image impresses Culture category of the Open Competition.
highlight and shadow detail, and wonderfully me. A slightly mysterious subject never It demands you study it in more detail. There
captured sunlight. The editing is subtle but really seen in the West, the balance and colour is so much to take in: the concentration of the
highly effective. I’m not at all surprised Volker of the light along with a wide dynamic range audience, the skill of the performers and the
was a finalist in this year’s competition. drew me to it immediately, and it stood out for texture of the building.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 31


© LIZZIE SHEPHERD, WWW.LIZZIESHEPHERD.COM
Tracy Calder
Editorial team
‘Lochan Lily,
Isle of Harris’
by Lizzie Shepherd
This photograph is a masterclass
in minimalism. Faced with what
must have been a rather chaotic natural
scene (lily leaves and stems swaying in
the water of a lochan), Lizzie chose to
pare everything down and concentrate
on the graphic form of the plant. I adore
its simplicity, and the way that the eye
travels through the frame, following the
stems down to the leaf.
On the day Lizzie captured it, the sun
was bright and the lily appeared golden,
floating in a pool of blue water. However,
converting it to black & white was a
fantastic decision. There is a confidence,
a stillness, and a meditative feel to the
picture. Lizzie entered Lochan Lily in
Close-up Photographer of the Year 01,
and it earned her a place in the shortlist.
As one of the judges, I was immediately
struck by the graphic nature of the
photograph, and the trouble Lizzie had
obviously taken to ensure that there
was nothing superfluous in the
composition. It’s a beautiful picture, and
one that makes me wish I had been
standing with Lizzie next to that Scottish
lochan, watching the light change.
32 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
© ELENA PARASKEVA
Amy Davies
Features editor
‘The Lost Swimmer’
by Elena Paraskeva
This year, I had the enormous
privilege of being asked to be on
the judging panel for the inaugural
SheClicks exhibition. Selecting just 50
images to be included in the display
from more than 2,000 that were
submitted was an enormous task which
I took extremely seriously – I think it
took me the best part of a week to
make my own personal selection.
Elena’s image stood out for a number
of reasons. I love the concept and the
execution, and those vibrant colours are
so cheering. As I write this on a gloomy
November day, just its presence on my
monitor is making me smile.
Going from strength to strength,
SheClicks has surpassed 5,000
members this year. Its founder, Angela
Nicholson, continues to be one of my
biggest inspirations. Seeing how she has
grown and fostered this friendly and
welcoming community has been truly
remarkable. It’s also a joy to see this
huge number of women coming
together to celebrate their own and
each other’s work, and I can’t wait to see
how the group continues to develop.
Visit sheclicks.net to find out more.
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AP’s IMAGES OF THE YEAR
Ailsa McWhinnie
Editorial team
‘Camber Sands’ by Sidney Coles
In the summer of 1960, French photographer
Robert Doisneau was travelling through south-
east England, taking photographs of typically
British scenes, when he happened to see this
family taking its annual holiday…
OK, I’m kidding. I actually saw this photograph
for the first time earlier this year. It was part of
a slideshow at my husband’s aunt’s funeral. Her
name was Gwen, and that’s her on the very stylish
moped, looking down at her one-year-old
daughter Sandra in the buggy. Next to Sandra is
Nan Coles (Kit), while Gwen’s husband Brian is
leaning out of the caravan door. It’s likely that
34
© SANDRA COBDEN
Grandad Coles (Sid) was the one behind the
camera – the coolly classic car was his.
It’s a photograph that resonated with me the
moment I saw it flash up on the screen at the
crematorium, and instantly became the most
memorable image I’d seen in 2019. But why?
Because, I suppose, of its sheer ordinariness. It
shows three generations of the same family doing
what families have done for centuries. Simply
enjoying time together and making memories.
Then there’s the clothes, the moped, the car…
Most poignantly, of everyone in this picture,
Sandra is now the only one left.
It’s a great example of why we should cherish
those apparently ordinary family photographs –
because over time, the ordinary nearly always
becomes extraordinary, and this picture proves it.
21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
© NICK BRANDT
Nigel Atherton
Editor
‘Charcoal Burning with
Elephant’ by Nick Brandt
It isn’t often that I am completely blown
away by a set of photographs, but Nick
Brandt’s latest work, This Empty World
(featured in AP 14 September) left me
speechless. The theme is the threat to
wildlife habitats from human activity
and industrialisation, and the way he
chose to illustrate this demonstrates an
epic degree of ambition, planning and
set construction that I don’t think I’ve
encountered before. First, he captured
nocturnal portraits of the animals, using
remote cameras set up in various
locations near Kenya’s Amboseli
National Park. Then he constructed
large-scale sets on the same spot, and
directed his cast of human subjects in
positions around the area where the
animal stood. The images were then
combined on the computer to create
scenes that never existed in real life but
convey his message perfectly and very
powerfully. The animals look vulnerable
and out of place; the activities around
them may be staged but they represent
the kind of development that’s
happening all over Africa as countries
industrialise and strive to provide a
better quality of life for their human
populations. Singling out just one of
Brandt’s incredible pictures was tough,
but I have gone for this one – a
frightened baby elephant alone in a
dystopian, Dantesque landscape.
Ð
JEFF BRIDGES
The big
picture
show
Actor Jeff Bridges has been shooting
on-set photographs for decades. Steve
Fairclough spoke to him about his new
book and his passion for photography
F
or almost 50 years movie
star Jeff Bridges has
been at the top of his
profession, garnering
seven Academy Award nominations
and winning the 2009 Best Actor
Oscar for his performance as an
ageing country singer in Crazy
Heart. Yet throughout much
of this period Bridges has also
been pursuing his passion for
photography by shooting on-set
pictures with his beloved 35mm
Widelux F8 panoramic camera.
The second book of Bridges’
on-set photography was published
in October 2019 and it spans films
he has made since 2003 – the likes
of Seabiscuit, Iron Man, Tron:
Legacy, True Grit, Hell or High
Water and Crazy Heart.
Jeff Bridges: Pictures, Volume 2
features dozens of his images, which
range from true candids to posed
tragedia/comedia pictures, where
the long shutter span of the camera
allows the subject to go from one
side of the frame to the other to pull
two different faces.
Bridges’ ongoing fascination with
shooting on-set images was sparked
by his co-star Karen Allen on the
set of the 1984 movie Starman. She
suggested to him to combine the
images he’d been shooting with
those of unit photographer Sid
36
Baldwin into a photo book for the
cast and crew of the movie… and
that’s exactly what he did. Now, over
30 years later, he’s still doing it.
Teenage interest
in photography
His initial interest in photography
dates back to his teenage years,
‘When I was about 15 or so I kind of
took my father’s 35mm Nikon
camera and would shoot pictures
of my friends and so forth. I made
a little darkroom in my bathroom,
got an enlarger and did all that
kind of stuff. So I got into it
around that age.’
He continues, ‘Then, it’s funny,
the Widelux came into my life
almost around that same time when
I was in high school. I heard that
there was going to be a
photographer who would take our
class picture and he had this funny
camera with a panning lens. If you
ran around real fast you could be in
the picture twice. So, sure enough,
he came and I thought, hey man, it
was true – they did that.’
From then it wasn’t till his
wedding day that Bridges
encountered a Widelux camera
again. He reveals, ‘I kind of forgot
about the camera. Then, when I got
married, the photographer came
and shot our wedding and he had a
21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Above: George Widelux. I saw those prints and I
Clooney, tragedia/ was just knocked out. It seemed like
comedia, The Men it was a kind of a cross between a
Who Stare at Goats,
movie camera and a still camera; it
2009
captured time in a wonderful way,
so I kind of got hooked. Then, as a
wedding gift, my wife gave me a
Widelux – that’s primarily the
camera I’ve used ever since and
we’ve been married 42 years now.’
Bridges admits to having his own
photographic inspirations. ‘One of
my photo heroes would be [Jacques-
Henri] Lartigue. He might have
used a panning shutter as well on
his cameras – his photographs look
like he might have. I loved the way
he captured [images], a little like
snapshots back in those days when
most photography at that time was
quite formal and stiff. He really
captured life and what it was like to
Right: Iron Man be alive in those times. That’s kind
Suit, Iron Man, of what I aspire to in my
2008 shots… to let people see what
 ALL IMAGES © JEFF BRIDGES
JEFF BRIDGES
JEFF BRIDGES

‘There’s something
about black & white,
man, that I love, even
in the movies. You see
those rich blacks’

it’s like right in the centre of

making movies in the 20th and
21st centuries.’

Posed or inconspicuous
Movie sets are not always the most
dynamic of places as crew and
actors can have to wait around for
hours at a time for shots to be set-up
and lit properly. So I ask Bridges if
he prefers to pose shots on-set or if
he deliberately mixes posed shots
with more reportage style shots,
where the subjects may not know
he’s taking a photograph.
He replies, ‘Yeah, absolutely, I do
both. The thing I think you’re
referring to [with posing] is this
series of “tragedy and comedy”
images that I take of the actors
doing the classic Greek tragedia/
comedia masks. I like it for a that – we’ll have rehearsals and stuff Above: Stephen very much like the movie screen
number of reasons. One reason to get that image. But then, at other Bruton, songwriter, format, so I like that aspect of it.’
is kind of a demonstration of times, I like to be more candid and Crazy Heart, 2009 Bridges continues, ‘There’s no
how willing actors are to be fools be like a fly on the wall.’ focus on it; you’re focusing just with
and to play, as it’s kind of a playful depth-of-field. I sometimes use it as
thing to do.’ Working with a Widelux Below left: a landscape camera but, most often,
He adds, ‘It’s fun to organise that Bridges has kept the same camera Claudio Miranda I like to get as close as I can to my
and, again, it’s a great example of close to his side when shooting and Olivia Wilde, subject, a yard away or something
the Widelux and how it can show movies for over three decades, so Tron: Legacy, 2010 like that… a little above my arm. I
two separate times simultaneously… what exactly is it that he enjoys often shoot at f/11 at 1/15th of a
Below centre:
and the whole tragedy and comedy about using the Widelux? He second with ISO 3200. Sometimes
Loyd Catlett,
thing of how as human beings we’re admits, ‘I really have kind of a love Seventh Son, 2014 I’ll push that to 6400 because the
so capable and willing to do both of affair with the camera. I think it light in a studio is usually so dim
those. That’s a thing that I’ve got to sees more like the [human] eye and Below right: Scenes – they [movie sets] get dimmer and
work out with the actor who does it almost has peripheral vision. It’s of the Crime, 2001 dimmer with the sensitivity of the

38 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


cameras they’re using now. I find
that you get a little bit more [in
a frame] than what you see in
the viewfinder.’
I point out that all of the images
in his new book are in black & white Well, sometimes it can.’
and he reveals, ‘I’ve shot in colour
but I think I really enjoy black &
white [best], especially when you
get the kind of richness that this lab white. There’s something about
– Digital Graphics – [got]. I’m really black & white, man, that I love, even (ISBN: 978-1-57687-936-8) proceeds should go from this book
happy with the way the printing of
the images came out in the book. I
think they’re just great. I think it’s or any of those – and you see those
[my use of black & white] from my
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
youth to being in the darkroom and
being more familiar with that. Then
I think it adds and it calls upon the
viewer to add their layer of reality…
colour kind of distracts in a way.
He adds, ‘There’s beautiful colour
photography as well but it certainly
isn’t as meaningful as black &
in the movies. If you look at a
Kubrick movie – Doctor Strangelove find out more go to
rich blacks… wow, I love that.’
JEFF BRIDGES
Body of work
By now Bridges has built up a
large archive of work, so did he
enjoy going through it for his
latest tome? ‘Oh, man, I’ll say. This
[the book] is the tip of the iceberg
of this stuff. It was fun to go
through… but the edit, as you know,
is the tough part. It takes a lot of
Jeff Bridges first major time to figure out. I thought Jana
role was in The Last Anderson did a great job of the
Picture Show, for which book’s design and how it feels
he got an Academy Award looking through it. I’m pretty
nomination. Since then pleased with it.’
he has had six more and He agrees that his images have a
won a Best Actor Oscar for certain deliberate intimacy to them.
Crazy Heart. He has been ‘Yeah, very much so. I like to do that
photographing on film and bring who’s looking at it in and
really feel that intimacy.’
sets with a Widelux F8
It’s when I ask about what people
camera since the early should expect from his latest
1980s and published his photography book that Bridges gets
first photography book in mischievous. He jokes to me, ‘I
2003. Bridges received would say that “This actor guy, he
an Infinity Award for his made these pictures in this book
photography from the and they’re really good. They’re kind
International Center of of like the everyday life of working
Photography in 2013. See in the movies and what it’s like and
more at www. what it looks like. It’s a really
jeffbridges.com. beautiful thing”.’
The proceeds of Bridges’ latest
photography book will be
donated to the charity, the Motion
Picture & Television Fund. He
explains, ‘It really is an incredible
organisation that the industry has
created. It’s really about taking care
of their own; financially and
The book Jeff Bridges: health-wise. That’s from the
directors, actors, grips,
Pictures, Volume Two by
electricians… all those people. It’s a
Jeff Bridges, is published wonderful organisation and it feels
by powerHouse Books totally [right] that that’s where the
with an RRP of $49.95. To because, I tell ya, I look at it
personally as just giving back to
www.powerhouse an industry that’s given me so
books.com. much joy, pleasure and a living.’
39
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YOUR PICTURES IN PRINT

Favourite readers’
AP Editor Nigel Atherton chose a
selection of outstanding readers’ images
published in 2019 and asked our Facebook
community to vote for their favourites
Kilchurn Castle
David Thompson READERS’
‘Kilchurn Castle in
Scotland is a popular CHOICE
location,’ says David, ‘but not
ideal for sunrises. Fortunately, on
this occasion, the cloud formation
was well positioned and reflected the
pinky hues of the sky magnificently.
The reflections caught in the still
Loch Awe were an added bonus.’
Nikon Z 7, 24-70mm, 8sec at f/16, ISO 64

Ullswater
David Ball
David lives in Nottingham and
loves being near water. He took
this shot in Ullswater early in the
morning and managed to capture the
atmosphere, mood, and touch of mist
before the conditions changed.
Canon EOS 6D, 17-40mm, 1/4sec
at f/13, ISO 100

Autumn
Glenys Garnett
Wakefield-
based Glenys
loves nature and
the outdoors,
though this picture
was taken inside
using a lightpad.
The backlighting
has helped to give
this a ‘fine-art’
feel, with rich
autumnal colours.
Fujifilm X-T2,
18-55mm, 0.5sec at
f/20, ISO 200, tripod,
A3 lightpad,
lightstand, diffuser

42 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


photos 2019
Ringmaster
Jo Kelly
This portrait of Jo’s daughter was
inspired by The Greatest Showman
and was made in her home studio in
Cambridgeshire. A member of March
Camera Club, Jo took up photography
when she became a parent. Nikon D7200,
18-300mm, 1/60sec at f/3.5, ISO 11,400
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
YOUR PICTURES IN PRINT
Submit your images
Please see the ‘Send us your pictures’
section on page 3 for details or visit
www.amateurphotographer.co.uk/portfolio
Meadow Hardley Dawn
Jo Stephen Ruth Grindrod
‘I took this lying in long A very early wake-up
meadow grasses at the call was needed to
ancient hillfort at Badbury catch this subtle, calm
Rings, Dorset,’ says Jo. ‘I tried sunrise at Hardley Staithe
to capture the ephemeral near Chedgrave, Norfolk.
beauty of the orchids and The biggest challenge, says
gentle nodding grasses, by Ruth, was the 3.30am start
using multiple exposures. required to get the shot.
Sony A58, 90mm f/2.8, blended Nikon D800e, 24-70mm, 10sec
exposures of 1/4000sec, f/2.8, ISO 100 at f/11, ISO 200, tripod, 0.9 grad
Flower Close-up
Andy Reid
Andy loves the
new Fujifilm
80mm macro lens.
‘The long focal length
affords fantastic
Dubai Sunrise isolation and limited
depth of field,’ he
Gill Prince says. He also finds
Gill captured this shot from the the X-H1’s in-body
top of the Palm Hotel. ‘I wanted to stabilisation useful for
capture a misty skyline and the rising handheld images.
sun to create that warm “urban oasis in Fujifilm X-H1, 80mm
the desert” feeling,’ she says. f/2.8 macro, 1/125sec at
Panasonic Lumix G80, 14-140mm, 1/320sec f/4, ISO 200
at f/8, ISO 200
43
 Cosmos Light
Sophia Spurgin
Tortured Tulip Hertfordshire-based Sophia started photographing flowers when her
children decided they were too old to have their pictures taken, and
Julie Cowdy grows her own flowers to use in her work. This beautifully soft image was
A former fashion and interior designer, and art teacher, created with the help of a Manfrotto Lumimuse on-camera light.
Julie has a particular interest in still life. Her images Canon EOS 5D Mark IV, Lensbaby Velvet 56, 1/500sec at f/2.8, ISO 100
often blend the original image with painted surfaces or
photographed textures. Here she layered an image of old
script with the original still-life set-up of tulip and bottle.
The Forest
Sony Alpha 7R Mark II, 30mm macro, 1min at f/5, ISO 100, tripod Noel Bodle
‘I visit King’s Wood
in Kent every May
for its bluebells,’ says
Noel. ‘I came across
this wonderful scene,
beautifully lit from
behind with fresh new
greens. I didn’t intend to
make it black & white; it
was only when I viewed
the image on the
computer that I saw its
full potential.’
Fujifilm X-T1, 55-200mm,
1/40sec at f/10, ISO 320

Staircase
Janet Miles
Janet saw this
staircase in a
London restaurant.
‘I have a stressful
job and am being
Angelic Urchin treated for breast
cancer, so I love
Belinda Ewart that photography
This was taken at the Ragged Victorians re- is all-absorbing,’
enactment; Belinda was attempting to capture this says Janet, from
little girl in character as she played – and then she looked Somerset.
up at exactly the right moment. Belinda lives in Uxbridge. Olympus E-M1 Mk II,
Canon EOS 6D Mark II, 24-105mm, 1/320sec at f/5.6, ISO 320 7-14mm, 1/13sec
f/6.3, ISO 500

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 YOUR PICTURES IN PRINT

Three Generations
Graeme Youngson
Graeme specialises in street photography,
and enjoys strong, low, directional light,
such as late afternoon in winter. ‘This lighting
can often give a sense of isolation and the
potential loneliness of the urban world,’ he says.
This image was narrowly beaten into second
place for the Reader’s Choice Award among
our Facebook community.
Canon EOS 70D, 18-55mm, 1/640sec at f/7.1, ISO 400

Time for a Cuppa

Daisy May
‘This shot shows
that the time is
always right for a cup of
tea,’ says Daisy, who
lives in Leicestershire.
Taken from above, the
challenge was to get
the cups and spoons
centrally framed
without casting a
shadow from leaning
over the set-up.
Nikon D5200, 18-300mm,
1/200sec at f/6.3, ISO 400

Dawn Harbour Reflections

Helen Trust
This is the harbour of Hamnøy in
the Lofoten Islands. ‘The sunrise
that day didn’t amount to much,’ says
Helen, ‘but after the sun came up there
was a brief moment when lovely pastel
colours appeared in the sky and the
water seemed to turn to ice, producing
beautiful reflections.’ Canon EOS 5D Mark
IV, 16-35mm f/2.8L, 180sec at f/10, ISO 50

London Underground Yellow Tulip St George’s Square

Luke Agbaimoni
Two commuters getting
off the tube at Leicester
Square at the same moment.
Luke experimented with slow
shutter speeds to get just the
right amount of blur in the
doors. Sony Alpha 7R II,
16-35mm, 0.4sec at f/7.1, ISO 160 17-50mm, 1/10sec, f/11, ISO 100
Emilian Primov
Emilian saw this field on
the way to the coast to
shoot some long exposures.
‘Needless to say that changed
my plans,’ he says. ‘It was a
long wait for the sunset, but it
was worth it.’ Nikon D7200,
Stephan Grixti
This balcony is a typical example
of Valletta’s Baroque architecture,’
says Stephan, who lives in Malta. This
Waterlily shot illustrates the rich rewards that can
come from looking up as well as around
Roop Khural when you’re out shooting. The b&w
‘Waterlilies are one of my treatment works well here too. Nikon
favourite flowers,’ says Roop D5200, 18-105mm, 1/1250sec at f/9, ISO 400
Khural, who works full time as a visitor
host at Kew Gardens, and often takes
pictures during her breaks. ‘I took this
shot inside the glasshouse on a hot
day with beautiful light streaming in.’
Nikon D850, 300mm, 1/3200sec at f/4,
ISO 400
Celebrating the unsung
Nominate a photography hero who deserves to
be more widely recognised and applauded
T
here are a lot of passionate
people out there who are using
photography to make a positive
contribution to society, and
we want to honour them in a brand-new
award. It’s called the Unsung Hero
Award, in association with Ripe
Photography Insurance, and this award
is designed to shine a spotlight on
dedicated, passionate members of the
Simply email apawards@ti-media.co
photography community who aren’t
getting the recognition they deserve.
A nationwide celebration
We are looking to celebrate the hard work
and community spirit of people who are
using photography for the benefit of others
or to help make the world a better place. It
may be someone who is working with
children or vulnerable adults, using the
therapeutic power of photography to help
them get over anxiety and depression, or
a physical disability or illness. Perhaps
they are using their own camera in the
service of a charity to help raise awareness
or money for them. Either way, the
Unsung Hero Award is all about those
who are using photography, and cameras,
to do something positive for others in the
wider community.
Nominations needed
Do you know someone who deserves to
win our new Unsung Hero Award? If so,
to no inat so eone

heroes of photography
we are inviting you to send in your
nomination for them right now – and yes,
you can nominate yourself too.
Once we have received the nominations
for all of the unsung heroes, the editorial
team at Amateur Photographer will select
the winner who will then be invited to
accept their award at our glittering
ceremony in central London on 21
February. We will donate £500 to the
charity of the winner’s choice, and share
their story with our readers and the wider
world, via the pages of Amateur
Photographer and our website.
who you believe deserves to win our Unsung Hero Award
AP AWARDS
About Ripe Insurance
Whether you need insurance for your business or hobby, make
sure you choose a specialist photography insurer you can trust.
Rated ‘Excellent’ on Trustpilot, our insurance protects your
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HOW TO ENTER
In your nomination, you will need to tell The closing date is 15 January 2020.
us – in 200 words or less – the name of The entries will be judged by AP staff and
the hero you are nominating and why, the overall winner will be contacted by
or why you are nominating yourself. email. Full terms and conditions can be
found on the website at
Please include any links to relevant amateurphotographer.com/apawards.
photography, or attach images as
necessary, and we will also need your
own contact details. Send your email,
with the subject line UNSUNG HERO to:
apawards@ti-media.com
 Amateur
Photographer
In association with

of the Year
Here are the top 30 images uploaded to Photocrowd from Round Eight,
After dark, with comments by the AP team

1 st
1 Caron Steele UK 30pts
Round Eight After dark Canon EOS-1D X Mark II, 16-35mm at 16mm,
5sec at f/2.8, ISO 4000
An astonishingly beautiful image, which four
Caron Steele has won Round 8 of APOY – and with
of our judges awarded the full 10 marks out
it, the whole competition! Her prize is any Sigma
of 10. We see a great deal of Milky Way
product of up to £1,000 in value (based on Sigma’s
images in the course of producing AP, but
RRP). If her choice is above this amount, she can
so far we’ve received none like this, so it’s
choose to pay the difference. The SIGMA 28mm
gratifying and exciting to see a different,
F1.4 DG HSM | A (RRP £1,099.99) has a wide
atmospheric and imaginative take on this
aperture that’s perfect for low-light conditions. It
technique. There’s a mesmerising quality to
stands up to poor weather, too, with its dust- and
the minimal light on the camel and figure in
splash-proof design. The Sigma 70-200mm F2.8
the foreground, with a gorgeous sense of
DG OS HSM | S (RRP £1,349.99) has a versatile
space overall. Congratulations, Caron, on
zoom range that makes it a great all-rounder. It
a well-deserved win!
features Intelligent OS and high-speed autofocus.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 49

APOY 2019

2nd
2 Mike Morley UK 29pts
Canon EOS 5D Mark III, 16-35mm at 16mm, 1/8sec at f/4, ISO 1600
This was a very popular image with the judges for its
inventiveness and faintly surreal approach. Telling a
story in a single image is no easy feat, but Mike has
managed it extremely effectively here. The lighting is
great, as is the action, and the points of red and
orange throughout the frame lift it overall, standing
out beautifully against the velvety-blue sky. It’s an
image you could come back to frequently and see
something in it each time. It made us smile, and
that’s important, and all-too rare, too.

4 Andy Parslow UK 27pts

Fujifilm X100T, 23mm, 1/50sec at f/2, ISO 6400
There are times when you don’t have to travel far
4th
in order to fulfil a brief, and this image is a case in
point. Andy has captured his two children watching
their iPad under a duvet. It’s a simple and highly
effective fulfilment of the brief, and is as atmospheric
as any dramatic landscape. Converting to black &
white works beautifully, and we love the extensive
black space around the edges of the frame. It’s been
extremely well processed, too, and has a gorgeous,
smooth range of tones.

50 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 In association with

3rd

3 Tom Franklin de Waart Hong Kong 28pts 5 Sharran Davis UK

Nikon D750, 24-70mm at 42mm, 1/2sec at f/2.8, ISO 100
The most important thing to capture when shooting after the sun has 26pts
Nikon D850, 200-500mm at
gone down is atmosphere, and Tom’s image has this in abundance. It 200mm, 1/200sec at f/5.6, ISO 1000
transports the viewer to the narrow Kyoto streets, thanks to the deep A perfectly timed and
blues and purples in the sky, which balance so beautifully with the unusual shot. Sharran
captured this elegant heron
artificial lights in the foreground. The two geisha are placed perfectly in
the frame, and the tiny amount of blur in their movement is just right. from a hide in Lincolnshire
during her first ever night
shoot. Not at all bad for
a first go. She has
demonstrated excellent
reflexes and anticipation
5th to release the shutter
just as the drops of
water are falling from the
bird’s beak, while the
almost perfect reflection
CROWD brings balance and
WINNER shape to the overall
composition. It reveals
an aspect of bird life that
few of us will have
encountered, and is a
deserved Crowd Winner.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 51

APOY 2019

7
7 Fade to Black
24pts
Sony Alpha 7 II, 15sec, ISO 500
A cleverly previsualised shot,
with the light source being
three strategically placed
torches. Great composition
and sense of scale, too.
11 Julio Castro Pardo
Spain 20pts
Nikon D810, 14mm, 25sec at f/2.8,
ISO 5000
The sense of isolation and
remoteness in this image is
profound. The photographer
could be – and probably is
– miles from civilisation.

11

6 Tom Franklin de Waart 10 Tony Croucher UK 21pts

Hong Kong 0pts
DJI FC220, 26mm, 1/3sec at f/2.2, ISO 424
A great drone shot that shows up the
streets in a way a daytime capture
wouldn’t be able to.
Canon EOS-1D Mark IV, 400mm, iOptron
skytracker, 30sec at f/6.3, ISO 400, 100
images merged in DeepSkyStacker
An astonishing view into the Orion
Nebula that’s technically skilled and
magically beautiful at the same time.

10
12

12 Helen Trust UK 19pts

Canon EOS 5D Mark IV, 16-35mm at 16mm, 15sec at f/2.8, ISO 1250
Setting up by the side of the water in order to capture the
reflections of the Northern Lights was a great move, with
the shapes drawing the eye into mountains in the middle.

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 In association with

8 8 Caron Steele UK 0pts 9 Sirsendu Gayen

Canon EOS-1D X Mark II, 70-200mm at 85mm, ISO 4000 India 22pts
Not many would have had the nerve to leave so Nikon D610, 50mm, 1/30sec at f/1.8,
ISO 1600

13 Steve Oldfield UK 18pts

much space in the majority of the frame, but Caron’s
Nikon D810, 28-300mm at 82mm, 1.6sec at f/9, ISO 1000 boldness has resulted in a powerful image. An excellent travel portrait,
The swirl of the steam and the shape it forms is what with the background lights
makes this image work so nicely. The length of shutter directing attention to the

14
speed is just right to create an effective mood. young monk.
14 Tony North UK 17pts
Nikon D500, 11-20mm at 11mm,
13sec at f/4, ISO 1600
A very nicely processed
image of the Milky Way,
where Tony has made sure
it’s as much about the
foreground as the sky.
15 Marc Clack UK 16pts
Nikon D610, 24-70mm at 30mm,
10sec at f/8, ISO 320
It can be tempting to shoot
fireworks close up, but setting
up on the other side of the
lake gives the scene context
and balance.
16 Sharran Davis UK 0pts
Nikon D850, 200-500mm at
440mm, 1/200sec at f/8, ISO 1250
A superb capture of a
much-maligned creature,
with the light making it
appear like a film still.

15 16
APOY 2019

17

17 Tony Cook UK 14pts
Fujifilm X100T, 23mm, 1/50sec at f/2.8 ,ISO 200
There’s definitely a story going on here,
21
which leaves the viewer wanting to
know more. Expressive and interesting.
18
18 Marco Tagliarino Spain 13pts
Canon EOS 5D Mark IV, 35mm,
1/60sec at f/2, ISO 1600
The low angle of this shot allows the
vintage car to lead the eye to the bike.

22

21 Nadia Ciube 22 Richard Wilson

Italy 10pts
Nikon D7100, 17-55mm, 1/8sec
at f/2.8,ISO 250
A simple capture of a scene
many of us will have
witnessed over the years.
UK 9pts
Nikon D7200, 17-50mm at 34mm,
1.3sec at f/10, ISO 250
Richard said he felt this
scene was reminiscent of
Hopper, and we agree!

28 Marc Clack UK 0pts 26 Vasiliy 5pts

Nikon D610, 16-35mm at 19mm, Canon EOS 40D, 24-70mm at 30mm, 417sec at f/8,
30sec at f/5.6, ISO 800 ISO 400
Marc has achieved an excellent spread There’s a clever optical illusion going on
of light throughout the frame, with great here, because these aren’t mushrooms
detail retained in the foreground rocks. – they’re parasols on a beach.

25 Shaun Fox UK
25 6pts
Canon EOS 80D, 18-55mm
at 55mm, 1/80sec at f/5.6,
ISO 1600
A tricky shot to
capture, this image is
well seen and timed.
The gap in the
condensation
through which the
man is looking is
something that is
familiar to us all.

29 Niall Ferguson
29 UK 2pts
Canon EOS-1D X,
24-105mm at 70mm,
1/6sec at f/5, ISO 1000
This is an excellent
and balanced
composition, with
the light behind the
28 woman bringing out
just enough detail.

54
 In association with

20

19
19 Neil Burnell UK 12pts 23 Neil Leatham UK 8pts
Nikon Z 7, 24-70mm at 50mm, 15sec at f/5.6, ISO 64 Sony A900, 17-35mm at 18mm, 13sec at f/11, ISO 100
Placing an LED light behind the gnarled Line, graphic shape, complementary
trunk has created a very spooky image. colours and reflections in the wet 20 Andy Fowlie 24 Graeme Youngson
The colours complete the eeriness. paving stones – this shot has it all. Finland 11pts UK 7pts
Sony Alpha 7R II, 14mm, 10sec at Canon EOS 6D Mark II, 28mm,
f/1.8, ISO 3200 1/125sec at f2.2, ISO 1600

23 The textures in the sky are

balanced nicely by those in
We admire Graeme’s skill
in going unnoticed in this
the foreground sand. classic documentary shot.

24

27 Stanislav Sitnikov
26 27 Russia 4pts
Sony NEX-5, 16mm, 1/80sec at f/2.8,
ISO 1000
Few things reflect a city at
night more than a sparsely
populated train carriage.
30 Neil Leatham UK 0pts
Sony A99 II, 50mm, 159sec at f/13,
ISO 50
A classic shot that’s lifted by
the multicoloured stripes in
the reflection. Nicely done.

30 The 2019 leaderboard

With an astonishing 148 points, Caron Steele is the runaway winner of this
year’s Amateur Photographer of the Year competition. Caron, Tom Franklin
de Waart, Marc Clack and Neil Leatham all had more than one image in the
top 30 this round, so only their highest-scoring image counts.
1 Caron Steele 148pts 6 Steve James 61pts
2 Tom Franklin de Waart 96pts 7 Patrick Reilly 54pts
3 Marco Tagliarino 94pts 8 Darren Rose 53pts
4 Neil Burnell 83pts 9 Judith Duddle 52pts
5 Jay Birmingham 62pts 10 Helen Trust 51pts

Find out more about our winners and runners-up over the page. Thank you to everyone who entered APOY this year.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 55
 APOY 2019

And the winner is

This year’s APOY competition once again reached
In association with the standard we’ve come to expect from our readers.
Caron Steele ran away with the win

© CARON STEELE
Caron’s third-placed
image from round
seven, Whatever
the Weather

1 st
With an astonishing total score of 148 points, Caron Steele won Tom Franklin de
this year’s competition in some style, placing 52 points ahead of Waart comes
second-placed Tom Franklin de Waart. She consistently placed
high up the leaderboard, and won two categories – Animal 2nd second with
an impressive
Magic and After Dark. Her superb shot of a Dalmatian pelican score of 96
also won the Bird Photographer of the Year award (see page 21). points. He
As AP’s editor Nigel Atherton says, ‘Caron has submitted some simply placed in the
stunning photographs this year. Her work demonstrates not only a great top 30 in four out of the eight
© TOM FRANKLIN DE WAART

empathy with the natural world and an eye for composition, but also a rounds, very often with more
considerable level of technical skill in both the capture and the editing. She than one image, demonstrating
is a worthy winner of this year’s title.’ You can read an in-depth interview with a high standard and
Caron, and see more of her images, in our 14 March 2020 issue. consistency of images.

The prizes
© MARCO TAGLIARINO

APOY regular
Marco
Our sponsor Sigma again put up some fabulous
prizes, and this year they allowed our winners
Tagliarino was
just two points 3rd
behind Tom,
to choose whatever suited their
with a total of
photographic needs best. As
94, and his
overall winner, Caron can take
images were given a top 30
her pick of anything from the
ranking in six rounds. His
Sigma line-up to the value of
highest placing was third in
£2,000. For more details, visit
round four, Perfect Portraits.
www.sigma-imaging-uk.com.

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 LEE Filters 2020 Workshops
Would you like to improve your photography?
SO
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East Sussex, UK Scotland, UK
Workshop leader: Rachael Talibart Workshop leader: Paul Sanders
Friday 10th to Sunday 12th January 2020 Friday 28th February to Sunday 1st March 2020

LEE Filters have teamed up with some of the UK’s leading landscape and
seascape photographers for a series of photographic filter workshops
throughout 2020.
Ideally suited to photographers who wish to learn more about the use of filters, these extensive
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leefilters.com
 Technique IN ASSOCIATION WITH

Chris Bailey 1 Reduce the Red Primary

slider in Camera 2 Raise the shadow slider
to reveal more detail in
Chris Bailey is a professional portrait photographer
Calibration in Lightroom. the darker areas.
based in the South West of England. Chris loves both
the technical and visual challenge of capturing people,
as every face is unique. Check out his portfolio of work
at www.chrisbaileyphotography.co.uk.

Behind the
print
Chris Bailey reveals how he stylises
his portrait headshots and gets
them print ready

O
n a normal day in the studio I shoot with a Canon
EOS 6D and a Sigma 85mm Art series lens.
The 85mm focal length is perfect for shooting
portraits and headshots, and I find gets me great
and flattering results.
I would describe my style of portrait photography as
‘Cinematic’. I like to shape a face with both hard and soft
light to make my portraits look as three-dimensional as
possible. Generally once a shoot has finished, I import the
images into Lightroom and start adding local and global
adjustments not forgetting the all-important process of
colour grading too. Once I’m done in Lightroom, I seamlessly
start working on the images in Photoshop CS6 where I start
touching up the skin. Lightroom does offer specific tools to
remove blemishes and spots, however I’ve always preferred
Use the Adjustment Brush Drag the Saturation and
the process in Photoshop as I feel I have more control when
working with the Layers system.
3 tool and select the ‘Iris
Enhance’ preset. Gently paint
4 Vibrance sliders down to
give the image a darker, moodier
Now I’m going to show you some key steps in my process of
over the eyes to reveal detail. and more ‘Cinematic’ look.
getting a portrait print ready.

STEP-BY-STEP: EDITING SECRETS FOR PERFECT PORTRAITS

1 Skin tone 2 Add Clarity and Contrast 3 Spot Healing

Use Lightroom’s Adjustment Brush tool and
select the ’Soften Skin’ preset. With ‘Auto
Mask’ selected, paint over the skin using a soft
brush. Increase detail in the skin by moving the
Clarity slider on the ’Soften Skin’ preset back
to around 50. Pressing ‘o’ reveals your mask.
Add some global Clarity and Contrast to your
image to make the image ‘pop’. (Global
adjustments make changes to the whole image
whereas local adjustments just affect a specific
area) Be careful not to add too much Clarity as
this can make your image look very unnatural.
Every photographer has their favourite, but my
go-to tool in Photoshop has to be the Spot
Healing Brush, which can be found with the
rest of the healing tools. Always try and sample
your brush from another section of skin, which
is close to the area you want to repair.

58 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


4 High Pass Filter
Add punch with the High Pass Filter in
Photoshop (Filter>Other>High Pass Filter).
This is a great way to sharpen your images and
gives you lots of control. You can always use a
Layer Mask and paint in the areas where you
want the High Pass Filter to take effect.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
Top tips for
retouching
Get the best results using
Lightroom and Photoshop
1 Split toning
Use the ‘Split Toning’ module in
Lightroom to start your colour grading
adventure. I like to add a little yellow/
gold to the highlights and blue to the
shadows. Try using the ‘Balance’ slider
after, to fine-tune your adjustments.
2 Check the original
Keep referring back to your original
image in Lightroom by using the ‘/’ key.
It’s good to keep track of your progress.
3 Dodge and burn
Use the ‘Dodge’ and ‘Burn’ presets
with the Lightroom Adjustment Brush
and paint over the highlight and shadow
areas to add some dimension.
4 Add a new edit pin
Be sure to click on the ‘New’ brush
button before starting another
adjustment. This adds a new edit pin on
your image and won’t affect your
previous adjustment.
5 Spot healing
Use the Spot Healing Brush in
Photoshop to remove any sensor dust
on your image.
6 Make a new layer
Always get into the habit of
making a new layer on Photoshop for
each adjustment. This is a cleaner and
more methodical way of working.
7 Put the kettle on
Walk away from your edit for five
minutes or so; then take another look at
it with fresh, hydrated eyes.
WhiteWall recommends
WhiteWall’s Jan-Ole Schmidt has some
expert recommendations for printing and
presenting this portrait image. He says: ‘Chris
Bailey perfectly captured the spirit of this
man. This image would work great as a matte
Photo Print On Aluminium Backing. Adding
our black Copenhagen frame accents the
image and perfectly puts the focus on the picture.
‘With over 80 framing options at WhiteWall, there are
numerous different ways to show off Chris’s picture. How about
a very traditional look with our Solid Wood Frame With
Passe-Partout? For those seeking a classic, textured
appearance, I would highly recommend the Hahnemühle
Torchon Fine Art paper. Then I would add an alder brown
passe-partout frame with Mirogard museum glass to present
the piece in the best light.’
Jan-Ole Schmidt, Product Manager, WhiteWall.com
59
ADS FROM AP’S OF THE PAST
Ad
infinitum
In our 135th anniversary year we celebrate
some of the noteworthy (and sometimes
amusing) adverts that have featured in AP
W
hen we published
our 135th
anniversary issue
in October, which
looked back at AP’s history, we
received several letters from readers
asking why we didn’t feature
any of the advertising from AP’s
past. It was a good point, because
advertising has been an intrinsic
part of AP since the very first
issue. Indeed, the very first cover,
below the masthead, was entirely
comprised of ads. Not just one but
five: Mawson & Swan, a Geordie
retailer whose negative varnish was
‘by far the best and most reliable’,
Walter Lawley, of London’s Ludgate
Circus, the place to go for ‘A mateur
Photographers... desirous of
purchasing really good Apparatus’,
WW Rouch of The Strand,
promoting their Rapid Gelatine Dry
Plates and of course the Polytechnic
Young Men’s Christian Institute,
inviting readers to sign up for their
‘course of Thirty Evening Lectures
on Photography’, and finally the
biggest ad however, was for, er…
tricycles. Not just any old tricycles
but tricycles ‘especially adapted
for amateur photographers on the
road’. In these environmentally
conscious times perhaps there
would be a market for those today?
Ads featured on the cover of AP
for decades. When photographic
covers became commonplace the
ads were relegated to a strip along
the bottom (it was a favoured spot
of Ilford for a long time), while
during the periods when advertising
60
was scarce, such as during the Great
War, this spot on the cover was 1884 The cover of the very first issue of AP was filled with ads
almost the only ad in the magazine.
Signs of the times
They say that advertising holds up a
mirror to the tastes and obsessions
of the age in which they were
created and this is certainly the case
with AP. But in addition they
provide a great insight in the
hardware and consumables that
readers were lusting after at the
time. Folding plate cameras give
way to the Vest Pocket Kodak, and
then 35mm. From the 1940s
through the 1960s enlargers and
darkroom products were among the 1888 Robinson’s Secret Camera 1904 A beautifully illustrated
most prominently promoted items. carried the AP seal of approval ad from Lancaster and Son
During the wars many ads took on a
patriotic tone – none more so than 1965 The quality of this man’s enlarger lens kept him awake at night
those of Ensign, which targeted the
women at home. ‘Send pictures to
your men folk in France and the
East. Let each letter carry with it a
few snapshots,’ said one. ‘A re you
using your camera so that it helps
win the war?’ asked another.
During WW2 leading retailer and
big AP advertiser Wallace Heaton
did its bit for the war effort. ‘The
RAF needs your Leica or Contax
camera NOW!’ was regular cry from
its pages.
At other times it offered advice for
readers to entertain themselves
during the blackout. Darkroom
work was an obvious suggestion. ‘It
will certainly help you to forget all
about Hitler and his gangsters,’ it
promised. Alternatively, they
reassured, indoor photography,
 ADS FROM AP’S OF THE PAST

1904 Dallmeyer lenses were

heavily advertised at the time

1918 The classic British brand

plugs its focal plane shutters 1967 This ad would go down a storm on social media today 1945 Kodak celebrates Britain’s post-war industrial power

‘Advertising holds up a mirror to the

tastes and obsessions of the age in
which they were created’

1939 An optimistic message for 1939 Children were a popular

readers at the start of WW2 subject in the ’30s and ’40s

1934 A spot of photography 1934 At £30 in today’s money

and Chopin around the piano the Six-20 Brownie was a snip 1918 During WW1 many ads were aimed at women, and how they could support the war

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 61

ADS FROM AP’S OF THE PAST

using a couple of photoflood

bulbs, was ‘perfectly safe to
indulge in as long as your windows
are properly blacked out.’
As the forties gave way to the
fifties colour ads started appearing
with more regularity, though they
still comprised a minority right up
until the seventies.

Men only
No history of advertising would be
complete without at least one
example of casual sexism, and in
this round-up our example is kindly
brought to you by Konica, whose
Auto S2 of 1967 was so simple that
‘even your wife can take great
pictures.’ It may have been a joke,
but it reflected a noticeable shift in
the subtext of the ads during this 1942 Wallace Heaton appealed for
period that photography was just German cameras to help the war effort
for men – in stark contrast to 50
years earlier when photography was 1987 How Zeiss lenses, and ladies’ swimwear, have evolved
seen not just as a woman’s job but
also her patriotic duty. How sad
those wartime lady photographers
would probably have been to see
their grand-daughters patronised in
this way. As a hobby now aimed at
men it was probably inevitable that
pictures of happy families, children,
cats and pastoral scenes eventually
gave way, by the late 1970s, to an
endless parade of girls in bikinis.
By now the hobby of photography
was at its peak of popularity, AP
was selling over 100,000 copies per
week and a typical 1979 issue
comprised 240 pages, of which over
180 were ads. You had to wade 1982 The AE-1 Program cost 1988 Man wears his best shirt
through 80 pages of retailer ads the equivalent of £528 today and tie to process colour film
before you even got to the first
editorial page. By contrast, 40 1977 Ex-AP Editor Reg Mason ends up in the RG Lewis warehouse
years later, in 2019, the average
issue of AP contains just 23 ad 1956 Pretty ladies, kitten, idyllic cottage –
pages, yet still we get the odd Ilford pulled out all the big guns for this ad
complaint that there are too many.
Up until the late 1990s, of course,
people were as likely to be buying
AP for the ads as for the editorial: to
check the prices of the latest kit, or
buy and sell through the classifieds.
The internet, and auction sites like
eBay, have changed the nature of
advertising, but it hasn’t gone away.
Where there are readers there will
always be advertisers and at AP we
are fortunate and grateful to still
command the lion’s share of
advertising in UK photography
magazines. It’s a vote of confidence
both in the quality of our editorial
content, and the passion and
engagement of our readers. Long
may this continue, because without
our advertisers there would be no
AP – or you’d have to pay 1976 Award-winning photojournalist Chris
considerably more to buy it. Smith shows off his lenses in this classy ad

62
1966 Maybe not the best photo to justify spending £3,330 on an SLR
1995 It isn’t known whether Ryan Giggs actually ever used a roll of Fujichrome Sensia
1974 When talk turns to Pentax, recall its days as a leading brand

1985 Sigma extols the virtues 1948 ‘Number 345 coming up,
of its 35-200mm superzoom Mr Bartlett’ says Joan, a printer

2002 A reminder that Contax 1982 Leica has always been a

made the first full-frame DSLR much-loved brand by AP readers

63
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 Technique GREATEST GEAR TIPS

Ultimate hardw
Are you getting the most out of
all of your cameras, lenses and
accessories? Angela Nicholson
has 30 essential tips that form a
stairway to hardware heaven...

Camera

1 Update the
firmware
4 Use
grip
a battery
A battery grip has two
As well as ironing-out benefits. The first is that it
bugs, manufacturers can make the camera
sometimes issue more comfortable to use
firmware updates to when you shoot upright
make cameras images, and the second is
compatible with new that the extra battery
accessories and lenses power means you can
or to add useful new shoot for longer.
features. The easiest
way to find out if your
camera has a firmware
update is to head to
the manufacturer’s
5 Don’t skimp
on the
memory card
website and visit the To get your camera’s
support pages. With a
little searching you’ll
find out how to check
2 Check the autofocus
If you have a DSLR and you buy a new lens, it’s
worth checking that the autofocusing system is working
maximum continuous
shooting depth or to shoot
video in the highest quality
ALL P CTURES © ANGELA N CHOLSON

your camera’s accurately. You can do this by photographing settings, check its card
firmware version, if something like a shelf of books at a 45° angle at a wide port rating and get a card
there’s been an update aperture. If the focus isn’t where it should be, it can be that matches it. With the
issued, and how to calibrated by a service agent or (if it’s available) you right port, upgrading to a
download and install it. can use the camera’s AF adjustment feature. USH-II card can make a
big difference.

3 Connect your phone

Most modern cameras have a Wi-Fi system that
enables you to control it with a smartphone. It’s a
sophisticated remote release that you always have with
you. Don’t wait until you’re in the middle of a shoot to
download the app and connect your phone to your
camera; do it when you have a little downtime so it’s
second nature when you really need it.

6 Take control of white balance

Automatic white balance systems are OK, but once you start taking control
of white balance properly you can dictate the mood and atmosphere of your
images. A grey card or the Xrite ColorChecker Passport will help you set the
perfect custom white balance.

21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

are tips
Angela Nicholson
Photographer and journalist Angela Nicholson started reviewing
cameras for Amateur Photographer in 2004 and was our Technical
Editor before leaving for new pastures in 2010. Last year she
founded SheClicks, a community for female photographers. Angela
also runs a camera news and review site at www.camerajabber.
com. See squeezymedia.com.

9 Use a lens hood

A lens hood keeps rain off the
front element of the lens, protects it
from the odd bump and cuts down
on the likelihood of flare. If your lens
doesn’t have one, get one.

A lens hood is
essential when there’s
a strong side-light

8 Explore
manual
the
10 Get a better
eyecup
Many of us forget about If you find that light sneaks in
the manual pretty around the edges of the eyecup
quickly. However, it’s on your camera’s viewfinder, you
good to give it a read a may be amazed at how much the
few months down the viewing experience is improved by
line because you’ll a bigger cup (they’re quite cheap).
almost certainly discover

11 Use the Custom settings

some great new
features that you’ve Custom shooting modes let you change settings in one

7 Format cards
Get into a routine of formatting your memory
cards in the camera as soon as you’ve downloaded
the images. It means that your cards are always
cleared and ready for use. And when you’re
shooting, develop a sure-fire way of distinguishing
the cleared cards from the ones you’ve filled.
never tried on your move. Usually, all you need to do is select all the settings that
camera. Does your you want to use, for example, manual exposure in monochrome
camera have an mode with boosted contrast, a sensitivity setting of ISO 400
intervalometer or can it and a shutter speed of 1/125sec; then you save that to one of
shoot images for focus the Custom settings. By doing this, you can be shooting in
stacking automatically, colour and aperture priority mode yet change to black & white
for example? with all your favourite settings in a flash.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 67

 HURRY FREE REGISTRATION ENDS SOON*
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 GREATEST GEAR TIPS
Accessories
12 Filter conundrum
With neutral density (ND), graduated ND
and polariser filters, you need to decide whether to
go for square or round ones. Round filters take up
less space because you don’t need a holder to
mount them on your lenses, but you need the right
size. Rather than buy multiple filters in different
sizes, it’s cheaper to buy one large filter and then
use step-down rings to mount it on your variously
sized lenses. However, square/rectangular filters are
the most sensible choice if you plan to use a
graduated ND filter because they let you position
the transition from light to dark where it needs to
be. If you’re buying a filter holder for graduated
NDs, opt for compatible plain NDs and polarisers.
15
Buy one (or two)
tripod(s)
You know that saying about
buying cheap and buying twice?
It’s never more true than with
tripods. Buy a good-quality,
robust tripod that can hold your
camera still in a breeze. And if
you need a small, light tripod for
travel, get a second one.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
Technique
13 Fly first, shoot later
Drones are great fun and can extend your
shooting angle range. However, master the basics of flying
before you start trying to capture images or video. And
don’t forget that you now need to register as a drone
operator if your craft weighs between 250g and 20kg.
14 Video filters
To get the best video results
you usually need to shoot with a
shutter speed that’s twice the frame
rate. That means shooting at 1/50sec
at 25p and 1/120sec at 60p. With a
wide aperture that often means you’ll
need an ND filter. A good-quality
variable ND makes life a lot easier if
the light keeps changing because you
can keep the same exposure settings
and just rotate the filter as you need.
You’ll be glad
of a sturdy,
waterproof tripod
with seascapes
69
 GREATEST GEAR TIPS Technique

Accessories

19 Match the tripod head

Ball heads are small and great for macro and
detail photography but they are a pain when you want to
straighten the horizon of a landscape shot because you
inevitably tip the camera up or down in the process. A
three-way head may be slower to use in some instances,
but you can adjust each angle separately. For even more
precision, go for a geared head.

Be very careful
when using a tripod
on soft, wet ground

16 Use the right feet

Tripods usually come with rubber feet which are fine in many situations but
they’re not great on soft sand or snow, or sloping rocks. If possible, change the feet to
wider versions on soft ground or spikes on rock. Alternatively, plastic plant-pot saucers
or motorbike-stand pads can spread the load of each leg on soft ground.

20 Biggest first
Always extend the thickest tripod leg sections
first as these are the most stable. Only use the lower,

17 Use packing
cubes
Small cases, wallets and
more spindly, sections or the centre column when you
really need to as these make the whole thing less stable.

packing cubes are useful for

organising accessories so they
are easy to find and all the
essentials are kept together. It
puts an end to hunting for that
elusive cable or adapter. A
filter pouch keeps your filters
tidy and scratch-free as well
as making them easier to use
in the field.

18 Number
batteries
your
To get the best life from your
batteries, recharge and use them
in pairs. Also, cycle through all of
your batteries so that they get
equal use and you’re not left with
21 Level the legs
When you set up a tripod on uneven ground,
extend and angle the legs so that the crown is level.
one duff one in a set of four. It’s Some tripods have a spirit level on the crown or the base
easier to keep track of which of the head to help with this. Then, use the head to get
batteries are next in line if you the camera angle right. This approach ensures that the
number them with a marker pen. horizon stays level if you pan the camera.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 71

 Technique Check your paper
and printer settings
if your prints turn
out to be a let down

Computer

22 Monitor the light

The colour and intensity of
light that falls on your computer screen
makes a big difference to how images
appear on it. Use a hood to shield your
monitor from light and ideally edit low
light. The Datacolor SpyderX can
monitor light levels for you so you
always have the best view of your work.

23 Think ahead
with storage
Take a look at how much storage
space is taken up by the images that
you’ve shot over the past year (or few
months) and do a little maths to work
out how much capacity you need for
the coming year or two before
ordering a new storage drive.

26 Use high-quality inks

Even if you buy the same brand, cheap inks
can come from a variety of sources that can change
from week to week. That’s a nightmare for photographic
printing so always use high-quality inks either from the
printer manufacturer or a reputable third party. This
ensures you buy a consistent product that’s compatible
with your printer.

27 Get a calibrator
If your computer monitor isn’t calibrated, every
edit you make to your images could make them look
worse instead of better. And you can waste a fortune in
duff prints. The Datacolor SpyderX makes light work of
monitor calibration, so you can be sure your adjustments
are accurate and your images make great prints.

24 Get a good monitor

A large 4K screen makes it
much easier to assess and edit your
images than a small lower-resolution
one. Look for an IPS (in-plane
switching) panel as these offer better
colour accuracy and a wider viewing
angle than the alternatives.
25 Think RAM
If you’re thinking of buying a
new computer for image editing, look
for a mid- to high-end graphics card,
a decent amount of storage and
plenty of RAM (random access
memory). You want at least 8GB of
RAM as this is what keeps software
packages running fast and smooth.

72 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 AXIS BACKPACKS

Take your photography and

videography equipment with you
to the most testing environments

LEARN MORE:
tenba.com/collections/axis

29
profile
Use a
paper Getting there
Different papers and
inks respond
differently to each
other but a printer
profile makes sure
that your printer
delivers the correct
quantity and mix of
each ink colour so

28 Use SSD
your prints match
If you want to edit video on an what you see on your
external storage device, go for a solid (calibrated) monitor.
state drive (SSD) with a USB-C or Only use paper from
(even better) a Thunderbolt connection manufacturers who
to get fast data-transfer speeds and offer a paper profile.
slick performance.

30 Back upHowever you store your files, make sure that you back
them up. Backblaze (www.backblaze.com) is a great cloud backup
service and costs just $60 a year for unlimited backups of one
computer and any connected hard drives (but not NAS drives).

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019

Take Your Family Seriously This Christmas!
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IN ASSOCIATION WITH MPB | WWW.MPB.COM USED CAMERAS Testbench

SECOND-HAND CLASSIC

Fujifilm
X-T10
Buying a used X-T10 is a great way
of getting into Fujifilm’s outstanding With Wi-Fi connectivity and the Camera Remote app GOLD
X series at a very reasonable price you can send images directly to your smartphone

T
he baby brother of the X-T1 arrived on the scene in 2015,
just as Fujifilm’s X series was really starting to take off. The
idea of creating a camera that used a sensible subset of
the X-T1’s features in a body that offers a similar handling
experience at a lower price always seemed like a recipe for success. It
received high praise from reviewers and was quick to gain an excellent
reputation among amateur and enthusiast photographers. Key features
include a16.3MP APS-C X-Trans CMOS II sensor, a centrally mounted
2.36-million-dot electronic viewfinder, 3in 920k-dot tilting screen and
continuous shooting with autofocus at a healthy 8fps.

What we said What to pay

● ‘It fits most of the X-T1’s
best bits into a simpler, more
approachable package’
● ‘The X-T10 delivers
consistently attractive JPEG
files out of the camera’
● ‘It’s a gateway to the
spectacular Fujinon lens range’
● ‘The X-T10 feels impressively
secure in your hand for such
a small camera’
● ‘What’s really impressive
is that it comes at a very
competitive price’
The electronic shutter permits
shooting up to1/32,000sec in
bright sunlight with fast lenses
Head over to MPB.com and type
Fujifilm X-T10 into the search
bar and you’ll find a wide
selection of second-hand
X-T10s available in black and
silver finishes. Examples in
excellent condition with the
original packaging, battery,
charger and caps cost £209,
whereas examples deemed to
be in good condition with light
marks to the body and screen
cost £184. Well-used X-T10s
can be picked up from £159.

How it fares today New alternatives

The X-T10 has been succeeded
by the X-T20 and X-T30, but it
remains a very capable camera
provided that you’re aware of its
limitations. Autofocus is a bit
sluggish compared to the latest
X-series models and you get
far fewer AF points across the
frame. It lacks touchscreen
functionality and raw images
can’t be taken at the extended
ISO settings, but ISO 6400 can
be used for less critical purposes.
See over to find out what Fujifilm X-T10 owners have to say
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
The X-T30 has come a long way
from the X-T10. It inherits the
26.1MP sensor from the X-T3,
which provides an ISO 80-
51,200 extended range. It
shoots as fast as 30fps (with
a 1.25x crop) and features four
times as many phase-detection
pixels on the sensor than you
get on the X-T20. Low-light AF
sensitivity has improved and its
touchscreen lets you change
quick menu settings.
Unlike newer models in the X series, the X-T10
doesn’t benefit from touchscreen functionality
At a glance For and against
+ Handles well for a camera so small
£159-£219
body only (via MPB.com)
+ Renders rich, vibrant colours
+ Classic and nostalgic retro charm
+ Excellent ergonomics
● 16.3MP APS-C X-Trans CMOS II sensor + Supported by a wide range of lenses
● ISO 200-6400 (raw), 100-51,200 (JPEG)
- No joystick or touchscreen
● Single SD card slot
- Lacks weather-proofing
● 8fps continuous shooting
- No 4K video recording
● 381g (with battery and card)
- No raw in expanded ISO settings
75
 IN ASSOCIATION WITH MPB | WWW.MPB.COM
The X-T10 renders colour very
accurately. For this shot the
© MICHAEL TOPHAM
Provia film simulation was used
Fujifilm X-T10, Fujifilm XF50-140mm F2.8
R LM OIS WR, 1/500sec at f/4.5, ISO 500
Greek lights at dawn,
taken using Fujifilm’s
excellent 18-55mm
kit zoom
Fujifilm X-T10, Fujifilm
XF18-55mm F2.8-4 R LM OIS,
1/640sec at f/5, ISO 200
76
What the
owners think
Three Fujifilm X-T10 users
give their verdict
Michael Topham
I’ve long been a fan of
Fujifilm’s X series and shortly
after finding out second-
hand examples of the X-T10
can be picked up reasonably
cheaply, I decided to snap
one up. Black examples
seemed hard to come by at
the time, so I settled for the
black and silver finish, which
I’ve grown to like. If I were
given a fiver for every
comment I’ve had from
other photographers telling
me how good it looks I’d be a
rich man by now. In the eight
or so months since owning it,
I’ve found it my go-to camera
for times when I don’t want
For and against
+ Shoots beautiful mono images straight out of camera
+ Wi-Fi connectivity makes sharing shots a breeze
– Autofocus isn’t as brisk as newer models
– Doesn’t provide a joystick like the X-T30
21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
to cart my professional
DSLRs around and just want
to use something that I can
sling over my shoulder that
I’m not too possessive about.
It’s taken a bit of a battering,
proving it’s strong and well
made. I’ve learnt that you
can get away with a lot more
using a smaller camera,
particularly when you’d like
to work under the radar of
those around you. I’m a huge
fan of its monochrome
mode, too, and revert to my
raw files when I need the
colour. I have also bought the
MHG-XT10 handgrip and
rarely leave home without it.
©MICHAEL TOPHAM
Martin Eacott
© MARTIN EACOTT
I’m lucky to spend a large part of
the year travelling and exploring by
bike so a small camera is ideal for
me. However, I’ve never felt as if
I’m making a compromise using
my X-T10. I bought my example in
2016, upgrading from a Fujifilm
X-M1, so I was already familiar and
happy with the X system. At that
time it was £449 body only to
which I fitted my XF 18-55mm
lens, which is a marvellous kit
zoom. Most people who follow me
on social media are surprised
when I show them the camera I’ve
taken my images with, and I’m
quick to suggest the X-T10 to
novices and more-experienced
photographers who like to travel
light. There’s very little not to love
about the X-T10. It looks great,
image quality is superb and build
quality is excellent. I have since
purchased an X-T20, but still own
and use my trusty X-T10 regularly.
For and against
+ Excellent image quality
+ In-camera raw editing
– No touchscreen
– Continuous AF speed
 Testbench

This image was taken using the X-T10’s

monochrome film-simulation mode
Fujifilm X-T10, Fujifilm XF23mm F1.4 R,
1/320sec at f/1.4, ISO 400

Mark Whitaker
After purchasing my first Fujifilm
camera, the X-A1, I was impressed
by its compact versatility and
image quality. After a year or so,
I decided that, as my photography
skills were improving, I wanted
to invest in a camera that had
dedicated dials for a more creative
and immersive photographic
experience, so I made a beeline
for the silver/black X-T10. It was
the aesthetics of this camera and
affordable price tag that was the
real selling point. The step up in
image quality and clear viewfinder
made me feel like a serious
photographer. Combined with my
35mm f/1.4 lens, I was ready to
take on the world! While exploring
various genres, this camera took
every single one of them in its
stride. Although I have since Mark has found the Fujifilm
upgraded to the Fujifilm X-T2, this XF35mm f1.4 R to be a great
© MARK WHITAKER

partner for his X-T10

amazing little camera will always
Fujifilm X-T10, Fujifilm XF35mm f1.4 R,
have a special place in my heart. 1/1000sec at f/2, ISO 200

For and against

+ Very good electronic viewfinder Trade in and upgrade your set-up for the
+ Buttons and dials are intuitive to use perfect shoot, every time. Buy, sell and trade
+ Love its retro styling in your photo and video gear with MPB. It’s
Ð Single SD card slot quick, easy and secure. www.mpb.com

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 77

 Fujifilm’s100MP
medium-format
GFX100 was one
of the standout
models of 2019
Best kit of 2019
The past year has seen plenty of new cameras,
lenses and accessories, and as always we’ve
reviewed a large number of them. Nigel
Atherton, Michael Topham and Andy Westlake
choose their favourite kit of 2019
A
t the end of every year, we like to
look back and select our favourite
kit out of everything we’ve used and
tested. This isn’t necessarily the
same thing as the best kit of the year, by the
way – at least in the simplistic sense of playing
spec-sheet top trumps. Instead, it’s the
cameras, lenses and accessories we’ve
particularly enjoyed using, or that have
impressed us by offering something we
haven’t seen before.
Picking these favourites isn’t necessarily a
trivial task. In the past 12 months we’ve
reviewed more than 130 products in the pages
of AP, covering pretty much everything that
photographers might need. In addition to all
the obvious stuff – camera, lenses, flashguns,
bags, tripods and filters – we’ve also looked at
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
Testbench
been released each year, there’s inevitably
going to be a bias in this article towards these
current trends. But we still very much believe
that there’s space for smaller formats. Both
APS-C and Micro Four Thirds allow
photographers to assemble smaller, lighter and
– crucially – much cheaper systems, while still
offering truly excellent image quality. Likewise,
there’s such a huge existing user base of DSLR
smartphone cameras, satnavs for walking, owners that they’ll still be catered for, one
colour-management equipment and plenty way or another, for many years yet.
more. So there’s a lot to choose from.
The end of the year is also an ideal
opportunity to reflect on the current state of
the photographic market. Perhaps even more
than last year, 2019 has been dominated by
one specific sector: full-frame mirrorless. You
can read our thoughts on this in more detail
later, but a couple of snippets help tell the
story. First, of the 27 new interchangeable-
lens cameras, just two were DSLRs, and
second, every single new lens introduced by
Canon, Nikon and Sigma was for full-frame
mirrorless. It no longer feels like we’ve reached
a tipping point between technologies, but
instead that we’re well beyond it. High-quality lenses for full-frame mirrorless
Because we can only review what’s actually included the Tamron 17-28mm F/2.8 Di III RXD
79
 Testbench BEST PHOTOGRAPHIC KIT OF 2019

Andy Westlake
AP’s Technical editor enjoyed shooting with a pair of little and
large cameras, along with a range of high-quality lenses

Fujifilm GFX100
For all of our earlier protestations that the best kit of the
year isn’t necessarily the highest specified, I think it would
be impossible for any serious photographer to use the
Fujifilm GFX100 and not come away incredibly
impressed. Because here’s a camera that doesn’t just
offer breathtaking resolution and dynamic range that’s
far beyond most photographers’ wildest dreams, it also
makes it absurdly easy to achieve the full potential of its
102MP medium-format sensor, backed up by the firm’s
stunning GF lenses. It’s an astonishing piece of kit that
blows away our usual preconceptions that shooting at
such ultra-high resolution must inevitably be hard work.
When I started testing the GFX100, I put it on a tripod all
the time because that’s what you’re supposed to do with
medium format, but by the end of my review, I was
shooting handheld as a matter of course. This is exactly get more interesting pictures.
how Fujifilm wants its GFX line to be used. The GFX100 does have its quirks, though; the buttons
I could go on about all the technical wizardry that and dials are too small for a landscape camera that will
makes this possible: the on-chip phase detection frequently be used with gloves, and the bare metal
autofocus, 5-axis in-body stabilisation, and the shutter portrait-format grip is frankly terrible. Along with the
that’s isolated from the imaging core and automatically X-Pro3’s odd ‘hidden’ LCD, it has me worried that
selects the best mode to minimise mechanical shock. Fujifilm’s love of retro-cool is perhaps starting to go too
Fujifilm has clearly thought long and hard about how to far, and letting style get in the way of substance. But
make this camera work. But in a way, that’s not the point; despite this, those few summer weeks I spent with the
what matters is that you can pick up the GFX100 and GFX100 are some of the most rewarding I’ve had, in
concentrate on capturing what you see in the viewfinder, photographic terms, for years. I’ve spent the past six
without getting too bogged down with technique. For me, months searching down the back of the sofa for the
ultimately that means being able to explore a scene and £10,000 needed to buy one.

Olympus OM-D E-M5 Mark III On the face of it, the third generation of Olympus’s
E-M5 line is about as far removed from the GFX100 as
you can get. Indeed, in terms of headline specification,
The E-M5 III’s small size there’s nothing much remarkable about it at all. So why
and light weight make it
have I enjoyed using it so much?
easy to carry anywhere
As with the previous iterations, the point lies in the
overall package. Most cameras of this size try to be
simple and approachable, but at £1,100 body-only, the
E-M5 Mark III is a relatively high-end beast, with
weatherproof construction and a complete set of
external controls. It has a nice large viewfinder, a fully
articulated screen, insanely effective image stabilisation,
and a lovely soft, discreet shutter. Compared to the Mark II
it boasts radically improved autofocus and speed.
Equally important to the experience of using this
camera is the Micro Four Thirds lens range, not just from
Olympus, but also Panasonic and third-party makers
such as Sigma. There’s a good range of high-quality
weather-sealed zooms, and with the latest 12-
200mm f/3.5-6.3 onboard, for example, it’s a
fantastic lightweight travel kit. Equally, it can be
paired with any number of lovely small, fast primes to
make a discreet, unobtrusive set-up for anything
from street to portraits. I love small, capable cameras,
and few punch higher above their weight than this.

80 w.amateurphotographer.co.uk I subscribe 0330 333 1113


Classy glass
With around 60% of the new lenses
released in 2019 being for full-frame
mirrorless, it’s no coincidence that we
covered plenty in our reviews. But it wasn’t
just the big camera manufacturers fleshing
out their ranges: the two biggest third-party
makers, Sigma and Tamron, well and truly
got on board, too. They appear to be
adopting slightly different strategies, with
Sigma focusing its attention towards the top
end of the market, and Tamron producing
more affordable optics.
Affordable doesn’t mean cheap, though,
and one lens that seriously impressed me is
the Tamron 17-28mm F/2.8 Di III RXD.
Quite simply, it gets everything right for
Alpha 7-series users looking for a wideangle
zoom. It’s optically excellent, relatively small
and lightweight, but, at £899, much less
expensive than Sony’s own wideangle
zooms. What’s not to like?
Another of my favourite lenses arrived
earlier in the year. Zeiss has been making AF
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
The GFX100 delivers
stunning detail and
dynamic range
lenses for mirrorless for years now, and its
Batis 40mm F2 CF is an absolutely sublime
optic with a handy close-focus capability. Sony full-frame
Then again, I suppose that any f/2 lens that mirrorless users
costs £1,130 really should be a cut above are starting to
the average. If money were no object, it get a good
would be my first choice as a standard choice of lenses
lens for Sony’s full-frame models, from the likes of
without any hesitation. Tamron, Samyang
and Zeiss
You don’t have to spend a fortune to get a
decent lens for mirrorless, though. I also
enjoyed using Samyang’s AF 45mm F1.8 FE,
which at £349 is a much more
affordable alternative to the Zeiss.
It doesn’t boast quite the same
level of optical excellence, but
it still makes very nice
pictures. It’s one of a group of
compact, inexpensive primes
from the Korean maker that I’ll
wager will appear shortly in
Canon RF mount, and eventually
for Nikon Z, too.
81
 Testbench BEST PHOTOGRAPHIC KIT OF 2019
Michael Topham
Michael Topham looks back at a year in which Sony served up its
best full-frame all-rounder, Fujifilm launched a dinky wideangle
prime and Benro introduced an affordable gimbal stabiliser
Sony Alpha 7R IV
I always look forward to this time of year, when
I can write about the best kit I’ve been
fortunate enough to get my hands on and
test for AP. I usually sit at my desk,
pondering all the cameras and lenses
I’ve reviewed, before whittling them
down to my favourites. However, this
year my decision was made quickly,
with the standout product being
Sony’s Alpha 7R IV. Now that Canon
and Nikon have passed their
one-year anniversaries in the
full-frame mirrorless market, with both
gaining momentum (helped by an
increasing number of RF-mount and
Z-mount lenses) Sony has realised that to maintain
market share and keep attracting photographers to its
system, it’s vital it maintains its reputation as a pioneer of
innovation. During the press presentation prior to the
A7R IV’s release, we were told more than 50
improvements had been made over its predecessor.
Within minutes of picking it up and using it, I could tell we
weren’t looking at a modest update.
The A7R IV, with its 61-million-pixel resolution,
15-stop dynamic range and astonishing low-light
performance, gives a clear indication of where we stand
in terms of the finest high-resolution full-frame sensor
you can buy right now. It won’t be for everyone, and its
Fujifilm’s compact, weather-sealed wideangle prime delivers very respectable image quality
82
hefty premium
(£3,499 body only)
is out of reach of
many, but the quality
of the output from
Sony’s latest sensor
can’t be overstated.
To quote my review,
‘It is nothing short of
phenomenal’. There’s
a real sense that Sony
has listened to its customers, both
enthusiasts and professionals alike, and
acted on criticism rather than ignored it. Its
larger handgrip, improved weather seals and
subtle changes to buttons and dials improve its
build and handling characteristics no end. I still
consider the handling of Nikon’s Z 7 and Z 6 to be the
best of any full-frame mirrorless camera out there right
now, but the A7R IV comes very close.
So, is the A7R IV the ultimate all-rounder? As
sensational as it is in terms of performance and image
quality, we’re yet to see Sony perfect touchscreen
control, simplify its menu system or offer a sensible
compression for its gigantic raw files. As with most
cameras we review, there’s room for improvement, but
Sony is definitely working very hard towards perfecting
its A7 series. It will be fascinating to see how Canon and
Nikon respond next year and it doesn’t look as if the
resolution race is going to end any time soon.
Fujinon XF16mm
F2.8 R WR
Fujifilm’s small and compact primes are loved by
X-series photographers around the world. Lenses
such as the XF23mm F2 R WR, XF35mm F2 R WR
and XF50mm F2 R WR complement X-series
cameras superbly, particularly if you’re someone
who prefers their kitbag light and compact. Ever
since I caught wind of the fact that Fujifilm was
making a small wideangle prime, I wanted to
get my hands on it to find out if it would be a
viable alterative to the more expensive
XF16mm F1.4 R WR.
Size wise, it’s virtually identical to the XF35mm F2
R WR and benefits from weather seals at nine
points around the lens. The aperture ring clicks
through its f/2.8-f/22 range in 1/3-stop increments
and it feels and operates just as well on enthusiast
and entry-level X-series cameras such as the
X-T30 and X-T100 as it does on high-end models
such as the X-T3. Focusing isn’t totally silent, but it’s
quieter than the XF16mm F1.4 R WR and its
21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 The detail resolved
from the Sony Alpha
7R IV’s sensor is
phenomenal

stepping motor is noticeably more responsive.

Though the XF16mm F1.4 R WR is sharper, Benro X Series 3XS Lite
which you’d expect for an additional £450, the Over the past couple of years, we’ve seen gimbal
optical quality of the 16mm F2.8 is very stabilisers become very popular with those who’d
respectable. Centre sharpness peaks at f/4 and like to banish handshake and create smoother,
edge sharpness gradually improves up to f/8. It professional-looking movie footage. We’re now at
makes a cracking buy for Fujifilm X-series the stage where there’s a wide selection of gimbal
photographers who’d love a small lens that’s products available for sensible money. One I was
equivalent to 24mm, and represents great extremely impressed with when I tested it was the
value. I can see myself Benro X Series 3XS Lite – a handheld gimbal that’s designed
giving in to to transform the look of video captured on a smartphone. It
temptation and has a collapsible arm that’s brilliant for keeping it compact
snapping one up when you’re on your travels, and it integrates brilliantly with
for my Fujifilm smartphones via Bluetooth and the Benro gimbal app.
X-T10 in the very As well as allowing you to rotate your filming orientation
near future. from horizontal to vertical or vice versa at the press of a The Benro 3XS
button, it lets you plug in an external microphone and Lite is powered by
customise buttons. Most importantly, it stabilises a a rechargeable
The 16mm features 2,000mAh
smartphone effectively, even when you’re on the run,
an inner focusing battery that can
ruling out the pesky handshake that’s often associated be recharged via
system driven by
a stepping motor with amateur footage. If you regularly shoot movies on USB and lasts for
that provides your phone or like to present to camera and want to up to 24 hours on
fast, quiet and achieve better results at relatively low cost (£90), a single charge
accurate autofocus the Benro X Series 3XS Lite is your answer.

subscribe 0330 3 I p g p I 8 December 2019

 Testbench
Nigel Atherton
I’ve been spoiled with the chance to use some
amazing kit this year, but my three favourite
things are all class-leading in their own way
Fujifilm X-T3
I took a Fujifilm X-T3 on two extended
trips to the other side of the world this
year and absolutely love it. Full-frame
might be the buzzword of the moment
but the compact X-T3 is a great travel
photographers’ camera. The APS-C
sensor produces great image quality
and there’s a wide choice of superb
and relatively small lenses to choose
from, including some beautiful fast
primes. I especially love the 56mm
f/1.2 for portraits, and the 16mm f/1.4
for low light documentary work. The
JPEGs are excellent right out of the
camera, whether shooting in colour or
using the lovely Acros B&W mode. To
be fair, most of these benefits aren’t
exclusive to the X-T3 but what is
unique is the old-school user interface.
Call me old-fashioned but I like having
a shutter speed dial on the camera and
aperture rings on my lenses. A camera
can have a spec sheet as long as your
arm but often it’s just the way it looks
and feels that makes you want to use it.
84
BEST PHOTOGRAPHIC KIT OF 2019
Billingham
Hadley Pro
2020
Speaking of old-fashioned, I
personally prefer traditional style
canvas bags from the likes of
Billingham and Domke to
super-light and shiny ones made
from high-tech materials. It may
not make sense, I know, but
aesthetics are important to me.
I own a lot of bags but most were
designed for SLR kits, not the
smaller mirrorless outfits that I’m
now using more and more. My
new Billingham Hadley Pro 2020,
in traditional khaki canvas and tan
leather, looks the part and is the
perfect size. It carried the
aforementioned X-T3 and five
lenses on my last trip with ease.
Made from top quality materials
and built to the highest standards,
I’m fairly sure it will outlast me.
21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
The compact
Fujifilm X-T3 is
great for travel
Epson
photography
Fast-Foto
FF-680W
I have literally thousands of
prints at home, in boxes,
some dating back a
century. At some point I’d
like to digitise them all. I
have now found the device
that will do that for me. The
FF-680W can batch scan
up to 30 prints in as little
as 30 seconds, straighten
them, enhance them and
upload them to my cloud
storage. I already own an
Epson Perfection V750
Pro – one of the finest
flatbed scanners ever
made – but it’s slow. I was
never going to attempt my
big archiving project on
that. The FF-680W is no
match for the V750 in
quality but it’s good
enough for my needs and
means that those prints
will one day be digitised.
I promise, dear.
Above: Fujifilm’s X-T3 looks good
and feels right in the hand
Below: The Hadley Pro 2020
is perfect for a mirrorless kit
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 Testbench YOUR GEAR
David Thompson
A Nikon FM2, with the MD12 motor
drive and the 28mm f/2.8 AI-s and
50mm f/1.8 AI-s lenses. The Nikon
FM2 for me represents one of the most
iconic and beautifully crafted film
cameras out there. I was fortunate
enough to pick up a silver, boxed,
mint-condition copy recently for £230
which also included the legendary AI-s
50mm f/1.8 pancake lens. This camera
takes me back to my roots. It reminds me
about the fundamentals of photography and
what’s important in the creation of a good
image. I tend to use Tri-X 400 b&w film as I
can process this myself and be part of
the full process and workflow involved in
analogue photography. My favourite
subjects are general travel photography
and local haunts in Somerset. I hope to
move into street photography in the New
Year with the AI-s 28mm f/2.8. This
camera will live forever.

Readers’
favourite kit
Darrell Webster
I bought a used
Sony RX100 V to
carry around in my
coat pocket and
have found it
of the year
We asked you to name your favourite kit
brilliant. It’s very
high spec for such
a small camera and
and book purchases of 2019. My, you’ve all
I love the pop-up
EVF. Well worth
been busy! Here’s a selection of items that Sue York
the £240 I spent. have improved your photographic life My nifty 50 Nikkor AF-S 50mm
f/1.8G has been my favourite buy
this year. I love it! I haven’t used
my other lenses since I bought it.

Ian Pack
I love my Think
Tank Photo
Retrospective 30
V2.0 bag. It’s
spacious, versatile,
comfortable to
Stuart Buckmister carry and most
important,
I bought a second-hand TurnsPro rotating time lapse inconspicuous.
camera mount, and a new slider. With a few brackets and
cord I made myself a motorised slider for time lapse.

86 subscribe 0330 333 1113

Geoff R – AP forum
My favourite purchase was a Billingham Hadley One bag,
which offered what I wanted in a bag of that size. I got a
Nikon D4, with a 24-70mm and 70-200mm lens in the
main compartment, spare batteries in one pocket and a
MacBook charger in the other with a MacBook Pro in the
back, and still had room for an iPad, card readers, spare David Grounds
cards and some cables. It’s the ideal travelling bag. I really like my new
I also bought my mum the Epson ET2650 printer and Panasonic LX100.
took her old ET2600 in exchange (which lacks the card It’s compact but
slots). It’s a good printer and a full set of inks comes to very capable.
£29 for a year’s supply – much cheaper than my R800
which takes eight cartridges at well over £100 a set, and
they don’t last very long at all.

Adrian Gray Frederick Tennant

I think my only
photographic purchase
this year has been yet
another box camera.
I have about 25 of
the things now (a
few, such as the
Voigtländer Brillant
and the Coronet
Dynamic 12, possibly
push the definitions a
bit). I think I need to
get out more!
It has to be the
LowePro ProTactic
40AW. I had been
using crappy cheap
bags that often did
not do the job until a
friend recommended
this rucksack to me.
He’s had his for years
and it’s been through
several wars and
still keeps his kit in
good condition.

Steve Walker
I bought a Nikon Z 6. It replaced a
D750, which just somehow didn’t feel Adi Taylor
so right in the hand. Michael Topham’s Without any doubt it’s the Hasselblad SWC/M
review of the Z 6 (AP 12 January – it’s unbelievably good. After going back to
2019) clinched it for me, and the film a few years back, I’ve been shooting
camera has not disappointed – both for mainly landscapes with a Hasselblad 500 C/M,
personal and professional use. It using the rather
matches the D750 in stills capability in heavy 40mm. I
every respect (I’ve taken satisfactory bought this so I could
images at ISO 102,400 and the detail keep an 80mm on
one can get out of the raw images is the 500 C/M and
sensational, using DxO Photolab) but use the SWC/M for
also gives video capabilities superior to any wideangle work. I
a DSLR. The EVF is absolutely as good paid £1,000 for it on
as on a DSLR; in fact better, as it Jeff Johnson eBay and haven’t
conveys more information, such as ‘The Beast’ - a used it are really pleasing. regretted the
artificial horizon, and gives a clear view Hasselblad H3D-39 Considering the purchase for
of what image you’ll actually capture. with a HCD 35- camera was designed one moment.
It’s also sufficiently light that it works 90mm lens. (The primarily for studio
well for video on my Ronin-SC gimbal. non-photographic work, my habit of
The only downside is the hassle of XQD purchase was the lugging it about for
media – I have to remember to take a wheelbarrow I use to landscape and even
reader with me if I’m on the go. carry it around in!) street photography
The Hasselblad has means that I’m using
been a real eye- it well outside its
opener. The native intended niche, but
ISO of the sensor is guess what? I
50 and by the time don’t care – I really
you’ve taken the ISO enjoy using it!
up to 400 the noise Here’s a picture of
makes it almost my Fujifilm X-T1,
unusable, however at Nikon D3 and ‘The
ISO 50 or 100 the Beast’ all side-by-
results I can get from side for comparison. Ian M Brown
My mate gave me an Olympus XA3, it’s fabulous!

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 87

 Testbench YOUR BOOKS

...and your favourite books

There have been some great photography books this year.
We asked you to name the ones you bought and loved

Sara Newell
Definitely Remembering Lions (Wildlife Photographers
United). It’s a beautiful book as well as a fantastic cause.

Grant Silverthorn
Pictures Volume Two
Alan Howe by Jeff Bridges.
Photographing London by
George Johnson. Just
brilliant and rammed with
tips too.

Nigel Boulton
Unreasonable Behaviour, Don
McCullin’s autobiography.

Sam Atkins Paul Greenfield

Ross Hicks Uncommon
Places by A Father’s Tale by Borut Peterlin.
Humans of New York by
Stephen
Brandon Stanton. A great
Shore.
book on so many levels.
Steve McCurry’s Untold: The
Stories Behind the Bob Peeling
Photographs. Trouble and
Strife by David
Bailey.

Garry Clarkson
A signed first-edition copy of Larry
Sultan’s Pictures from Home has
pride of place on my shelf. John
Angerson’s English Journey is the Steve Hawkins
best book this year. Ian Weldon’s I Am Not A Wedding
Photographer. A fantastic book, a genuine guy
and a great podcast!

88 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Louise Russell
Victoria Hillman’s Forgotten Little Creatures -
a really great book.

Jacqueline Jones
Martin Parr in Wales - and here I am with the man himself! Simon Beedie
This year’s Bird Photographer
Matthew McLernon of the Year; signed by both
Immediate Family by Sally
Chris Packham and Caron Ade Parker
Steele, the overall winner. Furbex by Alice van Kempen.
Mann; Annie Leibovitz The
Early Years, 1970-1983;
Helmut Newton Work; Vivian
Maier Street Photographer;
Carl Mynott
The Art in
Mert Alas and Marcus Piggott Wildlife
and The Polaroid Book. I’ll Photography
probably get Minutes to by Colin
Midnight by Trente Parke Edwards.
before the end of the year.
Yeah, I’ve been busy!

Catalin
Alexandru
The Camera
by Ansel
James Chadwick Adams.
The Vest Pocket Kodak &
The First World War by
John Cooksey.

Matt Walkley Stephen Warner

John Downing’s Legacy. I Victoria Hillman’s Forgotten Little Creatures
received it today and it’s superb. and Rachael Talibart’s Sirens.

Mark Stevens
Road to Seeing by
Dan Winters.

Peter Murrell
Life in 50mm: The
Photographer’s Lens by Tanya
Nagar.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019 89

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 Limited edition prints of iconic images.
Hand printed and framed to order,
from £59 unframed or £89 framed.

www.soniceditions.com/amateurphotographer

Is the DSLR dead?
With the relentless advance of mirrorless, has
the DSLR finally had its day? We take a look at the
state of the market, and make the case for both
the new technology and the old
O
ver the history of photography,
picture-taking technology has
been through a whole series of
transitions. Glass plates were
superceded by roll film and then medium-
format by 35mm, before the advent of digital
made analogue photography obsolete.
Rangefinders lost favour to SLRs, and manual
operation gave way to ever-increasing
automation. The technology may have looked
relatively static over any given decade, but
viewed across the longer term, it’s been in
a constant state of flux and improvement.
The current big transition, of course, is from
DSLR to mirrorless. The SLR design was a
remarkable solution to the problem of focusing
and exposing an image on to a piece of film
that had to be kept completely dark until the
moment of exposure, while also providing an
accurate viewfinder image with a wide range of
lenses. This required the use of a reflex mirror
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
and pentaprism for viewing, along with the
addition of autofocus and metering sensors
inside the camera body. As a result, DSLRs
are complex beasts.
However, with digital sensors, that key
requirement of keeping the sensor dark no
longer holds. In fact, quite the opposite: the
main image sensor can be used to determine
focus and exposure inherently more accurately
than separate proxy meters. Discarding the
mirror box and those extra sensors means
cameras can be made smaller, lighter, and
quieter in operation. There are lens-design
advantages, too. For example, wideangles
can be made much smaller.
As a result, it’s no great surprise that the
market is moving decisively towards mirrorless.
Indeed, over the past two years, we’ve seen
a huge shift in new camera releases away from
DSLRs. Manufacturers obviously commit their
resources to developing the products they
Testbench
Should you switch
from your trusty,
reliable DSLR to a
compact, lightweight
mirrorless model?
think will sell best, and in those terms, the
numbers are stark. Of the 27 interchangeable-
lens cameras announced in 2019, only two
were DSLRs, and of 58 new lenses, only nine
were for DSLRs.
The DSLR isn’t dead yet, though, and
both Canon and Nikon have made clear
that their new sports cameras for the 2020
Tokyo Olympics will adopt this architecture.
The EOS-1D X Mark III and D6 will be the
fastest, most reliable cameras the respective
firms can make right now. But this isn’t
necessarily the ringing endorsement for
DSLRs that it first appears. In terms of
technology, Sony’s mirrorless Alpha 9 II is
a very strong competitor indeed, but it lacks
the lens range and massive pro support
network required to make serious inroads
into a highly specialist sector.
Of course, there’s still a huge number of
photographers using DSLRs, often with so
much money sunk into lenses that it would
be impractical to change systems in one step.
Naturally Canon and Nikon want to keep their
existing users happy, and have declared
they’ll keep making DSLRs as long as there’s
a demand. But at some point, they’ll stop. So
the question facing DSLR users seems to
be, is it time to stick or twist?
93
 Testbench IS THE DSLR DEAD?

The case for DSLRs

Reviews editor Michael Topham reveals
why he continues to shoot with DSLRs

TO CHANGE or not to change? This is

the question I’ve asked myself numerous
times over the past couple of years.
Camera manufacturers are continuing
to throw their resources into their
mirrorless systems in order to tempt
those who haven’t already ditched their
DSLRs in favour of newer technology to
do so. I’m a firm believer that mirrorless
is the future and in fewer than five years
I can’t envisage any new DSLRs rolling
off camera manufacturers’ production
lines. Why is it, then, that I keep turning
to my DSLRs?
My argument for holding onto my
trusty pair of Canon EOS 5D Mark III
bodies and eclectic mix of Canon and
Sigma lenses comes down to many
factors. First and foremost, I know exactly
where I stand with my DSLRs – they’ve
delivered countless hours of reliable
service and are totally dependable in the
pressured and demanding environments
in which I typically shoot. Secondly, I still When you’re shooting professionally, having the means of backing up to a separate memory card is essential
prefer raising an optical viewfinder to
my eye. Though I can’t deny electronic ‘I’m sure I’m not alone
viewfinders have their benefits, and the
latest 5.76-million-dot OLED examples when I say I’m quite
we’re seeing on cameras such as the frightened by the cost
Panasonic Lumix S1/S1R are outrageously
impressive, there’s something incredibly of switching systems ’
satisfying, almost pure, about not
composing a shot via an electronic display. After getting a few quotes, I worked out
We depend so much time on electronic I’d get around £4,895 if I sold my two
DSLRs and eight full-frame lenses. While
screens in today’s world, I find it refreshing
to watch things unfold through my this isn’t a small sum of money, it barely
viewfinder exactly as my eyes see it. covers the cost of buying a Canon EOS R
and pro-spec zoom such as the Canon RF
The other offputting factors 70-200mm F2.8 L IS USM lens, which
My DSLRs are so economical when it has a collective price of around £4,850.
Michael with one of his Canon EOS 5D Mark III cameras
comes to power consumption, I can shoot So what am I going to do? I’ve dipped
10 hours straight without having to load my toe into mirrorless waters by buying
spares into my battery grip. Another a second-hand Fujifilm X-T10 and a lens,
factor putting me off transitioning to which I love for casual shooting, but my
Canon or Nikon’s full-frame mirrorless DSLRs still remain my workhorses for
systems is the fear of not being able to professional work. At the end of the day,
simultaneously record to two memory it’s all about having a camera that works
cards – an absolutely essential option for for you, not being pressured to change
pros who must do everything in their for the sake of change. I will continue to
power to eliminate card failure during monitor the mirrorless market closely and
never-to-be-repeated shooting scenarios. keep putting a few pounds away each
Sony A7-series models that accept two SD month for when a full-frame mirrorless
cards have a big advantage in this respect. camera finally ticks all the right boxes, or
There’s more to it, though, and I’m until such time as I can’t put up with the
sure I’m not alone when I say I’m quite size and weight any more. Until then, I’m
frightened by the cost of switching going to stick with what I know, love and
systems and moving across to mirrorless. trust, which are my faithful Canon DSLRs. Many DSLRs allow you to shoot all day with just one battery

94 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 The case for mirrorless
Technical editor Andy Westlake explains why
he never expects to buy a DSLR again

I NEVER consciously decided to switch
from using DSLRs to mirrorless; it just
sort-of happened. Like many other
photographers, I shot with 35mm
autofocus SLRs in the 1990s, then
switched to APS-C DSLRs in the early
2000s. In 2006 I went back to full-frame
with the original Canon EOS 5D, because
it would work better with the lens
collection that I’d assembled for film.
But I’ve always liked to have a smaller
camera too, and when Panasonic
introduced its compact-bodied GF1 in
2009 with the fabulous little 20mm f/1.7
pancake lens, I was smitten. Here, finally,
was a replacement for the fast-lensed
1970s 35mm compact rangefinders that
I’d often used to shoot indoors with
high-speed black & white film.
By modern standards, the GF1 wasn’t
a great camera. But it provided vastly
better image quality than contemporary
zoom compacts, while being far smaller
than any DSLR. When the wonderful little
Olympus 45mm f/1.8 appeared, this
added another dimension to what I could
shoot with it. Gradually, I found myself
using the small, discreet GF1 more and
more, and the bulky EOS 5D less.
The next big revelation was Olympus’s
original E-M5 in 2012. With its built-in
viewfinder, 16MP sensor, in-body
stabilisation and weather-sealed
construction, it was a far superior camera
to the GF1. Later, I acquired Olympus’s
excellent 12-40mm f/2.8, and found that
in side-by-side comparisons, it easily
matched my Canon 24-105mm F4L.
Which meant there was no longer any
real image quality penalty to using the
E-M5, most of the time.
equivalent into a bag that would take my
EOS 5D with just two zooms, forcing me
to leave behind either a wideangle or
telephoto. I love the small form factor and
being able to switch between tiny fast
primes and high-quality zooms. Crucially,
the viewfinder shows me exactly what I’ll
get, including image brightness and depth
of field, meaning no more guesswork in
terms of exposure and aperture selection.
But both the metering and autofocus are
much more reliable, anyway. In short,
it makes it much easier to capture the
pictures I see around me in the way
I want. At the most fundamental level, for
me that’s what defines a good camera.
Why tell this story? Because the
biggest barrier to switching to mirrorless Electronic viewing previews exactly what you’ll get
for many photographers is cost, as
replacing all of their lenses at once will be
far too expensive. But that’s the wrong
way to think of it. Instead, the way forward
is to buy the lenses you use most first,
and change over gradually. The reward
will be a more modern set-up that’s easier
to carry and, quite simply, makes it easier
to take better pictures.
‘In short, it makes it
much easier to capture
the pictures I see around
me in the way I want’ Technical editor Andy Westlake with his Olympus E-M5 II
The small size and
light weight is
great for travel
and days out

Mirrorless comes of age

The real tipping point for me, though,
was the Olympus OM-D E-M5 Mark II.
It added so many features that I valued,
including a larger viewfinder, a fully
articulated screen, super-quiet operation
and a much-improved body design.
I eventually added the 40-150mm f/2.8
and 7-14mm f/2.8 zooms, both at major
discounts in seasonal sales, and my
transition to mirrorless was complete.
I can’t imagine ever buying a DSLR again.
The thing is, mirrorless just works for
me. I can fit the E-M5 II and top-notch
optics covering 14mm to 420mm
CHRISTMAS QUIZ

Boxing Day
bafflers
Consider yourself a photography expert?
Put your grey matter to work with our fun
Christmas quiz, based on the events of 2019

1 The seminal 1958

photography book The
Americans was the work of
10
which well-known
photographer, who died in
September?

2 Which company announced

a 58mm f/0.95 lens
this year?

3 Which full-frame camera,

released this year, is the
first to break the 50MP
resolution barrier?
7 Which company introduced
the world’s fastest zoom
lens this year?
10 What was named
Amateur Photographer
Product of the Year on

4 Which camera brand

celebrated its centenary
8 Fashion photographer
8 February this year?

this year? Peter Lindbergh, who died

earlier this year, was born in 11 Which American
photographer received the

5 The extensive Royal

Collection of photographs
went public this year with the
first phase of a major
digitisation project. Which
member of the Royal family
started the collection?
which country?
9 Which photography
organisation, founded
in 1853, moved its
HQ to Bristol earlier
this year?
Master of Photography award
at this year’s Photo London?
12 Who launched the first
100-megapixel
mirrorless camera earlier this
year, and what is it called?
© YONGQUING BAO

6 Yongqing
Bao won
which
international
photography
competition in
October with this
picture?

21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 © GETTY IMAGES
Wordsearch
Solve our wordsearch and you could win
prizes from LEE Filters worth more than £200

13 Caron Steele has just won

this year’s Amateur
8
Win! A LEE100 Landscape Kit, including LEE100 holder, guide
blocks and 0.6 ND medium grad, plus an adapter ring
Simply find the names of 12 past AP Editors that are
Photographer of the Year
contest. Who was the previous listed below. There’s one name missing
holder of this title? from the wordsearch. Email us at
Nadav Kander received ap@ti-media.com with the missing
14 an award for Outstanding
Contribution to Photography
name. A winner will be
this year by which international randomly selected from
the correct entries.

NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

photography awards body?

15 Panasonic launched its

first full-frame mirrorless
For more information on the prize,
camera this year as part of the visit www.leefilters.com
new L-Mount Alliance. Besides
Panasonic, who are the other The closing date for entries is 31 January 2020 and the answer (along with the winner’s name) will be published in our
7 March 2020 issue. Please email the missing name to ap@ti-media.com and put ‘WORDSEARCH’ in the subject line. For
two main members of the full terms and conditions see www.ti-media.com/terms-and-conditions
alliance?

16 A controversial picture by
John Moore of a crying M O N K N M Y Z O E G S
Honduran child on the US/
Mexico border scooped which
major photographic prize?
B H U E A N E Y K G E S
Which well-known US C A E R T O L I M B Y O
17 photographer was the
subject of a major retrospective
at the National Portrait Gallery
S R X E L S Y I O A M W
in August?
G R O D Y L A G R T G E
The 100 millionth Canon
18 EOS series camera rolled
off the production line in 2019. C I U D W I B R T H T R
Which model was it?

The world’s widest angle

I S N O M W D T I E X B
19 full-frame zoom lens went
on sale this year. What is it? F S Q H A C L X M R G Y
20 Which manufacturer
used Deep Fusion
H T W V S V I X E T P O
technology in its latest camera,
which it describes as J O P X O G H P R O M M
‘computational photography
mad science’?
R N C E N D C U K N I T
Answers
G E R E D L O M E D M Y
10-18mm f/4.5-5.6 20 Apple (about the iPhone 11)
Year 17 Cindy Sherman 18 Canon EOS R 19 Laowa
15 Leica and Sigma 16 World Press Photo of the
Burnell 14 Sony World Photography Awards
11 Stephen Shore 12 Fujifilm GFX100 13 Neil
9 The Royal Photographic Society 10 The Nikon Z 6 ATHERTON CHILD BAYLEY DEMOLDER GREEN
of the Year 7 Panasonic (10-25mm f/1.7) 8 Germany
4 Olympus 5 Prince Albert 6 Wildlife Photographer HARRIS STONE HODDER HORSLEY HINTON
1 Robert Frank 2 Nikon 3 Sony Alpha 7R IV
MASON MONK MORTIMER SOWERBY WILSON
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 21-28 December 2019
Sell your Nikon to

Grays of Westminster are always seeking fine examples of Nikon cameras, lenses & accessories including:
Digital SLR Bodies ❖ AF Lenses ❖ Select Film SLR bodies
Manual focus lenses ❖ Vintage bodies ❖ Pre-AI lenses ❖ Accessories

To obtain a quote please contact us today on

020 7828 4925 or email info@graysofwestminster.co.uk

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NIKON D300S BODY + BATT GRIP, BATT & CHARGER�����������������EXC++ £245�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�������� MINT-BOXED £195�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP������������������� MINT- £179�00
NIKON D90 BODY WITH 2 BATTERIES AND CHARGER ������������������ MINT- £175�00
NIKON ML-3 REMOTE CONTROL SET�����������������������������������MINT BOXED £145�00
OLYMPUS OM-D E-M10 MK 2 WITH 14-42 ZUIKO LENS�����������������MINT £245�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS����MINT CASED £325�00
OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD������������ MINT-BOXED £465�00
OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD ������MINT BOXED £225�00
OLYMPUS 75 - 300mm f4�8/6�7 MK 2 M ZUIKO ED ������������MINT BOXED £385�00
OLYMPUS MMF-3 ADAPTOR FOR 4/3 rd LENSES ���������������MINT BOXED £145�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM������������������������MINT £95�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS�������MINT BOXED £145�00
SONY DSC-RX100 WITH ERC CASE ������������������������������������ MINT-CASED £199�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS����������������������������MINT BOXED £325�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��������������������������������MINT BOXED £115�00
SONY ECM - XTST1M STEREO MICROPHONE���������������������� NEW UNUSED £69�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��������������������������MINT BOXED £95�00
Canon Autofocus, Digital Lenses, Canon FD
CANON 14mm f2�8 USM “L”���������������������������������������������EXC++ BOXED £599�00
CANON 17mm f4 TS-E “L” TILT AND SHIFT LENS��������������������� MINT- £1,375�00
CANON 24mm f1�4 “L” USM������������������������������������������������������������MINT £499�00
CANON 50mm f1�2 USM “L”������������������������������������������������������������MINT £675�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL���������MINT BOXED £1,045�00
CANON 300mm f4 USM “L” IMAGE STABILIZER��������������������������� MINT- £595�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £699�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�����������������MINT CASED £689�00
CANON 17 - 40mm f4 USM “L”�������������������������������������������MINT BOXED £325�00
CANON 24 - 105mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £375�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT CASED £599�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £645�00
CANON 70 - 200mm f2�8 USM “L”��������������������������������������MINT BOXED £675�00
CANON 20mm f2�8 USM����������������������������������������������������������������EXC++ £245�00
CANON 28mm f2�8 EF ����������������������������������������������������������������������MINT £169�00
CANON 50mm f1�8 MARK 1 (VERY RARE NOW)������������������������������MINT £129�00
CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��������������������������MINT £345�00
CANON 60mm f2�8 EFS USM MACRO LENS ������������������������MINT BOXED £199�00
CANON 100mm f2�8 MACRO USM ���������������������������������������MINT BOXED £275�00
CANON 10 - 22mm f3�5/4�5 USM �������������������������������������������������EXC++ £295�00
CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ���������������������������MINT £445�00
CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��������������MINT £149�00
CANON 70 - 300mm f4�5/5�6 IS USM DO REFRACTIVE����������������� MINT- £345�00
CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ������MINT BOXED £269�00
KENCO DG CANON FIT TUBE SET 12,20,36MM����������������������MINT BOXED £99�00
CANON EF 2�0X EXTENDER MK I������������������������������������������MINT BOXED £129�00
CANON EF 2�0X EXTENDER MK II ����������������������������������������MINT BOXED £165�00
CANON 430 EX����������������������������������������������������������������������� MINT-CASED £59�00
CANON 580EX MK II SPEEDLITE����������������������������������������� MINT-CASED £169�00
CANON 580 EX SPEEDLITE���������������������������������������������������EXC++CASED £99�00
CANON 580 EX SPEEDLITE�������������������������������������������������� MINT-CASED £149�00
CANON 550 EX SPEEDLITE���������������������������������������������������� MINT-BOXED £89�00
CANON 550 EX SPEEDLITE���������������������������������������������������EXC++CASED £65�00
KENCO DG CANON FIT TUBE SET 12,20,36MM�������������������������������� MINT- £99�00
KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER���������MINT CASED £99�00
SIGMA EX 1�4 TELECONVERTER ��������������������������������������������������������MINT £75�00
SIGMA 14mm f2�8 EX HSM ASPHERIC ��������������������������������MINT CASED £365�00
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS ����������������������� MINT-BOXED £165�00
SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II��������������������� MINT- £325�00
TAMRON 28 - 75mm f2�8 XR Di LENS LATEST �������������������������������MINT £345�00
TAMRON 70 - 300mm f4/5�6 SP Di VC ULTRASONIC���������� MINT+HOOD £225�00
TOKINA 10 -17mm f3�5/4�5 ATX DX FISHEYE (LATEST) �����������������MINT £299�00
TOKINA 11 - 16mm f2�8 ATX - PRO ASPHERICAL���������������MINT BOXED £279�00
Contax ‘G’ Compacts & SLR & Ricoh
CONTAX G1 BODY (GREEN LABEL) ������������������������������������������������ MINT- £325�00
CONTAX T WITH 38mm f2�8 SONNAR T* (RARE) ��������������� MINT-CASED £495�00
CONTAX 90mm f2�8 SONNAR “G” HOOD,FILTER,CAP���������MINT BOXED £179�00
CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*���������MINT BOXED £395�00
CONTAX TLA 140 FLASH FOR G1/G2�������������������������������������MINT CASED £65�00
CONTA AX BODY JUST SERVICED £400 REALLY NICE������������������ MINT- £395�00
YASHICA ML CONTAX FIT 28mm f2�8 �����������������������������������������������MINT £99�00
CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ���MINT BOXED £275�00
CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ���������������MINT £255�00
CONTAX 50mm f1�7 AE LENS ������������������������������������������������������������MINT £95�00
CONTAX 85mm f2,8 MM GREAT PORTRAIT LENS���������������MINT CASED £275�00
CONTAX 135mm f2�8 SONNAR WITH FILTER ����������������������������������MINT £175�00
YASHICA 135mm f2�8 CONTAX FIT�������������������������������������������������� MINT- £95�00
YASHICA 200mm f4 CONTAX FIT����������������������������������������������������� MINT- £90�00
CONTAX MAGNIFIER F2 ���������������������������������������������������������MINT BOXED £49�00
CONTAX TLA 30 WITH DIFFUSSER�����������������������������������������MINT CASED £69�00
CONTAX TLA 280 FLASH������������������������������������������������������������������ MINT- £59�00
CONTAX TLA 280 FLASH UNIT�����������������������������������������������MINT BOXED £75�00
CONTAX TLA 360 FLASH������������������������������������������������������� MINT-CASED £65�00
CONTAX GD1 DATABACK FOR CONTAX T3��������������������������� MINT-BOXED £69�00
LEICA “M” , “R” , & SCREW & RANGEFINDER
LEICA M3 D/W BODY REALLY NICE WITH CASE ������������������������EXC+++ £795�00
LEICA M9 BODY WITH CHARGER AND BATT etc������������������������ MINT- £1,495�00
LEICA MDA BODY SER NO 12659XX CIRCA 1970�������������������������� MINT- £425�00
LEICA MDA BODY SER NO 14111XXCIRCA 1975-76��������������������EXC++ £399�00
LEICA IIIG BODY WITH 5cm f2 SUMMAR������������������������� MINT-CASED £1,295�00
MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ������������EXC++ £375�00
CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR ���������������������� MINT- £275�00
LEIC 50mm f2 SUMMICRON RIGID CHROME��������������������������������� MINT- £795�00
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ������������������������EXC+++ £695�00
LEICA 50mm f2�8 COLLAPSIBLE ELMAR��������������������������������������� MINT- £375�00
LEICA 90mm f2 SUMMICRON BLACK E55,SUPERB LENS ������������� MINT- £895�00
LEICA 90mm f2�8 TELE ELMAR + HOOD ��������������������������������������� MINT- £395�00
LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M������������������������� MINT- £275�00
LEICA 90mm f4 ELMAR M MOUNT ������������������������������������������������ MINT- £165�00
LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE�������������MINT BOXED £375�00
LEICA 135mm f4�5 HEKTOR���������������������������������������������������������������EXC+ £75�00
LEICA 90mm FINDER �������������������������������������������������������������������������MINT £99�00
VOIGTLANDER BESSA T WINDER�����������������������������������������MINT BOXED £149�00
LEICA 5cm f2 SUMMAR SCREW ���������������������������������������������������� MINT- £175�00
LEICA 90mm f4 ELMAR CHROME SCREW ���������������������������� MINT-CASED £99�00
LEICA 90mm f4 ELMAR BLACK SCREW ���������������������������������������EXC++ £145�00
LEICA 135mm f2�8 ELMARIT M WITH SPECS�����������������������������EXC+++ £299�00
LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT�����������������������������EXC++ £99�00
LEICA 135mmf4�5 HEKTOR IN KEEPER���������������������������������������EXC+++ £199�00
LEICA 135mm f4�5 HEKTOR + HOOD SCREW���������������������������������EXC++ £99�00
LEICA SF20 FLASH FOR M6 etc���������������������������������������������MINT BOXED £89�00
LEICA FONOR BLACK RANGEFINDER���������������������������������� MINT-CASED £175�00
LEICA R8 BLACK BODY WITH STRAP �������������������������������������������� MINT- £395�00
LEICA R7 BLACK BODY ������������������������������������������������������EXC++BOXED £325�00
LEICA R7 CHROME BODY��������������������������������������������������������������� MINT- £365�00
LEICAFLEX BODY CHROME ������������������������������������������������������������ MINT- £195�00
LEICA CURTAGON 35mm f4������������������������������������������������ MINT-BOXED £395�00
LEICA 50mm f2 SUMMICRON 3 CAM �������������������������������������������� MINT- £395�00
LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR����������EXC++ £395�00
LEICA 90mm f2�8 ELMARIT 2 CAM������������������������������������������������ MINT- £299�00
LEICA 135mm f2�8 ELMARIT R 3 CAM ���������������������������������������EXC+++ £365�00
LEICA 560mm f6�8 TELYT LENS WITH CASE AND����������������������EXC+++ £399�00
LEICA APO-EXTENDER 2 X ROM������������������������������������������MINT CASED £475�00
Binoculars
LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ���������������������� MINT- £595�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN ��� MINT-CASED £275�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK ��� MINT-CASED £279�00
KOWA BD 10x25 DCF COMPACT ROOF PRISM BINOS ��������MINT CASED £165�00
OPTICRON MMS 160 IMAGE STABILISED TRAVELSCOPE���MINT BOXED £225�00
SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS ���� NEW UNUSED £1,575�00
SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS���������������� MINT- £465�00
Medium & Large Format
HASSELBLAD X PAN II WITH 45mm, STRAP, MANUAL�������EXC+++BOXED £3,750�00
HASSELBLA X PAN LEATHER EVER READY CASE ������������������������� MINT- £225�00
HASSELBLAD 30mm f5�6 ASPH & FINDER & C/FILTER��� MINT-BOXED £2,475�00
HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������MINT BOXED £495�00
HASSELBLAD 500CM WITH 80mm cm AND LATE BACK ����������� MINT- £1,195�00
HASSELBLAD 28mm f4 HC FOR H SYSTEM����������������������MINT BOXED £1,075�00
HASSELBLAD 120mm f4 HC FOR H SYSTEM�����������������������������EXC++ £1,195�00
HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������������������MINT £365�00
HASSELBLAD 150mm f4 SONNAR T* BLACK�������������������������������EXC++ £195�00
HASSELBLAD 150mm f4 SONNAR CF��������������������������������� MINT-BOXED £395�00
HASSELBLAD 150mm f4 SONNAR SILVER �����������������������������������EXC++ £175�00
HASSELBLAD 250mm f5�6 SONNAR SILVER �����������������������������������EXC+ £179�00
HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR���������MINT BOXED £2,995�00
HASSELBLAD GPS UNIT FOR H SYSTEM �����������������������������MINT BOXED £399�00
HASSELBLAD H13 EXT TUBE �����������������������������������������������������������MINT £165�00
HASSELBLAD PM90 PRISM FINDER ���������������������������������������������� MINT- £275�00
HASSELBLAD PME3 METERED PRISM FINDER ����������������������������� MINT- £275�00
HASSELBLAD VFC-6 METERED PRISM��������������������������������MINT BOXED £175�00
HASSELBLAD A12 BACK CHROME������������������������������������������������� MINT- £129�00
HASSELBLAD WINDER CW AND REMOTE����������������������������������������MINT £275�00
BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS�������������������EXC++ £325�00
BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS �����������������EXC++ £295�00
BRONICA AUTO EXTENTION TUBE E-14���������������������������������MINT BOXED £45�00
BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ����������������MINT BOXED £59�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI������������������������������������������MINT £75�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI���������������������������������������EXC++ £59�00
BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC��������������� MINT- £75�00
BRONICA MOTOR WINDER E���������������������������������������������������������EXC+++ £89�00
BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi�������������������������������MINT £179�00
BRONICA 50mm f2�8 PE FOR ETRS/ETRSi���������������������������������������MINT £199�00
BRONICA SPEED GRIP FOR ETRSW/ETRSi��������������������������������������� MINT- £49�00
BRONICA 150mm F3�5 ZENZANON S ��������������������������������������������� MINT- £165�00
BRONICA PLAIN PRISM FOR SQAi/SQA������������������������������������������� MINT- £99�00
BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ���������������� MINT- £199�00
BRONICA 65mm F4 ZENZANON PS FOR SQ������������������������ MINT-CASED £145�00
BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �������� MINT-CASED £365�00
BRONICA 150mm F4 PS ZENZANON FOR SQ���������������������� MINT-CASED £145�00
BRONICA 180mm f4�5 PS LENS & CASE ���������������������������� MINT-BOXED £199�00
BRONICA SPEED GRIP FOR SQA/SQAI��������������������������������������������� MINT- £69�00
BRONICA FILMBACK SQ-i220 FOR SQA/SQAi������������������������MINT BOXED £79�00
METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA������������MINT BOXED £150�00
MAMIYA C220 WITH WLF & 80mm SEKOR LENS�������������������������� MINT- £275�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £199�00
MAMIYA 135mm f4�5 SEKOR FOR C220/33 etc������������������MINT CASED £150�00
MAMIYA 180mm f4�5 SEKOR FOR C220/330 etc����������������MINT CASED £145�00
MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ���������������MINT £365�00
MAMIYA M645J COMPLETE WITH 80mm f2�8 ������������������������������ MINT- £299�00
MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC��������������������� MINT-CASED £365�00
MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ������������������������������������MINT £299�00
MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ����������������������MINT £145�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £295�00
MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��������������������������������������MINT £199�00
MAMIYA 250mm F4�5 LENS FOR RZ ��������������������������������������������� MINT- £195�00
MAMIYA 210mm F4 SEKOR C FOR 645�������������������������������MINT CASED £195�00
MAMIYA 180mm F4�5 SEKOR FOR RB���������������������������������������������MINT £169�00
MAMIYA 220 BACK FOR RZ 67�������������������������������������������������������� MINT- £95�00
PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ���������� MINT- £199�00
PENTAX 55mm F4 SMC FOR 6X7 ����������������������������������������������������MINT £175�00
PENTAX 55mm F2�8 FOR PENTAX 645��������������������������������MINT BOXED £199�00
ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008������������� MINT- £575�00
YASHICA 124G TELEPHOTO AUX LENS SET������������������������������������� MINT- £69�00
Nikon Auto-Focus & Digital, Lenses Accessories
NIKON F4S BODY WITH MANUAL��������������������������������������������������� MINT- £395�00
NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE�������������������������MINT BOXED £345�00
NIKON 28mm f2�8 A/F����������������������������������������������������������������������MINT £125�00
NIKON 28mm f2�8 A/F “D” ���������������������������������������������������������EXC+++ £145�00
NIKON 35mm f1�8 “G” ED AF-S L��������������������������������������MINT + HOOD £325�00
NIKON 35mm f1�8 “G” DX AF-S LATEST����������������������������� MINT+HOOD £115�00
NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD���������������MINT £189�00
NIKON 50mm f1�4 A/F�������������������������������������������������������������������EXC++ £125�00
NIKON 50mm f1�4 “G” AF-S SWM������������������������������������������������� MINT- £225�00
NIKON 50mm f1�8 “G” AF-S WITH HOOD����������������������������MINT BOXED £139�00
NIKON 85mm f1�8 A/F�������������������������������������������������������������������� MINT- £165�00
NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�������������������������������� MINT- £399�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S����������������������������MINT BOXED £395�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��������������������������� MINT-CASED £365�00
NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �������������������� MINT-CASED £999�00
NIKON 16 - 80mm f2�8-4EAF-S VR ED DX + HOOD ������������MINT CASED £545�00
NIKON 18 - 105mm f3�5/5�6 “G” AF-S ED VR WITH HOOD����������� MINT- £145�00
NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL����MINT BOXED £745�00
NIKON 35 - 70mm f3�3/4�5 A/F LENS���������������������������������������������EXC++ £49�00
NIKON 70 - 300mm f4/5�6 AF “D” ED������������������������������������������� MINT- £145�00
NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST �������� MINT-BOXED £899�00
NIKON DR-6 RIGHT ANGLED FINDER�����������������������������������MINT BOXED £145�00
NIKON TC20E II 2X AF-S TELECONVERTER ������������������������ MINT-BOXED £175�00
NIKON DR4 RIGHT ANGLE FINDER�����������������������������������������MINT BOXED £89�00
KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ������������������������ MINT- £75�00
SIGMA 50mm f2�8 EX MACRO D��������������������������� MINT BOXED AS NEW £129�00
SIGMA 105mm f2�8 EX APO DG MACRO ��������������������������������������EXC++ £245�00
SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM ������������������������ MINT-BOXED £199�00
SIGMA 150 - 600mm f5/6�3 DG HSM OS “C” LENS���������������������� MINT- £645�00
SIGMA 300 - 800mm f5�6 EX DG APO HSM �������������������� MINT-CASED £3,995�00
TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO ��������MINT BOXED £299�00
TOKINA 11 - 16mm f 2�8 AT-X PRO DX WITH HOOD����������� MINT+HOOD £245�00
TOKINA 80 - 400mm f4�5/5�6 AT-X D����������������������������������MINT BOXED £245�00
TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��������MINT BOXED £295�00
Nikon Manual Focus
NIKON F3 BODY UNUSED FROM A COLLECTION NEW���������MINT BOXED £895�00
NIKON F3 HP BODY ������������������������������������������������������������� MINT-BOXED £575�00
NIKON F3 HP BODY ������������������������������������������������������������������������ MINT- £545�00
NIKON FM2n CHROME BODY ��������������������������������������������������������� MINT- £295�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP ����������������������������MINT BOXED £165�00
We urgently require your used photographic equipment.
We have customers waiting for: Nikon, Canon, Leica,
Contax, Bronica, Hasselblad and most other makes of
camera lenses, accessories, binoculars and collectables.
We will buy for cash from you, or we are happy to sell on
your behalf on a commission basis. Best prices paid.
We can arrange collection and even call and collect and
pay on the spot if necessary anywhere in the UK.
NIKON F3 BODY��������������������������������������������������������������������������������EXC+ £245�00
NIKON F2AS BODY BLACK ������������������������������������������������������������EXC++ £200�00
NIKON FM2n CHROME BODY ������������������������������������������������������EXC+++ £245�00
NIKON FM2 CHROME BODY ����������������������������������������������������������EXC++ £199�00
NIKON FE CHROME BODY �������������������������������������������������������������EXC++ £125�00
NIKON FE CHROME BODY �������������������������������������������������������������� MINT- £145�00
NIKON FM BLACK WITH MF-16 BACK ����������������������������������������EXC+++ £169�00
NIKON FM BLACK��������������������������������������������������������������������������EXC++ £145�00
NIKON FE2 BLACK BODY���������������������������������������������������EXC++ BOXED £225�00
NIKON F2 A BLACK BODY �����������������������������������������������������������EXC+++ £245�00
NIKON F2 A BODY FULLY WORKING ������������������������������������������������EXC+ £199�00
NIKON F2 PGOTOMIC BLACK BODY����������������������������������������������� MINT- £399�00
NIKON F2 BODY FULLY WORKING����������������������������������������������������EXC+ £169�00
NIKON F2 PHOTOMIC BODY CHROME�������������������������������������������EXC++ £275�00
NIKON F2 PHOTOMIC BODY CHROME����������������������������������������������EXC+ £199�00
NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS���������������������EXC++ £250�00
NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4������������������ MINT- £399�00
NIKKORMAT FTN WITH 50mm f2 NIKOR ��������������������������������������� MINT- £245�00
NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS���������EXC++ CASED £145�00
NIKKORMAT FT CHROME ��������������������������������������������������������������EXC+++ £75�00
NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ����������������EXC++ CASED £165�00
NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ���������������������������MINT £599�00
NIKON 20mm f2�8 AIS�������������������������������������������������������������������� MINT- £325�00
NIKON 24mm F2�8 AIS SUPERB SHARP LENS���������������������MINT BOXED £199�00
NIKON 28mm f2�8 AI������������������������������������������������������������������������MINT £165�00
NIKON 45mm F2�8 GN NIKKOR ������������������������������������������������������ MINT- £199�00
NIKON 50mm f1�4 Ai���������������������������������������������������������������������� MINT- £195�00
NIKON 50mm f1�8 AIS SHARP LENS��������������������������������������������������MINT £89�00
NIKON 55mm f2�8 MACRO AIS ������������������������������������������������������ MINT- £165�00
NIKON 105mm f2�5 AI SUPERB SHARP LENS�������������������������������� MINT- £165�00
NIKON 105mm f2�5 AIS FROM A COLLECTION��������������������MINT BOXED £295�00
NIKON 135mm f2�8 AIS������������������������������������������������������������������ MINT- £125�00
NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS�����MINT-CASED £1,295�00
NIKON 1000mm f11 MIRROR LENS WITH CAPS���������������������������EXC++ £495�00
NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS��������������� MINT- £169�00
NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��������������������������EXC++ £119�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP����������������������������MINT BOXED £195�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������� MINT- £145�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������EXC+++ £99�00
NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3 ���������������MINT £145�00
NIKON PK13 AUTO EXTENSION RING������������������������������������ MINT-BOXED £55�00
NIKON PK12 AUTO EXTENSION RING����������������������������������������������EXC++ £49�00
NIKON PK11 AUTO EXTENSION RING�������������������������������������������������MINT £49�00
NIKON TC 200 CONVERTER����������������������������������������������������������������MINT £69�00
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2������������������ MINT-CASED £115�00
NIKON SB 16 FLASH FOR F3�����������������������������������������������������������EXC++ £65�00
Olympus Manual
OLYMPUS OM1 WITH MANUAL������������������������������������������� MINT-BOXED £125�00
OLYMPUS OM4 BLACK BODY��������������������������������������������������������EXC++ £225�00
OLYMPUS OM2 SP�������������������������������������������������������������������������EXC++ £129�00
OLYMPUS 24mm f2�8 ZUIKO WITH HOOD��������������������������� MINT-CASED £165�00
OLYMPUS 38mm f2�8 ZUIKO MACRO LENS������������������������ MINT-CASED £299�00
OLYMPUS 50mm f1�8 ZUIKO LENS �������������������������������������������������� MINT- £30�00
OLYMPUS 50mm f1�8 ZUIKO LENS ����������������������������������������MINT BOXED £49�00
OLYMPUS 50mm f3�5 MACRO LENS������������������������������������� MINT-CASED £89�00
OLYMPUS 80mm f4 ZUIKO MACRO LENS��������������������������� MINT-CASED £175�00
OLYMPUS 135mm f4�5 ZUIKO MACRO LENS + HOOD�������� MINT-CASED £195�00
OLYMPUS 135mm f3�5 ZUIKO LENS ������������������������������������� MINT-CASED £69�00
OLYMPUS 35 -70mm f3�5/4�5 ZUIKO ZOOM������������������������� MINT-CASED £55�00
OLYMPUS 50 - 250mm f5 ZUIKO ZOOM LENS�������������������� MINT-CASED £129�00
OLYMPUS 100 - 200mm f5 ZUIKO ZOOM LENS HAZY���������EXC++CASED £39�00
OLYMPUS 2x TELECONVERTER��������������������������������������������� MINT-CASED £35�00
OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE������������������������������������MINT £95�00
OLYMPUS VARI-MAGNIFINDER����������������������������������������������MINT CASED £49�00
OLYMPUS T20 FLASH UNIT����������������������������������������������������MINT CASED £25�00
OLYMPUS T32 FLASH UNIT����������������������������������������������������MINT CASED £35�00
OLYMPUS WINDER 2 MOTOR DRIVE������������������������������������������������ MINT- £20�00
LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST FOR MACRO, FLASH
��������������������������������������������������������������������������������������������������������������������� PHONE
PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION
��������������������������������������������������������������������������������������������������������������������� PHONE
Lenses
Bronica E 45-90mm F4-5.6 PE ......... E+ - E++ £349
50mm F2.8 PE.......................................... E++ £249
150mm F3.5 PE..................................... 15_Day £59
75-150mm F4.5 PS.....................................E+ £299
250mm F5.6 PE........................................ E++ £199
Canon FD 17mm F4 FD................................E+ £169
20-35mm F3.5 FD L ................................. E++ £349
24mm F1.4 FD L...................................Unused £749
24mm F2.8 FD...............................................E+ £89
28-85mm F4 FD.....................E++ - Mint- £79 -159
35mm F2.8 Tilt/Shift....................................E+ £349
35-70mm F3.5-4.5 FD...................................E+ £29
50mm F1.2 FD L....................................... E++ £399
70-150mm F4.5 FD.......................................E+ £39
70-210mm F4 FD................................... E+ £25 -39
75-200mm F4.5 FD......................E+ - E++ £15 -29
80-200mm F4 FD L .................................Mint- £149
85mm F1.2 FD L........................................Mint £375
135mm F2 FD.......................................Unused £299
135mm F3.5 FD............................E+ - E++ £29 -39
135mm F3.5 B/lock................................ E+ £19 -35
100-300mm F5.6 FD..............15_Day_Approval £59
200mm F2.8 FD..........................E+ - E++ £99 -149
200mm F4 FD.....................................E++ £99 -129
Contax 645 35mm F3.5 Distagon... E++ - Mint- £499 -599
45mm F2.8 Distagon................................ E++ £349
45-90mm F4.5 Vario....................... E+ £1099 -1189
120mm F4 Apo Macro .............................. E++ £399
140mm F2.8 Sonnar....................................E+ £449
210mm F4 Sonnar.................................... E++ £279
1.4x Mutar Converter...............................Mint- £449
Contax G 28mm F2.8 G.............E+ - E++ £219 -279
35-70mm F3.5-5.6 G Vario.......E+ - E++ £399 -449
21mm F2.8 G + Finder .........E++ - Mint- £499 -549
90mm F2.8 G + Hood...........E++ - Mint- £189 -219
90mm F2.8 G ...................................E++ £159 -189
Contax SLR 28-80mm F3.5-5.6 AF ........... New £399
28-70mm F3.5-4.5 MM........E++ - Mint- £199 -279
50mm F1.4 MM........................................ E++ £199
70-300mm F4-5.6 AF.......................E++ £299 -449
85mm F1.4 MM........................................ E++ £399
100mm F3.5 AE........................................ E++ £239
135mm F2.8 MM................................ E+ £169 -199
135mm F2.8 AE.......................E+ - Mint- £159 -249
180mm F2.8 AE........................................ E++ £349
200mm F4 AE.......................................Unused £449
500mm F8 Reflex ..................................... E++ £175
Fujifilm X 10-24mm F4 XF R OIS............... E++ £649
14mm F2.8 XF......................E++ - Mint- £399 -479
15-45mm F3.5-5.6 OIS PZ XC - Black.....E++ - Mint- £129
16mm F1.4 R WR XF................................. E++ £649
16-55mm F2.8 R LM WR XF .............E++ £649 -699
18mm F2 XF R......................E++ - Mint- £229 -279
18-55mm F2.8-4 R LM OIS XF.E+ - Mint- £239 -289
18-135mm F3.5-5.6 LM OIS WR XF..E+ - E++ £439 -479
23mm F1.4 XF R.......................E+ - E++ £479 -549
23mm F2 XF - Black................................Mint- £319
27mm F2.8 XF......................E++ - Mint- £189 -199
35mm F2 XF WR - Black........................... E++ £299
35mm F1.4 XF R......................E+ - Mint- £279 -379
55-200mm F3.5-4.8 R LM OIS XF..E+ - Mint- £419 -439
50-230mm F4.5-6.7 OIS XC ....................Mint- £179
56mm F1.2 R XF...................E++ - Mint- £579 -649
50-140mm F2.8 WR OIS XF.....................Mint- £899
60mm F2.4 XF R Macro............................ E++ £299
90mm F2 WR XF................................. E+ £499 -549
Hasselblad H 50mm F3.5 HC ..E+ - E++ £849 -1099
28mm F4 HCD..................E++ - Mint- £1699 -1749
35mm F3.5 HC .........................E+ - E++ £849 -949
35-90mm F4-5.6 HC ........E++ - Mint- £3299 -3449
80mm F2.8 HC ............................................E+ £789
120mm F4 HC Macro...............Exc - E++ £799 -899
150mm F3.2 HC .....................E+ - E++ £799 -1049
210mm F4 HC ...........................................E+ £1099
1.7x H Converter..........................................E+ £449
1.5x HTS Tilt/Shift Converter................... E++ £1750
Magnifying Hood............................................E+ £79
Hasselblad V 30mm F3.5 C T* Fisheye...... E++ £899
40mm F4 CF FLE...................................... E++ £789
50mm F4 CF FLE..............................E++ £679 -849
30mm F3.5 CF Fisheye..............................E+ £1199
250mm F4 F................................................E+ £450
Standard Screen............................................E+ £15
30mm F3.5 C T* Fisheye........................... E++ £899
60mm F3.5 CF.............................................E+ £349
60mm F3.5 C Black............................. 15_Day £129
250mm F5.6 C Chrome.......................... 15_Day £99
120mm F4 CF Macro.......................... E+ £349 -399
120mm F4 Cfi Macro........................E++ £699 -749
150mm F4 CF..................................... E+ £289 -349
160mm F4.8 CB ....................................... E++ £349
350mm F5.6 C Black................................ E++ £499
250mm F5.6 CF...........................................E+ £299
500mm F8 C Black................................... E++ £449
2x Mutar Converter...................E+ - E++ £199 -249
Leica M 18mm F3.8 Asph M Black.E+ - Mint- £1549
21mm F2.8 M Black ....................................E+ £799
24mm F2.8 Asph M Black..........................E+ £1389
28mm F2 Asph M Black.......................... E++ £2249
28mm F2 Asph M Black 6bit.........E++ £1789 -2149
28mm F2.8 Asph M Black 6bit......E++ £1149 -1199
35mm F3.5 Summaron........................ 15_Day £249
35mm F2.4 Asph M Black 6bit...............Mint- £1099
35mm F3.5 Chrome (M3).............................E+ £349
35mm F2 Black ...........................................E+ £999
50mm F1.4 M Black 6bit ...........................E+ £1999
50mm F1.4 Asph M Black 6bit................ E++ £2299
50mm F1.4 Asph M Chrome 6bit .E++ - Mint- £2399
50mm F0.95 Asph M Black........................E+ £5899
50mm F2 M Black .................................... E++ £699
50mm F2.4 M Black 6bit .........................Mint- £999
75mm F2 Apo M Black 6bit....E++ - Mint- £1999 -2199
90mm F4 Lightweight Elmar.....E+ - E++ £499 -599
90mm F2.5 M Black 6bit .......................... E++ £749
90mm F2 M Black .......................................E+ £649
90mm F4 Elmar E39....................................E+ £299
90mm F2.8 Tele Elmarit (Version 1)............E+ £1099
90mm F2 Apo M Black...........................Mint- £2299
90mm F2.8 Black .......................................Exc £349
90mm F2.8 Chrome..........................Exc - E++ £299
90mm F4 Macro M Set 6bit .......................E+ £1749
135mm F3.4 Apo M Black..........................E+ £1599
Leica R 15mm F3.5 ROM...........................E+ £2399
19mm F2.8 ROM .......................................E+ £1799
19mm F2.8 R 3cam................................ E++ £1099
24mm F2.8 R 3cam.....................................E+ £599
24mm F2.8 ROM ...................................... E++ £999
35-70mm F4 ROM.................................... E++ £329
50mm F2 ROM ......................................... E++ £749
80-200mm F4 ROM..........................E++ £849 -899
80-200mm F4 R 3cam ............................. E++ £699
80mm F1.4 R 3cam........................ E+ £1589 -1599
90mm F2.8 R...............................................E+ £649
180mm F2.8 ROM .......................................E+ £949
180mm F2.8 R 3cam........................E++ £449 -499
180mm F2.8 Apo ROM............................ E++ £2399
280mm F2.8 Apo ROM............................ E++ £3499
280mm F2.8 Apo R 3cam....E+ - Mint- £1749 -2999
Mamiya 35mm F3.5 C .................................E+ £169
55mm F2.8 N ........................................... E++ £179
80mm F1.9 N ........................................... E++ £179
80mm F2.8 AF..........................E+ - E++ £189 -249
105-210mm F4.5 AF ULD.................E++ £349 -359
120mm F4 Macro A.....................................E+ £249
120mm F4 Macro MF ............................... E++ £549
150mm F3.5 AF................ 15_Day - E++ £169 -299
210mm F4 C...................................Exc - E+ £49 -99
150mm F3.5 N ....................................... E+ £79 -99
210mm F4 N .............................................. E++ £59
300mm F5.6 C............................E+ - E++ £99 -109
Zeiss Nikon 15mm F2.8 ZF.2...Mint- - Unused £1249 -1699
21mm F2.8 ZF.2 ..........................................E+ £679
21mm F2.8 ZF.......................................... E++ £689
21mm F2.8 Milvus ZF.2 ...........................Mint- £949
25mm F2.8 ZF.............................................E+ £329
35mm F2 ZF Distagon .............................. E++ £449
35mm F1.4 ZF.2 ....................................... E++ £839
50mm F2 ZF.2 Macro................................ E++ £649
85mm F1.4 ZF.........................................Mint- £599
135mm F2 Apo ZF.2................................ E++ £1049
Nikon Manual 8mm F2.8 AIS Fish ........... E++ £1299
15mm F3.5 AIS............................................E+ £549
28mm F3.5 AIS..............................................E+ £89
28mm F3.5 Non AI.......................Exc - E++ £69 -89
35-105mm F3.5-4.5 AIS................................E+ £59
24mm F2.8 AIS.........................E+ - E++ £199 -249
28mm F2.8 Series E ......................................E+ £49
28mm F3.5 AI................................................E+ £79
28mm F2.8 AIS......................................... E++ £199
35mm F1.4 AIS........................E+ - Mint- £499 -589
35mm F2.8 PC Shift.................................. E++ £249
35mm F2 AIS............................................ E++ £199
35-70mm F3.3-4.5 AIS..................................E+ £59
50mm F1.4 AIS......................................... E++ £179
50-300mm F4.5 AI ......................................E+ £299
55mm F3.5 Non AI Micro ................Exc - E+ £49 -79
55mm F2.8 AIS Micro ..............................Mint- £149
80-200mm F2.8 ED AIS........E+ - E++ £1499 -1999
85mm F1.4 AIS......................................... E++ £449
100-300mm F5.6 AIS ............................ 15_Day £59
105mm F1.8 AIS - Nikon MF.......................Exc £299
105mm F2.5 AIS....................................... E++ £249
120mm F4 Medical - Nikon MF.E+ - E++ £399 -499
180mm F2.8 ED AIS.....................................E+ £289
200mm F4 AIS.............................................E+ £129
200mm F5.6 Medical................E+ - E++ £269 -399
200mm F4 AI.................................................E+ £79
200mm F4 Non AI..........................................E+ £39
300mm F4.5 AI’D...........................................E+ £99
300mm F4.5 ED AI......................................Exc £149
400mm F5.6 ED AI.......................................E+ £349
400mm F4.5 Nikkor-Q Auto ...................... E++ £689
400mm F5.6 IFED AIS...............E+ - E++ £399 -599
500mm F8 Reflex ..................................... E++ £199
600mm F4 IFED AIS + TC301 Converter ......E+ £949
600mm F4 IFED AIS.....................................E+ £949
1000mm F11 Reflex - Nikon MF ............... E++ £789
Pentax 645 28-45mm F4.5 DA ED AW ..Mint- £2799 -2899
35mm F3.5 AL (IF) FA................................ E++ £749
45mm F2.8 A...............................................E+ £159
55mm F2.8 FA AL SDM AW......................Mint- £479
75mm F2.8 SMC A.........................................E+ £99
80-160mm F4.5 A .......................................E+ £239
80-160mm F4.5 FA................ 15_Day E+ £279 -399
150mm F3.5 A...............................................E+ £99
150-300mm F5.6 ED (IF) FA.........................E+ £379
200mm F4 A.............................E+ - E++ £149 -169
300mm F4 ED (IF) SMC-A*...........................E+ £499
1.4x Rear Converter A............................... E++ £149
Pentax 67 45mm F4 SMC .........E+ - E++ £249 -369
55-100mm F4.5 SMC..................................E+ £399
90-180mm F5.6 SMC..................................E+ £499
135mm F4 SMC Macro.............E+ - E++ £179 -219
200mm F4 Takumar....................E+ - E++ £89 -149
300mm F4 Takumar........................... Exc £159 -179
300mm F4 SMC...........................................E+ £149
120mm F3.5 Soft Focus............................ E++ £199
Pentax AF 14mm F2.8 SMC DA................. E++ £399
16-50mm F2.8 A* DA SDM15_Day- Mint- £249 -549
16-85mm F3.5-5.6 ED DC WR...................Mint £379
17-70mm F4 DA AL (IF) SDM.................... E++ £239
18-55mm F3.5-5.6 DA AL........................... E++ £29
28-80mm F3.5-5.6 FAJ AL.......................... E++ £49
28-200mm F3.8-5.6 FA IF AL...................... E++ £59
28-105mm F4-5.6 FA................................. E++ £79
35mm F2.4 DA AL.....................E++ - Mint- £69 -79
35mm F2.8 DA Macro HD........E+ - Mint- £299 -389
40mm F2.8 SMC DA XS...........E+ - Mint- £149 -159
50-200mm F4-5.6 DA ED WR............E+ - Mint- £79
50mm F2.8 SMC D FA Macro.................... E++ £199
50mm F1.8 SMC DA.................E++ - Mint- £49 -79
50mm F1.4 SMC FA.....................................E+ £149
50-135mm F2.8 DA* ED SDM................... E++ £449
55-300mm F4-5.8 ED WR HD................... E++ £179
55-300mm F4-5.8 DA ED.................E++ £149 -159
70mm F2.4 DA Limited Edition ....................E+ £249
75-300mm F4.5-5.8 FA J AL....................... E++ £39
85mm F2.8 SMC FA Soft Focus................. E++ £349
80-200mm F4.7-5.6 FA.................................E+ £49
100-300mm F5.6-6.7 MC - Pentax AF.......Mint- £49
100mm F2.8 D FA Macro.............................E+ £259
200mm F2.8 DA* ED (IF) SDM....E++ - Mint- £549 -599
Pentax Manual 24mm F2.8 SMC PK.......... E++ £149
28mm F2.8 SMC A.........................................E+ £65
28mm F2.8 SMC M.......................E+ - E++ £39 -59
35-80mm F4-5.6 SMC A...............E+ - E++ £15 -19
50mm F1.4 SMC M........................................E+ £69
35mm F2 SMC..................................... 15_Day £189
35-70mm F4 SMC A......................................E+ £59
50mm F1.7 SMC A.........................................E+ £59
50mm F1.7 SMC M.......................E+ - E++ £29 -59
50mm F2.8 SMC A Macro................... E+ £119 -149
50mm F4 SMC M Macro........................... E++ £129
55mm F1.8 SMC PK .............................. 15_Day £39
75-150mm F4 SMC M...................................E+ £19
135mm F3.5 SMC M......................................E+ £39
200mm F4 SMC M.........................................E+ £59
200mm F2.5 SMC PK ......................... E+ £199 -449
200mm F2.5 SMC........................................E+ £349
Rollei 6008 50mm F2.8 PQS .......................E+ £949
50mm F4 HFT Distagon...............................E+ £249
50mm F4 FLE PQ...................................... E++ £739
75-150mm F4.5 PQ Vario ...........................Exc £949
80mm F2.8 HFT Planar................................E+ £199
80mm F2.8 PQ Planar............................... E++ £299
120-600mm F5.6-8 MC............................ E++ £149
120mm F4 PQS Macro.............................. E++ £749
120mm F4 PQ Macro................................ E++ £579
150mm F4 EL........................................... E++ £399
150mm F4 HFT............................................E+ £199
150mm F4 PQS ...........................................E+ £499
150mm F4 PQ ..........................E+ - E++ £279 -299
180mm F2.8 PQ ....................................... E++ £939
250mm F5.6 PQ ..........................................E+ £449
350mm F5.6 PQ Tele Tessar...................Mint- £1099
Sigma Lenses
Canon EOS 8mm F3.5 EX DG Fisheye ....... E++ £449
10-20mm F4-5.6 EX DC HSM .................. E++ £179
15mm F2.8 EX DG Fisheye....E++ - Mint- £299 -319
12-24mm F4.5-5.6 EX DG HSM .......E++ £249 -269
17-35mm F2.8-4 EX HSM............................E+ £119
17-50mm F2.8 EX DC OS HSM ................. E++ £239
18-250mm F3.5-6.3 DC Macro OS HSM......E+ £159
18-50mm F2.8 EX DC............................... E++ £119
20mm F1.8 EX DG ................................... E++ £259
28mm F1.8 EX DG ................................... E++ £179
50mm F1.4 EX DG HSM....................... 15_Day £129
50mm F2.8 EX DG Macro.......................... E++ £129
55-200mm F4-5.6 DC ............................... E++ £39
70mm F2.8 EX DG Macro ......................... E++ £249
70-210mm F2.8 Apo AF ...................... 15_Day £129
70-200mm F2.8 Apo EX DG HSM.............. E++ £219
80-400mm F4.5-5.6 EX Apo DG OS.............E+ £289
100-300mm F4 Apo DG...............................E+ £219
105mm F2.8 Macro EX DG OS HSM.......... E++ £259
120-300mm F2.8 EX HSM APO DG ........... E++ £699
150-600mm F5-6.3 DG OS HSM Sport ..... E++ £899
180mm F2.8 Apo Macro .......................... E++ £159
300mm F2.8 APO EX DG HSM...E++ - Mint £1349 -1399
300mm F4 Apo AF .............................. 15_Day £159
400mm F5.6 Apo AF .............................Unused £199
500mm F4.5 APO AF....................................E+ £449
800mm F5.6 Apo ........................................E+ £649
800mm F5.6 APO EX DG HSM ................ E++ £3499
Nikon AF 4.5mm F2.8 EX DC Fisheye HSM E++ £399
10-20mm F4-5.6 EX DC HSM .................. E++ £159
10-20mm F3.5 EX DC HSM ...................... E++ £219
15mm F2.8 EX DG Fisheye .......E+ - E++ £299 -349
17-70mm F2.8-4 DC OS Macro HSM C .... E++ £219
17-50mm F2.8 EX DC OS HSM ................ E++ £219
18-50mm F2.8 EX .................................. E++ £129
24-70mm F2.8 IF EX DG HSM .................. E++ £349
50-150mm F2.8 Apo EX DC HSM ................E+ £239
50mm F1.4 DG HSM ........................E++ £189 -199
70-200mm F2.8 Apo EX DG HSM Macro .. E++ £219
85mm F1.4 EX DG HSM ..........................Mint- £389
100-300mm F4 Apo IF ................................E+ £269
105mm F2.8 EX DG Macro ....................... E++ £179
150-500mm F5-6.3 APO DG OS HSM ..Exc - E++ £259 -449
180mm F3.5 Apo Macro IF ..........................E+ £299
200-500mm F2.8 APO EX DG ................. E++ £8999
Sony AF 10-20mm F4-5.6 EX DC HSM - Sony AF.E++ £179
10-20mm F4-5.6 EX DC - Sony AF............ E++ £149
10-20mm F3.5 EX DC HSM - Sony AF..........E+ £199
17-70mm F2.8-4.5 DC Macro - Sony AF......E+ £119
20mm F1.8 EX DG - Sony AF .................... E++ £199
24-70mm F2.8 IF EX DG HSM - Sony AF... E++ £349
28-80mm F3.5-5.6 Asph - Sony AF ...............E+ £39
28-200mm F4-5.6 - Sony AF.....................Mint- £39
28mm F1.8 EX DG - Sony AF ............E++ £149 -199
300mm F2.8 Apo EX - Sony/Minolta ......... E++ £799
400mm F5.6 - Sony AF..................................E+ £99
600mm F8 Reflex - Sony AF ..........................E+ £99
Sony E 12mm F2.8 ED AS NCS FE Fisheye - Sony E...E++ £229
12-24mm F4 G FE .................................Mint- £1089
16mm F2.8 E.............................................. E++ £79
18-105mm F4 G OSS E................................E+ £259
18-200mm F3.5-6.3 OSS LE..................... E++ £349
18mm F2.8 Batis Distagon T* .................Mint- £899
19mm F2.8 DN A - Silver ..............................E+ £79
20mm F1.4 DG HSM Art ..............................E+ £449
24-70mm F2.8 GM FE ...........................Mint- £1449
24-70mm F4 FE ZA OSS...........E+ - E++ £449 -519
24mm F1.8 ZA E...............................E++ £419 -499
25mm F2 Batis Distagon T* ..E++ - Mint- £699 -779
28mm F2 FE............................................. E++ £259
30mm F3.5 Macro E................................. E++ £129
30mm F2.8 DN A - Silver...............................E+ £79
32mm F1.8 Touit .....................................Mint- £329
35mm F2.8 FE ZA ............................Mint- £349 -439
35mm F1.8 E OSS .......................................E+ £199
35mm F1.4 FE T* ZA................................Mint- £959
35mm F1.4 DG HSM Art............................ E++ £479
35mm F1.4 AF FE .................................... E++ £429
35mm F2 Loxia ....................E++ - Mint- £549 -599
50mm F1.8 FE........................................Mint- £129
50mm F2 Loxia Planar T*......E++ - Mint- £475 -489
55-210mm F4.5-6.3 OSS ......................... E++ £129
85mm F1.8 Batis Sonnar T*.....................Mint- £749
85mm F1.4 GM FE.................................Mint- £1149
85mm F1.4 DG HSM Art ........................... Mint £699
70-200mm F2.8 GM FE .......................... E++ £1899
70-300mm F4.5-5.6 G OSS FE ................. E++ £849
85mm F2.4 Loxia Distagon T*..................Mint- £789
90mm F2.8 Macro G OSS FE..................... E++ £749
105mm F1.4 DG HSM Art ........................Mint £1149
135mm F1.8 DG HSM Art ......................... E++ £869
135mm F1.8 G Master ..........................Mint- £1389
100-400mm F4.5-5.6 OSS GM FE .........Mint- £1899
Digital SLR
Canon EOS 1DX II Body Only................... E++ £3599
EOS 1DX Body Only ...................................E+ £2099
EOS 5DS Body Only ..............E+ - E++ £1249 -1299
EOS 5D III Body Only...........15_DayE++ £799 -1049
EOS 5D II Body Only.........15_Day - Mint- £299 -449
EOS 7D II Body Only.................................. E++ £679
EOS 7D + BG-E7 Grip ...............E+ - E++ £249 -289
EOS 7D Body Only ............................ E+ - E++ £219
EOS 70D Body Only ..................E+ - E++ £349 -369
EOS 60D Body + BG-E9 Grip........................E+ £249
EOS 60D Body Only .....................................E+ £219
EOS 760D Body Only ................................ E++ £349
EOS 750D Body Only ........................E++ £319 -329
EOS 600D Body Only ...............................Mint- £159
EOS 1000D Body Only ...................................E+ £69
EOS 500D + BG-E5 Grip ..............................E+ £129
EOS 500D Body + BG-E5 Grip......................E+ £129
EOS 450D + 18-55mm IS............................E+ £129
EOS 450D Body Only .....................................E+ £69
EOS 400D + 18-55mm.......................... 15_Day £69
Oiympus E E5 Body + HLD4 Grip .............. E++ £499
E5 Body Only ............................................ E++ £449
E3 Body Only ...............................................E+ £179
E1 Body Only ......................................... 15_Day £99
E30 Body Only .............................................E+ £159
E620 Body + HLD5 Grip............................ E++ £199
E620 + 40-150mm......................................E+ £149
E600 + 14-42mm........................................E+ £129
E510 + 14-42mm..................15_Day - E+ £59 -129
E510 + 18-180mm......................................E+ £159
E450 + 14-42mm + 40-150mm............... E++ £159
E420 + 14-42mm + 40-150mm..................E+ £159
Nikon D4S Body Only.... 15_Day - E++ £1699 -2249
D4 Body Only.............................................E+ £1800
D3X Body Only..........................E+ - E++ £749 -799
D3S Body Only.......................................... E++ £779
D3 Body Only....................................... 15_Day £249
D810 Body Only......................E+ - E++ £999 -1150
D800E Body + MB-D12 Grip..................... E++ £899
D800E Body Only...................................... E++ £789
D800 Body Only.................................. E+ £689 -749
D750 Body Only.................15_Da/ - E++ £599 -889
D700 Body Only..................... 15_Day/E+ £199 -329
D700 Body + MB-D10 Grip.......E+ - E++ £349 -389
D600 Body + MB-D14 Grip..........................E+ £489
D600 Body Only.......................E+ - Mint- £479 -599
D500 Body Only........................................ E++ £979
D300S Body Only.........................................E+ £199
D300 + MB-D10 Grip...........15_Day - E+ £129 -179
D200 IR Body Only............................... 15_Day £179
D7500 Body Only.................. Mint- - Mint £649 -699
D7200 Body Only..................E++ - Mint- £509 -519
D7100 Body Only...................................... E++ £349
D7000 Body Only..............................E++ £169 -219
D5100 Body Only......................E+ - E++ £129 -149
Film Bodies
Canon FD F1NAE Black Body Only............. E++ £179
F1N AE Body Only................................ 15_Day £159
F-A Body Only - Black..................................E+ £299
AE1 Black Body Only.....................................Exc £49
AE1 Chrome Body Only.................................Exc £49
AE1P Chrome + 50mm F1.8..........................E+ £69
FTB QL Chrome + 50mm F1.8.......................E+ £79
Contax NX + 28-80mm........................ 15_Day £199
NX Body Only............................................ E++ £149
AX Body Only ............................................ E++ £199
RX Body Only...............................................E+ £179
Nikon Manual FM3A Body Only....................E+ £399
F2A Body Only - Black .................................E+ £299
F2A Body Only - Chrome...........E+ - E++ £199 -399
F2 Photomic SB Body Only - Chrome...........E+ £299
F2s Photomic Body Only - Black ..................E+ £199
Red Dot F Chrome Body Only.......................E+ £899
FM2N Chrome Body Only.......................... E++ £379
FM2 Chrome Body Only ............................ E++ £249
FM Black Body Only.......................................E+ £99
FE Black Body Only........................................E+ £79
FE2 Chrome Body Only ............................. E++ £199
FE10 Chrome Body Only ................................E+ £89
Nikon AF F5 Ann Body Only...............E++ £549 -599
F5 Body Only ............................E+ - E++ £299 -349
F4 Body Only ...............................................E+ £179
F90X + MB10 Grip................................. 15_Day £59
F65 Body Only - Silver ...................................E+ £29
F65 Chrome + 28-80mm...............................E+ £49
F65 + 28-100mm - Silver............E+ - Mint- £29 -69
F60 Body Only - Silver ........................ E+ - E++ £19
F55 Chrome Body Only ............................... E++ £29
F50 Body Only - Black ............................ E+ £15 -19
F601 Body Only .............................................E+ £35
Minolta MD X300 Chrome + 50mm F1.7........E+ £59
X300 Black Body Only......................... E+ - E++ £59
XG1 Chrome Body Only..................................E+ £49
XGM Chrome Body Only.......................... E+ £39 -49
SRT101 Chrome Body Only............................E+ £59
SRT100X Chrome Body Only..........................E+ £59
F65 Quartz Date Body Only............................E+ £29
Olympus OM OM3 Black Body Only..............E+ £449
OM2SP Body Only - Black.............Exc - E+ £89 -199
OM2N Chrome + 50mm F1.8 + T20 flash..15_Day £89
OM1N Black + 50mm F1.8..........................E+ £119
OM40 Body + T32 Flash - Black ....................E+ £59
OM40 Body Only - Black................................E+ £59
OM20 Body Only - Chrome ......................... E++ £59
OM10 Chrome + 50mm F1.8.........................E+ £59
OM10 Body Only - Chrome ............................E+ £49
Pentax PK LX Body + FA1 Prism...................E+ £199
LX + FA1 Prism............................................E+ £239
MX Chrome + 50mm F1.7 ...........................E+ £119
ME Chrome + 50mm F1.7 + AF200T............Exc £59
MV1 Black + 50mm F2 + AF160................. E++ £79
Program A Body Only.....................................E+ £49
Super A + 50mm F1.7 ..................................Exc £99
ME-Super Chrome + 50mm F2................... E++ £99
ME-F + 50mm F2 - Chrome...........................E+ £85
K1000 Chrome + 50mm F2................... 15_Day £49
KX Chrome + 55mm F1.8............................E+ £119
KM Chrome + 55mm F1.8 SMC.................. E++ £99
P50 + 50mm F2 ............................................E+ £79
P30T Body + AF280T Flash......................... E++ £69
Digital Compacts
Canon Powershot G1x III ..........................Mint- £749
Powershot G1x II......................................Mint- £249
PowerShot G5X II.....................................Mint- £699
Powershot G3x - Black.............................Mint- £489
Powershot G16 ......................................... E++ £179
Powershot SX420 IS ..................................Mint- £89
Fujifilm X100F - Black..............................Mint- £799
X100T - Silver...........................E+ - E++ £519 -589
X100T - Black...........................E+ - E++ £519 -589
X100s - Silver...........................E+ - E++ £329 -449
Leica X Vario + Access.............................. E++ £799
V-Lux (type 114) - Black ........................... E++ £599
DLux (Typ 109) + Handgrip....................... E++ £599
Q (Typ 116) - Black...........E++ - Mint- £2499 -2599
Panasonic FZ2000 - Black .......................Mint- £569
DMC FZ330 - Black .....................................E+ £269
DMC TZ70 - Black........................................E+ £139
Ricoh GR Digital................................... 15_Day £199
GXR + 24-85mm ...................................... E++ £349
GF-1 TTL ..................................E++ - Mint- £69 -79
GR II + GW3 Wide + GT1 .........................Mint- £589
Sigma DP1 Quattro + Viewfinder..............Mint- £499
DP1 Merrill ............................................... E++ £379
Sony DSC W170.............................................E+ £39
DSC RX10...........................15_Day/ - E+ £299 -349
DSC RX10 III ............................................. E++ £739
DSC RX100............................................... E++ £199
DSC RX100 III .....................15_Day/ - E+ £199 -339
DSC RX100 IV..............................................E+ £369
DSC RX100 V ............................E+ - E++ £499 -549
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WINNERS OF THIS YEARS GOOD SERVICE AWARDS IN BOTH AMATEUR PHOTOGRAPHER AND PRACTICAL PHOTOGRAPHY

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Store and protect your camera or lens from dirt and scratches.
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“ A Jewel In
Fotospeed’s crown
Practical Photography - Issue: November 2019 “
Platinum Baryta 300, awarded best
in test in Practical Photography
This 100% acid-free, Fine Art paper has a smooth
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When your interests move on, move your
kit on too. Cash in on your camera gear.
Get a free instant quote.
Trusted by 250,000 creatives. Sell or trade in.
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 To advertise here, call Samuel Shaw: 07970 615618 Email: samuel.shaw@ti-media.com
Wanted

CLASSIFIED We have lots more in stock.

Please phone or see details
& pictures on our website
Adams Idento, qtr. plate, 9in. f6.3 Zeiss Patent + 3 plate holders, case etc. Condition 4-5/G ................£225.00
Asahiflex IA + 50/3.5 Takumar + case. 4/E...........................................................................................£175.00
Accessories Calypso + Som Berthiot 35/2.8. 5/E The first commercially successful underwater camera. c.1960 ....£499.00
Cambinox, 10x14mm subminiature camera built into high quality 7x35 binoculars. Intro. c.1956.......£549.00
Canon 7s body. 5/E. Full working order................................................................................................£199.00
Dallmeyer 13.5cm f4.5 Dalrac, for Reid (etc.), Reid & Sigrist logo + British military engravings. 4/D £499.00
Hasselblad SWC/M, chrome, 38/2.8 Biogon T* + A12 magazine + box. Condition 4-5/D. c.1980.......£1649.00
Houghton Triple Victo Stereo, 1/2-plate + Aldis Anastigmat lenses. 4/G .............................................£749.00
Kine Exakta I (round magnifier) + 5.4cm f3.5 Primotar. 5/J. The first 35mm SLR camera.................£749.00
The Kodak (replica) + box, instructions & booklet. c.1988 .................................................................£195.00
Kodak Regent, 10.5cm f4.5 Xenar, Compur + 6x4.5 masks, box & Czech (!) instructions. 4/G ...........£175.00
Leica II (D), black + 50/3.5 ‘11 o’clock’ nickel Elmar + case. 5/E. c.1932...........................................£495.00
Leica IIIa + 5cm f2 Summar + cap & case. 4-5/G. c.1933....................................................................£349.00
Leica Ic conv. to IIIf b-d, d- body + cap. 4-5/D. c.1951 ........................................................................£275.00
Leica Ig body. 4-5/D. c.1957. One of the first 150 Ig cameras manufactured.......................................£349.00
Leitz 2.8cm f6.3 Hektor + caps. 4/E. c.1937.........................................................................................£435.00
Leitz 3.5cm f3.5 Elmar + caps. 3-4/E. Hard to find in this condition. c.1938 .......................................£275.00
Leitz 3.5cm f3.5 Summaron, E39 + caps. 4/E. c.1958 .........................................................................£295.00
Leica 50mm f2 Summicron (IV), chrome, screw. 4-5/D Very rare - only 850 manufactured. c.2000 £1499.00
Leitz 9cm f4 ‘fat’ Elmar + caps. 5/E. Rare - less than 2,500 were manufactured. c.1932.....................£375.00
Leitz 10.5cm f6.3 ‘Mountain’ Elmar. 5/E. c.1932................................................................................£475.00
Meagher tailboard, 1/4 plate + Ross No.4 6 in. Symmetrical. 4-5/E ....................................................£499.00
Minolta Auto-Press, 105/3.5 Promar, ‘copy’ of Plaubel Makina. 4-5/G. Rare.......................................£349.00
Newman & Guardia Sibyl Vitesse, 112mm f3.5 Xpres. 5/G. Rare - less than 100 manufactured ........£375.00
Nikon S3 ‘Olympic’ (black) + 50/1.4 Nikkor-S ‘Olympic’ + hood & cap. 4-5/D. Rare. c.1964............£1995.00
Nikkor 3.5cm f3.5 W-Nikkor.C, Leica screw mount + cap & case. 4/D ...............................................£275.00
Nikkor-P 10.5cm f2.5, for rangefinder + caps. 4-5/D ...........................................................................£225.00
PC-Nikkor 28/4 shift lens + caps. 3-4/D................................................................................................£249.00
Nikon 25/1.4 Cine-Nikkor, C-mount. 4-5/D..........................................................................................£125.00
Nikon 50/1.8 Cine-Nikkor, C-mount + caps & box. 4/D .......................................................................£149.00
Nikon 100/2.8 Cine-Nikkor, C-mount + caps. 4-5/D.............................................................................£149.00
Reid I body, Royal Navy ‘Periscope’ camera + T-H. 2 inch f2, ‘AP 8886’ marking. 4-5/J. Very rare...£2150.00
Robot OS 35F electronic 35mm surveillance spy camera, + wireless remote. 4-5/D.........................£649.00
Rokuwa (Tokyo) Stereo Rocca, for 23x24mm on 120 film. 4/E. c.1955...............................................£249.00
Rolleiflex ‘Original’, 7.5cm f3.8 Tessar + caps. 5/E. Full working order...............................................£199.00
Rolleiflex 4x4, 2nd version, 6cm f2.8 Tessar + case 5/E. Rare - only 1,680 manufactured...................£295.00
Rolleiflex SL66 fit Carl Zeiss 50/4 Distagon + caps. 5-6/D..................................................................£199.00
Rolleiflex SL66 fit Rodenstock Imagon 200mm H=5.8 + 3 diffusion discs & ND filter. 5/D.................£299.00
Sanderson ‘Tropical’ model, 5x4 + No.7 f7.7 Aldis. 4/G. One of the best we have seen......................£799.00
Seroco 5x7 folding plate camera, Wollensak 5x7 Extra Rapid Convertible. 4/G...................................£249.00
Voigtlander Bergheil 6.5x9cm, green + 10.5cm f4.5 Heliar, Compur + 3 plate holders. 4-5/E.............£195.00
Voigtlander Bessa II, very early, 10.5cm f4.5 Heliar, Compur-Rapid. 5/E. Possibly a prototype.........£495.00
Voigtlander 40/2 Skopagon (0.5m) for Bessamatic/Ultramatic + caps & case. 4/D .............................£699.00
Voigtlander Prominent prototype + 50/2 Ultron. 4-5/E. See our website for details and photos..........£995.00
Voigtlander Prominent II + 50/2 Ultron + case. 4-5/G..........................................................................£395.00

Equipment to sell?
Great news! The global market for quality digital and film
cameras, lenses and accessories is stronger than ever!
With our worldwide network of customers we're paying
the highest prices for Nikon, Canon, Leica, Fuji, Contax,
Leitz 13.5cm f4.5 Hektor, black + caps. 3/E. c.1934. Near mint. Very hard to find in this condition....£175.00
Zeiss 21/2.8 Biogon ZM T*, silver, Leica M, 6-bit coded + caps, box & hood. 3/E. Near mint..............£499.00
Leitz 90/2.8 Tele-Elmarit + 11250 hood & caps. 5/E. c.1973...............................................................£299.00
Leitz 135/2.8 Elmarit (II) + caps & box. 4/E c.1977.............................................................................£215.00
Leitz ‘SUOOQ’ 2.8cm folding finder, chrome. 4-5/D............................................................................£185.00
Leitz ‘MOOLY’ motor. 5/E (no linking arm) ..........................................................................................£429.00
Leitz ‘OIDYO’ finder for ‘STEMAR’ stereo. 3/D. Very rare finder in near mint condition........................£299.00
Leitz ‘PLOOT’ + 20cm f4.5 Telyt, coated + hood & caps + double cable release + case. 4/E ...............£235.00
Leitz 180/3.4 Apo-Telyt, 3-cam + caps. 5/D. c.1980.............................................................................£449.00
Leotax S + 5cm f3.5 Simlar, Leica copy. 4-5/E ...................................................................................£249.00
Voigtlander Stereflektoskop, 45x107mm, first (c.1914) version, 62mm f4.5 Heliars + case. 4-5/G ....£195.00
Voigtlander 12/5.6 Ultra Wide-Heliar, black, screw + hood, caps, finder, box + case. 3-4/D ..............£375.00
Voigtlander 50mm f1.5 Nokton Aspherical, black, Leica screw mount + hood & caps. 5/D ................£265.00
Zeiss Contarex Super (1st version) + 50/2 Blitz Planar + cap. 4/E .......................................................£499.00
Zeiss 21/4.5 Biogon for Contarex, cap, keeper & 21mm finder, 435. 4/E. c.1962................................£649.00
Zeiss Contax I (C or version 4) + 5cm f2.8 Tessar. 5/E ........................................................................£299.00
Zeiss 21/4.5 Biogon for Contax + cap & keeper. 3-4/D ........................................................................£549.00
Zeiss 2.8cm f8 Tessar for Contax, chrome. 4/E. c.1936.......................................................................£199.00
Zeiss Duchessa, 4.5x6cm, 7.5cm f4.5 Tessar, Compur. 4/G. Rare small format camera......................£175.00
Zeiss Nettax + 5cm f2.8 Tessar. 5-6/J.................................................................................................£195.00

Olympus, Panasonic, Sony, Zeiss, Voigtlander, Konica,
Minolta, Sigma, Tamron, Tokina, Hasselblad, Pentax,
Bronica, Mamiya and other top-quality brands.
Camera collections wanted. We travel all over the UK and Europe buying collectable cameras.
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(Callers by appointment only please)

Free Collection
Contact Jonathan Harris for an immediate quote: Black & White Processing Wanted
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or phone 01277 631353 PROFESSIONAL B/W COLOUR PRINTING
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WANTED
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Film Processing Printing

Top Quality 35mm / 120 C41 HARRISON MARKS,

DEVELOP & SCAN JUNE PALMER, PAMELA GREEN,
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 21-28 December 2019 113

 Photo Critique

Final Analysis
Peter Dench considers...
Wintershall Nativity, 2002, by Peter Dench

I
n 2002, I was

© PETER DENCH
privileged to be on
assignment for the
Telegraph Magazine,
photographing rehearsals for
the Wintershall nativity play,
arguably the most spectacular
re-enactment of the birth of
Christ on show over Christmas
in England. Set in an 18th
century barn on a hill in the
1,000-acre Guildford estate
(that’s estate as in Brideshead
Revisited not council), you
didn’t see shepherds wearing
dressing gowns with a tea
towel on their head. The sheep
were real and the biblical
clothes authentic. Joseph and
Mary emerged dramatically
from behind their Toyota
Corolla on a real donkey called
Scamp. The three kings arrived
on real horses. They used to
ride in on camels but they were
phased out after the foot and
mouth epidemic.

Religious conversion
The Wintershall nativity is the
result of an extraordinary
religious conversion for the
estate owner and property
investor, Peter Hutley, after he
visited Međugorje in south-east
Bosnia, an unofficial place of
Catholic pilgrimage since the
Virgin Mary allegedly appeared
on Apparition Hill in 1981. The
Holy Spirit helped Peter write
his nativity (a bold claim). He
also casts, produces and narrates
it. Thousands of people flock
each year to see it but he can’t
control everything about it.
Christmas always brings
friction and quarrels;
backstage at the Wintershall
nativity was no exception.
Elizabeth was miffed after
being told she would not be
playing the inn-keeper. Roman
soldier Jonathan was
disgruntled after being refused
a horse. Ashley got the hump
when his lines were cut.
Someone had moved George’s
pack of custard creams despite
him repeatedly telling them
not to. Archangel Gabriel,
Kathy, dressed in a diaphanous
dress and white feather wings,
puffed hastily on a Marlboro
Light as she was about to be
hoisted 20 feet up into a windy
tree. It was more an episode of
British television sitcom The
Good Life than the God life. I
focused on photographing the
satire more than the spiritual.
When the contact sheets
came back from the film-
processing lab, I concluded I’d
done a good job and
Chinagraphed my edit. I didn’t
choose this photograph – at the
time I didn’t think it very good.
Telegraph Magazine picture
editor Cheryl Newman did and
ran it as the double-page
opener. It taught me an early
career lesson to value the job
that picture editors do.
I’ve grown fond of this image.
A real baby Jesus (Milly-May)
rests in her mother Libby’s arms
after being breastfed through
holes cut in her robes by a
thoughtful costume designer.
Angel, James, eyes closed, softly
rehearses his lines. It’s an
image of tranquility, intimacy,
reflection and life.
I hope this Christmas,
in-between the Bloody Marys,
Premier League sports
fixtures, pyramids of Ferrero
Rocher and tinsel-wearing
aunts, that you find a moment
to have your own photographic
epiphany. A miracle moment
that elevates you above and
beyond the warm buzz of
mulled wine. A merry
Christmas to you dear
reader, each and every one.

Peter Dench is a photographer, writer, curator and presenter based in London. He is one of the co-curators of Photo North in Harrogate and has been exhibited dozens of times. He has published a number
of books including The Dench Dozen: Great Britons of Photography Vol 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England and England Uncensored. Visit peterdench.com

114 21-28 December 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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