ONLY

£2.99
Fujifilm X1o0st0deV
Saturday 25 April 2020

sirable
One of the world’s m
e ra s edges closer to perfection
TESTED cam

Passionate about photography since 1884

Nature
on your
On the
record
Music photography

doorstep
How to get better photos of
legends reflect on
the rise and fall of
the album cover

flora and fauna close to home

Canon EOS R5
All you need to know about
Canon’s forthcoming pro
spec mirrorless camera

Football
stories
Peter Dench
on grass-roots
soccer culture
Harry Borden
on meeting
David Beckham
Plus Robert Mapplethorpe ● Jon Bentley ● Samsung SSD drive ● Kodak Duaflex
 7days
A week in photography
We have often extolled the experts on the nature within our own square
virtues of seeking out photo mile. I hope this week’s guide inspires you.
opportunities on your We also look back to the glory days of vinyl,
COVER PICTURE © EMILY ENDEAN/WWW.IGPOTY.COM

doorstep, and showcased the and the role that album covers played in
work of photographers who popular culture, with three legends who shot
have reaped the rewards of concentrating on some of the most iconic covers of all time.
the wildlife and flora in their neighbourhood. Don’t forget that you can get AP delivered,
Now spring is here, and we have no choice and save money, by subscribing – if you don’t
but to stay local, there will never be a better already. You’ll find the details on page 57.
opportunity to follow their lead and become Nigel Atherton, Editor
Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
This week’s Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.

cover image Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com.
Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.
This week’s cover image is amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
by Emily Endean, and was co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
taken in Dorset. Read all

This week in 1935

about it on page 16.

In this issue TREASURES FROM THE HULTON ARCHIVE

3 7 days
12 It’s good to share
14 Nature on
your doorstep
21 Inbox
24 On the record
28 Shared goals
32 On the scrapheap
34 What’s in my bag
36 When Harry met
38 Reader portfolio
40 Transform
your walls
42 Join the club
44 Fujifilm X100V
review
51 Canon EOS R5
54 Accessories
© GETTY IMAGES

57 Tech talk
66 Legends of
photography Football Supporter by S.C.Smith/Topical Press Agency
A WEST Bromwich Albion FC fan waves his rattle and
cheers as he makes his way to Wembley Stadium for
the FA Cup final between West Bromwich Albion and
Sheffield Wednesday. The match reports suggest it
was quite an exciting game. West Bromwich being the
favourites before the game, the winner was Sheffield
Wednesday, with a score of 4-2. Looking like extra
time was very likely, Ellis Rimmer scored the final two
of Wednesday’s goals, both in the final five minutes of
the match – he’d also scored in every round of that
year’s FA Cup. This photograph is just one of the many
in the Hulton Archive from the Topical Press Agency.
The archive acquired the bulk of Topical’s collection
after it went bankrupt in 1957.

The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company
in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.
4 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 BIG
picture Mammal Photographer
of the Year winners
revealed
THE ANNUAL photographic
competition run by the Mammal
Society has announced its
winners. The overall prize went
to Roger Cox from East London
for his picture of a fox shot
through a windscreen. This
image displayed here, taken by
Kate McRae, was the runner-up
and depicts a mountain hare
rolling in the snow. Broadcaster
and Mammal Society patron Zeb
Soanes said of the picture,
‘Kate’s “Rolling Mountain Hare”
has everything: photographic
skill, terrific composition and a
sense of drama and character in
its subject. It’s a superb picture.’
For more information on the
Mammal Society – including
the competition – visit
mammal.org.uk.
© MAMMAL SOCIETY / KATE MCRAE

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 5

 Words & numbers Tamron completes
These disposable E-mount zoom trilogy
gloves quickly AFTER announcing its development late
last year, Tamron has officially launched its
fluorine coating on the front element.
Autofocus employs a pair of newly developed
came to represent large-aperture telezoom for Sony full-
frame mirrorless cameras, the 70-180mm
VXD (Voice-coil eXtreme-torqueDrive) linear
drive units, with a floating focus design for high
the sheer scale F/2.8 Di III VXD. It follows on from the firm’s
17-28mm f/2.8 and 28-75mm f/2.8 Di III
image quality at all distances, down to a
minimum of 85cm throughout the zoom
of the public RXD designs, completing a set of standard,
wideangle and telephoto optics. By adopting
range. Switch to manual focus, and it’s possible
to focus as close as 28cm at the 70mm
health crisis the same design philosophy, with a zoom range
that’s slightly shorter than usual for its class, it’s
setting, giving half life-size magnification,
although with a significant drop in peripheral
Dan Giannopoulos impressively compact and lightweight. Indeed sharpness. The lens is fully compatible with
UK-based documentary photographer at 149mm long, 81mm in diameter and 810g features such as Eye AF, Direct Manual Focus,
on his project to shoot discarded in weight, the lens is notably smaller than and in-camera lens corrections.
rubber gloves in Nottingham Sony’s FE 70-200mm f/4 G OSS, despite its The Tamron 70-180mm F/2.8 Di III VXD is
stop-faster aperture. due to go on sale in the middle of May, with a
Key features include a 67mm filter thread price of £1,349.99.
that’s shared with its f/2.8 siblings; a 9-blade
SOURCE: WIRED

diaphragm; and moisture-resistant

$75k
construction, along with a water-repellent

Tamron’s17-28mm, 28-75mm
and 70-180mm F/2.8 (right)

The reward given to security

researcher Ryan Pickren for discovering
an iOS and MacOS flaw that could
allow anyone to access the camera via
Safari to spy on the user

Grays of Westminster bags major award

GRAYS of Westminster, the used Nikon
specialist based in central London, has been
named Retailer of the Year by long-established
photographic trade journal, BPI News. The
journal cited the retailer’s commitment to
customer care, which was also a key factor in it
© GRAYS OF WESTMINSTER

Subscribe to
wining AP’s coveted Platinum Good Service
Award 2020. This year is also the 35th
anniversary of the retail side of the business.
Asked how Grays of Westminster has been
able to attract and maintain such a loyal Grays of Westminster: awarded Retailer of the Year
customer base over the years, owner Gray
Levett quotes his business mantra: ‘The coronavirus lockdown. For the latest updates,
answer’s yes, now what’s the question,’ BPI see www.facebook.com/graysofwestminster. In
News reported. addition, Grays publishes Nikon Owner

SAVE 35%
*
Grays of Westminster is also currently running magazine, which Nikon fans can find out more
a series of live streams on YouTube during the about at www.graysofwestminster.co.uk.

Visit amateurphotographersubs.co.uk/63AE. For the latest news visit www.amateurphotographer.co.uk

* when you pay by UK Direct Debit

6 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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

Buy. Sell. Trade. Change gear.

The Silence of Dogs in Cars
By Martin Usborne
T
aking the pictures from this
book at face value you’d be
forgiven for assuming that the
A collection of clever set-up photographer – Martin
Usborne – had stumbled across myriad
images of dogs in cars harks dog breeds all abandoned and lonely in
their owners’ cars.
back to the photographer’s Fortunately for animal lovers everywhere,
the situations are all set-ups. Martin scouted
childhood experiences. the cars, leaving notes on the windscreens
Amy Davies finds out more with details of what he wanted to do and
how the owners could contact him.
Casting dogs often involved running after
them in parks – amazingly, almost
everybody said yes to what might
BOOK Hoxton Mini Press, £12.95, hardback, 96 pages, ISBN: 978-1-910566-67-1 ★★★★★ otherwise seem a bizarre request.

8 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 ‘Casting dogs often
involved running after
them in parks – almost
everybody said yes’
Once cars and dogs were found, the
dedication went further still. Each image
was planned out over several whiteboards
(images of which are at the back of the
book), with post-it notes, scribbles, arrows
and detailed diagrams.
The point of all this? Martin wanted to
explore feelings associated to a childhood
experience of being left in a car himself
– probably only for a few minutes while a
parent went to the supermarket. He
says, ‘I wondered if anyone would come
back. In a child’s mind it is possible to be
alone forever. Around the same age, I
began to develop a strong affinity with
animals – in particular their plight at the
hands of humans. I saw a TV
documentary that included footage of a
dog being put in a plastic bag and kicked.
What appalled me most was that the dog
could not speak.’ It’s these two
experiences that Martin says have ended
up coming out in his photography.
All in all, the results are fantastic. Being
a dog lover myself, I will always
immediately volunteer to review any book
which boasts a high proportion of canine
photographs. This book is one of the best
I’ve seen in recent years, with a mixture of
cinematic and amazingly well-thought-
out and executed images, with just the
right amount of humour thrown in for
good measure.
The book is published by Hoxton Mini
Press, whose typical MO is to produce
ALL P CTURES © MART N USBORNE
high-quality books at affordable prices –
you can get hold of this fantastic little
volume for just £12.95, which certainly
gives me an extra reason to recommend
‘Prospero’
this book very highly.
‘Milo’
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020
Also out now
The latest and best books from the
world of photography
BOOK
Robert Mapplethorpe
By Mark Holborn, Dimitri Levas, Patti Smith,
Andrew Sullivan and Arthur C Danto. £125,
Phaidon, 384 pages, hardback.
ISBN 9781838660208
THE MOST comprehensive collection
of legendary photographer Robert
Mapplethorpe’s work, this updated
edition from Phaidon brings together
nudes, self-portraits, still-life florals, a
selection of his colour photography
and his controversial X Portfolio.
First published in 1992 by Random House, this new
edition has been redesigned and resequenced,
including dozens of photographs not found in the
original edition. The author Mark Holborn worked on
the original volume, collaborating with the Robert
Mapplethorpe Foundation, while Dimitri Levas is an art
director who worked closely with Mapplethorpe.
Writer, performer and visual artist Patti Smith has
written the foreword, while there are also essays by
Andrew Sullivan and Arthur C Danto.
If you’re a fan of classic photography and want the
ultimate collection this is a fantastic book – there’s no
denying that. While it’s definitely not a budget buy, it’s
a beautiful thing and something that fans of the
photographer and the genre are likely to treasure. Flip
to the back page to learn more about Mapplethorpe in
this week’s Legends column. ★★★★★ Amy Davies
BOOK
Freedom or Death
by Gideon Mendel
GOST Books, £35, ISBN: 978-1-910401-39-2,
hardback, 176 pages
THIRTY years ago, photographer
Gideon Mendel left a box of negatives
and transparencies in storage in a
friend’s garage in Johannesburg. At
some point the box was rained on and
the top layers damaged. This random
act and discovery led to Mendel revisiting and
re-engaging with his archives, and the eventual
creation of his latest book, Freedom or Death.
Divided into three sections, each part uses different
interventions to original images from Mendel’s time as
a so-called ‘struggle’ photographer in South Africa. As
well as the damaged images, there are photographs
with writing and drawings by the Argentinian artist
Marcelo Brodsky, plus vintage working press prints
with caption information, crop marks, copyright labels
and so on. It’s an intriguing look at what we can do
with photographs which may otherwise be long-since
forgotten. See our previous issue (AP 18 April) to read
Peter Dench’s interview with Gideon about the project.
★★★★★ Amy Davies
9

Viewpoint
Jon Bentley
While smartphone cameras are becoming
ever more sophisticated, Jon argues that
having a dedicated camera is still very relevant
I
knew what my old friend was going
to say from the (slightly self-
satisfied) smirk on his face. The
photographic prowess of his new
phone was so good, he didn’t need a
dedicated camera any more. His faithful
Canon DSLR was now a relic gathering
dust, all thanks to his shiny new Huawei
P30 Pro. Photo-enthusiast owners of the
latest flagship smartphones now seem to
delight in telling me similar tales.
They have a point. Smartphone
manufacturers are whittling away at the
traditional camera’s advantages. The sheer
processing power of phones, and their
makers’ willingness to let their cameras
exploit it, means phones can often get
shots your camera can’t. In incredibly low
light, multiple exposures are expertly and
unobtrusively combined to compensate for
camera shake, and HDR is available as a
matter of course, masking any limitations
in the phone sensors’ dynamic range.
Super-wide and standard lenses often
supplement the phone’s normal wide-ish
one. The depth of field and close-focus
capability of the phone’s small sensor can
be invaluable while digital portrait modes
now give you the bokeh effects of a big
sensor without the bulk. Apps and pro
modes give you control over shutter
speed and white balance and some
functions encourage 3sec- or 10sec
exposures without an ND filter in sight.
Plus, the phone is always with you; it’s
more discreet than a camera so you can
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR T MED A L M TED
shoot in more places. But cameras can
No smartphone camera here, this shot
was taken with Jon’s digital camera
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 21 and win a year’s digital subscription to AP, worth £79.99
10
In next week’s issue
On sale Tuesday 28 April
© TIM COLEMAN
fight back. They’re better in many ways.
Here are a few things you can fire back at
your smug smartphone-touting adversary.
Dedicated cameras can still ultimately
give much better image quality, superior
dynamic range and crisper definition, and
they’re getting better all the time.
Cameras with interchangeable lenses
remain unrivalled for distant things you
want to isolate. A real camera also offers
speedier access to a wider range of
settings – including apertures, which are
usually fixed on a phone.
Camera benefits
You don’t have to fumble around trying to
find the right app, or transition from web
browsing or reading emails to activate
picture taking. Cameras are still better at
video (somewhat ironically), with much
Wildlife
at home
higher bitrates. You don’t feel obliged to
replace a separate camera every year or
two and you don’t have to replace its
accessories either. Some phones’ digital
effects often don’t look too great when
you examine them close up. Faces get
Tim Coleman shows how to
fuzzy around the edges in portrait mode. get wild-looking bird photos
The options for flash are still incomparably
better using a separate camera. Above all, without leaving your home
the sheer tactile joy of the controls and
© TONY KEMPLEN
visually confidence-inspiring viewfinder
makes a camera much more pleasurable
to use. I think that’s a pretty convincing
case. Enjoy the best of both worlds!
Jon Bentley is a TV producer and presenter best known
for Top Gear and Channel 5’s The Gadget Show
© JON BENTLEY
522 cameras
Tony Kemplen on how his ‘52 cameras in
52 weeks’ ran for ten fascinating years
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
Nik Collection
Your guide to Analog Efex Pro, that gives
old-school film effects to digital images
Skylum Luminar 4
Andy Westlake tests this raw processor
that has some unique capabilities
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
ADVERTISING FEATURE

Get creative
with AI
Augmented
Sky in Discover how with
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Image-editing expert Gary McIntyre shows how to add objects to

skies and unleash your creative potential

H
aving discovered Luminar just
over a year ago, it’s become
my favourite image-editing
program. Whether you’re
a new or seasoned photographer, you
should definitely give Luminar and its
AI (artificial intelligence tools) a go. It’s
not exaggeration to say that one slider in
Luminar can equal two or three layers in
Photoshop, which means less time stuck in
front of your computer editing, and more
time out shooting.
Let’s look in more detail at the new
AI Augmented Sky tool, which enables
you to add objects to the sky and more.
It contains five sliders: Amount (object
opacity); Warmth (cool or warm colour
temperature); Relight (relights the object);
Mask Refinement (allows you to tweak
mask edges) and Defocus, which softens
the object and provides depth of field.
In addition to these sliders, Place Object
enables you to scale and position your object
in the sky. There’s also an Edit Mask option.
Getting the ‘impossible’ shot
After installing the software, the Essentials
tab is the place to locate your image and
start the key edits involved in making
your travel images look as good possible.
around 16.7 million display colours, EIZO
ColorEdge monitors cover 99% of the
Adobe RGB colour space* supporting 30-
bit colour, and can extend the colour gamut
into over 1 billion colours.
1. Adding objects with AI
Augmented Sky
AI Augmented Sky comes with 34 objects
and lets you add your own. Moon 1 from
the Luminar library suits this composition
perfectly. I used Place Object to centre
it above the tree. I then dialled back the
Amount to around halfway so the moon
was slightly transparent and matched the
background. The Warmth slider was fine,
so I moved to Relight. The default value is
20; more blends the object better with your
scene, while 0 intensifies the brightness,
though not destructively. Finally, I
defocused the moon slightly so it didn’t
overpower the scene.
2. Creating atmosphere
I applied a gradient to the top to create the
illusion of ‘blue hour’ light. At the bottom,
I used an exposure of -41 with the contrast,
shadows, and highlights adjusted to +10,
-14, and -15 respectively. This strengthened
the blue-hour effect. Although the gradient
is on one slider, you can apply it to the top
or bottom independently. Luminar is a
great way to get the Orton Effect, a popular
landscape photography technique where
you subtly soften the image globally or
locally. With Luminar, one slider does it all.
It’s easy to add birds
and other effects
3. Colour grading with LUTS
Luminar 4.2 has 41 LUTs, or lookup
tables, which enable you to add colour
grading to your image, or create your
own. For this image, the Red Trace LUT
suited the feel perfectly, at its default
setting of 30. If you want to add more
objects to your sky, stamp the layer. This
combines all visible layers into one new
layer and re-enables the Object button in
AI Augmented Sky.
4. Adding birds
I also opted for a new image layer so I
could add birds to the foreground (luckily,
I just happened to have a flock of them on
my hard drive!) First, I added a new image
layer and used the Darken Layer Blending
option to remove the white background
from the bird image. Next I positioned
the birds. I wanted to give a sense of scale
and realism and having them fly off to the
right and over the edge of the moon created
depth. To do this, I used Layer transform
to scale the birds and used Flip Horizontal
to flip them right. Back in the edit panel, I
reduced the opacity below 50% so the birds
looked distant.
Fine-tuning the
final image is easy
5. Add a look
With one click, you can add Looks
(predefined filter settings) to your images.
You can adjust the intensity of Looks via
a slider and can adjust individual filter
settings to your liking. Camden is my
favoured Look for most of my images, as it
complements my style. For this edit, I used
Camden Desat, which further enhanced
the lighting I was after. A simple crop then
completes the image.
Gary McIntyre:
award-winning
Scottish
landscape
photographer
n Visit www.skylum.com to download a 14-day
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If you like the results, use the exclusive discount
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 11

The best pictures on social media this week

#appicoftheweek
Benijo Bay by Lucy Buck
Fujifilm X100T, 19mm, 1/900sec at f/16, ISO 800
Lucy works full-time shift work in a job that is great but leaves her with no
creative outlet. In her spare time she likes to create travel and lifestyle content
on Instagram (@lucylou528). As she says, ‘I travelled to the north of Tenerife to
the famous Benijo Beach with its volcanic black sand and gorgeous sunsets.
High tide meant that I was able to capture this wonderful angle, and I wanted an
“almost complete” silhouette without losing the separation of the different rocks
or the details in the sand.’ Chosen by Nigel Atherton, Editor, as our
#apppicofthe week

Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

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

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

We also likedÉ
Selfridges by Damien Walmsley
iPhone 11, 4.2mm, 1/2600sec at f1/8, ISO 32

For this uplifting

photograph Damien
headed to Selfridges in
Birmingham. The sun was
out and overnight rain had
created a few puddles,
setting the scene for a
brilliant picture. Damien
says, ‘There is always a
different view or angle that
you have not seen before.’
He uploaded his image to
Twitter (@dammo) using
#appicoftheweek. Chosen
by Andy Westlake,
Technical Editor

12
 SOCIAL MEDIA

Imperious by Jay Birmingham

Fujifilm X-T3, 10mm, 2sec at f/14, ISO 160, tripod, six
images stitched in Lightroom
Jay mainly concentrates on landscape photography but
enjoys many other genres as well. He says, ‘I have an aim this
year to take more pictures up mountains. I climbed Beinn
a’Chrulaiste in a brief weather window to capture the
wonderful Buachaille Etive Mòr. This panorama – consisting
of six images – was taken just before dawn, when there was a
beautiful soft light reflecting off the snow.’ Chosen by Hollie
Latham Hucker, Technique Editor

Clifton Suspension Bridge

by Jon Rees
Sony Alpha 7 III, 24mm, 20sec at f/10, ISO 50, tripod
‘Living in Bristol and working as a GP in Nailsea, North
Somerset, the beautiful Clifton Suspension Bridge forms part
of my daily commute and I make sure my camera is always in
the car, just in case conditions are good. This shot combines
my favourite time of day to shoot (blue hour, pre-sunrise) and
favourite conditions (mist and fog) and of course, my
favourite photography location. I had time for half a dozen
shots, before reluctantly jumping back in the car and heading
to work, gutted to be leaving it behind!’ Jon’s Instagram is
@drjonrees Chosen by Geoff Harris, Deputy Editor

Want to see your pictures here? Post them into our Instagram, Twitter,
Flickr or Facebook communities or the gallery on our website. See page3.

13
 Technique GARDEN PHOTOGRAPHY

Nature
on your
doorstep
A lot of readers will still be able to
shoot their gardens during the
lockdown. Claire Gillo gets winning
tips from IGPOTY luminaries

W
ith the world in a global lockdown, this spring is
like no other you’ve probably ever experienced.
Yet, we can also take advantage of what is right
on our doorstep that we have never discovered
before. Just because our world has come to a stop the natural
one hasn’t and the flowers and insects in our gardens are still
growing and emerging in the same pattern, just as they have
year after year. There are amazing creatures and scenes you can Know your subject
capture in your garden, or in a green space close to you. So with Austrian photographer Henrik
the help of these tips from International Garden Photographer Spranz (www.spranz.org) came in
of the Year luminaries, grab your camera and head outside (but second place in the ‘Wildlife in the
not too far, and stay clear of others for your and their safety). Garden’ category and tells us how
he got this shot. ‘The black-veined
white butterflies [Aporia crataegi]
Grow a can be found roosting in groups in
the early morning. With them
Animal magic wild area keeping so still before the heat has
Whilst it can be
tempting to trim and had a chance to warm them up I
set up this shot using a wide open
© JIM TURNER

prune our garden

hedges and create a aperture to get this bokeh effect
neat-looking outdoor of the surrounding meadow. I used
space, wildlife a Berlebach Mini-tripod and live
prefers it to be wild! view for manual focusing.’ When it
Keep one area of comes to his best tips for
your garden wild and photographing butterflies Henrik
you’ll be amazed at says, ‘Learn about your subjects,
the visitors you have their habits, and nutrition. For
coming to see you. If example, many species of
you’re after a certain butterflies roost on plants they
species do your get nectar from.’
Nikon D500 with 105mm research first and
macro lens, 1/250sec at
find out what plants
f/11, ISO 200
they like.
Know your The background is vital
camera With wildlife images it’s easy to get so
Capture resting insects Wildlife cannot be directed focused on the subject that you forget
Instead of running around after flying insects wait until they have rested. – so to up your chances of about the background. The background
American photographer Jim Turner captured this image of an getting that great shot, know makes or breaks an image so it is really
augochlorella aurata commonly known as sweat bee in Brookside your kit inside out. For important. Many wildlife images work by
Gardens, Silver Spring, Maryland, United States, and was the winner of action shots, set your focus isolating subjects against a plain setting.
the Wildlife in the Garden category. Wherever you are in the world, bees to the tracking feature and Open your aperture to blur the
are notoriously difficult to capture if they are moving around! ‘This bee put it into the burst frame background or if you’re shooting your
was standing on the anther of a Lilium flower and the longer it stayed, mode so you can pick the subject at a close proximity with a long
the more it became clothed in the red grains of pollen,’ Jim says. best image from the bunch. lens this will occur anyway.

14 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 © HENRIK SPRANZ

© CHRIS MILLS
Canon EOS 5D Mark IV Canon EOS 7D Mark II
with Sigma 180mm with Sigma 105mm
macro lens, 1/1000sec macro lens, 1/250sec at
at f/4, ISO 500 f/4.5, ISO 100

Water wildlife
Chris Mills was Be quiet
commended for his Commended photographer
image ‘Frogs in the Lynne McClure captured
Pond’ in the Wildlife in this image of a rabbit in her
the Garden category garden just as it was about
and finds taking images to eat one of her Cosmos
of wildlife to be good for flowers. ‘I am a person who
the soul. I suffer with loves to garden,’ she tells
my mental health us. ‘This was taken in an
including agoraphobia area where I spread
and I didn’t leave the wildflowers. Rabbits seem
house until I started to love poppies, so that is
volunteering at this what drew this creature to
organic garden several that spot. It didn’t seem
years ago.” Chris took afraid to have me close by. I
this image at Ashfield sat very quiet and still in the
Gardens in mornings with my trusty
Worcestershire. A pond camera and was able to get
attracts loads of wildlife the shot. I love wildlife
like frogs, dragonflies, photography as I find
damselflies, newts and animals so interesting to
birds to name just a few. observe. I provide them
In this shot Chris has with appropriate things to
made excellent use of eat and fresh clean water
the light which highlights to attract. I have two
Canon EOS 5D Mark III with
© LYNNE MCCLURE

the frogs in the water, bubblers in my yard that

Canon 70-200mm lens,
and creates a brilliant 1/250sec at f/4, ISO 500
draw in birds and squirrels.’
bokeh background.’

KIT LIST Try this kit for capturing animals ▲ ▲

▲ Seeds Rug to lie on
Long lens To create a wild garden patch A lot of garden photography
For garden wildlife you sprinkle some seeds this requires you to get down
will want a lens with spring to start attracting low so a rug or
that extra reach. lots of different insects. If plastic bag to
Anything from a you don’t have a garden lie or kneel on
100mm to 200mm look into a hanging basket will help protect
lens will do the job in or a window sill planter that your clothes!
this type of setting. will still attract creatures.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 15

 Technique

Fantastic flowers
There’s a wild jungle of flowers outside
your back door waiting to be discovered
Get up early
Photographer John Campbell (www.roomoflight.com)
took second place in the Beautiful Gardens category,
and shot this wideangle scene (below) at Knoll Gardens
in Dorset on an autumnal morning. ‘When I started
photographing gardens, it was so lovely to be working on
my own in beautiful places that I had completely to
myself. It’s a special feeling that makes up for getting out
of bed at silly o’clock,’ he tells us. ‘Don’t try to shoot
gardens in the middle of a sunny day,’ he advises. ‘You
need to be there in the golden hour, at sunrise or sunset,
to get the best quality of light and those gorgeous warm
tones. Being outside so early in the UK means that it can
be cold, even in the summer, so pack layers, and good
shoes.’ He is currently photographing the gardens at
Buckingham Palace for the first official book, The Royal
Gardens at Buckingham Palace, due to be published in
spring 2021 by the Royal Collection Trust. You can follow
John on Instagram room_of_light.
© JOHN CAMPBELL

All about the colour countryside but when I came across it,
Emily Endean’s (www.emilyendean wow, it was so worth the drive. A sea of
Canon EOS 5D Mark IV with
photography.co.uk) image ‘Pretty in stunning pink! I took a few shots of the
Canon 24-105mm lens,
1/30 sec at f/5.6, ISO 100 Pink’ was highly commended in the wider vista but as the sun began to
Beauty of Plants category and was drop I decided to switch it up with a
captured in Dorset. ‘It was a warm zoom lens and use a shallow depth of
Love the light take this into account too. summer’s eve and I’d heard about this field. I used the sun as a backlight and
Photographer Emily ‘I always keep to paths and field of pink Papaver (poppies) on the singled out some of the beautiful flower
Endean loves good light for never step into borders or grapevine and had to go and see it for heads.’ Follow Emily on Instagram
her floral captures. ‘Great planting schemes – myself. It was tricky to find driving Emily_endean_photography and
photography is all about someone has worked so through the lanes of the Dorset Twitter Emily_endean.
great light. Shoot at sunrise hard to create the garden
© EMILY ENDEAN

or sunset to give you that that you need to have

soft glow and warm respect and understand
colours. Or even explore each plant is precious to
the woodland floor at them.’
sunrise, look out for
pockets of light coming Composition
through the trees; this has tips
to be my favourite thing to Look for leading lines,
do – certainly during pathways or any other
bluebell season, which is elements in the scene to
coming very soon!’ help with the composition.
If you’re going for a
Stick to the path symmetrical finish search
Photographer John for repetition of lines of
Campbell makes sure he is flowers and patterns in the
respectful to the frame to help you create a
environment he’s shooting strong result. Finally look
in, and if you are taking for layers of flowers and Nikon D610 with Sigma
70-200mm lens, 1/400 sec
photographs in a shared shoot through for an
at f/5.6, ISO 200
space then you need to effective image.

16 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Focus stacking
Although you might think
focus stacking is just for
close-up shots it also
applies for some wider
angle scenes where
keeping the foreground to
background completely
sharp is key to the overall
effect. Nigel McCall, who is
a finalist in the Beautiful
Gardens category, took this
image in Aberglasney
Gardens, Wales, one frosty
morning in April. ‘It was
early April and nighttime
temperatures had been
relatively mild for some
time. Spring displays were
starting to look good,
especially the wonderful
border of Tulipa rising from
a sea of Myosotis. Then,
unexpectedly a last frost
hit. The alarm clock was
set. I captured the end of
winter and the beginning of
Canon EOS 5DS R, spring.’ To create the final
Canon TS-E 90mm

© NIGEL MCCALL
effect Nigel focus stacked
tilt-shift macro lens,
four images together using
1/6sec at f/16, ISO 100
Helicon Focus software.

Nikon D750 with Nikon

Create movement 105mm macro lens,
(double exposure) 1/250sec at f/11, ISO 200
Jacky Parker (www.jackyparker.com) is a flower and
nature photographer based in a village called Sway village
on the edge of the New Forest national park. ‘I took up
photography about 14 years ago whilst studying for a
diploma in horticulture,’ she tells us. Jacky’s image saw
her win first place in the Beautiful Gardens category. She
took this image in the new forest lavender farm in
Wiltshire. ‘Echinacea ‘Salsa Red were the brilliant red stars
of this beautiful summer palette of colours taken at the
gardens of the New Forest Lavender Farm. I captured a
double exposure to soften the grasses and create an
evocative botanical daydream,’ she says. ‘At the editing
stage I used a Gaussian blur layer and using a layer mask
once again adjusting the opacity and using the mask to
paint the flowers in whilst leaving the grasses slightly
© JACKY PARKER

blurred, giving movement.’ You can follow Jacky on

Instagram jackyparkerphotography.

KIT LIST Capture fantastic flowers with this expert kit

Small
▲

▲ step ladder
▲

Versatile lens Tripod John Cambell always

A variable length lens A versatile tripod will be a packs his small step
will give you plenty of valuable accessory out in the ladder for a garden shoot,
options. We recommend field. One that can remove which gives him lots more
something like a the centre column will options for shooting
24-105mm range in a enable you to explore all gardens and exploring
setting like a garden. angles and be more flexible. different angles.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 17

 Nikon D750 with 105mm lens,
Technique 1/1000sec at f/3.2, ISO 320

Creative close-ups
Get experimental with your flower
and wildlife photography

Experiment
Jane Simmonds (www.janesimmonds.co.uk) is a
creative photographer based in the Forest of Dean
in Gloucestershire. Her work is inspired by the

© JACKY PARKER
natural world, from her garden to her daily walks in
a local woodland. ‘I am drawn to colours, patterns
and shapes and use alternative techniques like
multiple exposures and intentional camera Blend layers
movement to create my abstract images,’ the This image, called ‘Autumn Rudbeckia’, taken by Fake rain
photographer tells us. To get this image, which was Jacky Parker, came first in the Beauty of Plants To add some texture
highly commended in the Abstract Views category, category. ‘I saw this beautiful, late summer flowering and sparkly bling to your
Jane combined multiple exposures of three Rudbeckia at the New Forest Lavender Gardens in close-up captures, use
Cyclamen flowers to give a unique textured effect. If, Landford, Salisbury, and knew I had to capture it. Its water and a spray nozzle
like Jane, you like abstract photography then you orange colour perfectly reflected the beginning of and apply a light dusting
need to be willing to experiment. ‘I don’t have any autumn.’ To create the final effect Jacky edited the of drops over the petals
fixed ideas of what I want an image to look like when image using her floaty petal technique as she or subject. Simple tricks
creating my abstracts – my approach is explains: ‘The image was duplicated and layered in such as this bring
experimental and playful and involves letting go of post processing. I then adjusted the opacity of the another layer of interest
the traditional “rules” of photography. I play around top layer and changed the blending mode to create to the frame.
a lot with different camera settings such as white movement in the petals.’
balance and exposure compensation for creative
effect as well as trying various blending modes (for
multiple exposures). Sometimes the results from my

© CARLO C NTH
Nikon D5 with Nikon 105mm
experiments are not very interesting and there are macro lens and Nikon TC-17E
probably a lot more failures than successes but that II 1.7x teleconverter,
unpredictability is what appeals to me with this type 1/400sec at f/14, ISO 640
of photography.’ You can also follow Jane’s work on
Instagram janesimmonds31.
About IGPOTY
All images in this feature come
© JANE SIMMONDS

from the winners and

commended photographers of the
13th International Garden
Photographer of the Year (IGPOTY)
awards. IGPOTY is a yearly
photography competition that
specialises in garden, plant,
Look at the small details flower and botanical photography.
This highly commended image in the Wildlife in the The main competition closes on
Garden category is called ‘A Spider’s Path’, is by Italian 31 October each year, and
photographer Carlo Cinthi. ‘For such a tiny spider in the
winners are announced the
garden, every raindrop became a giant obstacle as it
following February.
continued its journey along this blade of grass,’ he says.
To get such a super-close-up result he used a 105mm There are nine regular categories
macro lens with a 1.7x teleconverter. Note that if you are each year, plus there are four
Canon EOS R with using a teleconverter like Carlo’s you will lose x 1.5 stops photo projects and numerous
Canon 24-105mm seasonal special awards.
of the minimum aperture setting. Carlo used an aperture
lens, 1/60sec at
of f/14 to keep the drops and spider sharp, and increased To find out more and enter your
f/8, ISO 400
the ISO to 640 to give him a shutter speed of 1/400sec. images go to igpoty.com.

KIT LIST To create your own nature abstracts try this

▲

Backdrop
▲

When taking super- Photoshop

close-ups in the garden Experiment and edit your flower
you may want to slot in images for an abstract result in a
Scanner
▲

a different background program like Photoshop. There are

colour. This could cheaper options as well that will do A flatbed scanner and flowers are a
simply be a piece of A4 just a good a job, such as Photoshop match made in heaven. Scan in flowers
card in any colour. Elements and Affinity Photo. and experiment with the results.

18 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 © Photo taken by Jean Noir | www.jeannoir.de
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 YOUR LETTERS

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Email liz.reid@ti-media.com medium format. Eight

Film buff
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Canopy Media, on 0203 148 3710 shots per roll if using a 6x9
Editorial team camera doesn’t work out
Group Editor Nigel Atherton
Deputy Editor Geoff Harris that cheap. But it all
Technical Editor Andy Westlake In response to George Aldridge’s becomes worthwhile when
Reviews Editor Michael Topham
Features Editor Amy Davies question Why shoot film? (Inbox you look at a well-exposed
Technique Editor Hollie Latham Hucker 7 March) I can highly recommend it! transparency on the
Production Editor Jacqueline Porter
Chief Sub Editor/Features Jolene Menezes Since the film camera was invented lightbox. It has a ‘wow’
Acting Chief Sub/Features Amanda Stroud in the late 19th century and factor that just can’t be
Art Editor Sarah Foster
Senior Designer Steph Tebboth photography remained equalled. And on top of all
Studio Manager Andrew Sydenham
Photo-Science Consultant predominantly film based until the that, there is another
Professor Robert Newman end of the 20th century there’s the unbeatable reason why
Office Manager Hollie Bishop
Special thanks to The moderators of the AP
thick end of 100 years’ back I use film – I thoroughly
website: Andrew Robertson, lisadb, catalogue of iconic photographs – Shooting film forces you to understand enjoy it. Thank heavens for
Nick Roberts, The Fat Controller
all created on film. the photographic process, says Alan film and digital!
Advertising
Head of Market Liz Reid Shooting film is about being part of Jonathan Hunter
07949 179 200 something kinaesthetic, wonderful what you shoot. It’s not mandatory to
Thank heavens for
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0203 148 2694 and addictive. You can pick up a great ‘shop develop’. Simply opt to develop
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PRIZE APPLIES TO UK AND EU RES DENTS ONLY

Publishing team
Chief Executive Officer Marcus Rich
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1980s SLR for around £65 and start
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Managing Director Kirsty Setchell developed 150-200 film rolls you Hasselblad moon-landing images I completely agree with
Printed by Walstead UK Limited won’t have spent anywhere near the from 1969, or the classic reader George Aldridge’s
Distributed by Marketforce price of a new DSLR (£2,500) and photographs of the likes of Saul inablity to understand why
5 Churchill Place, London E14
Telephone 0203 787 9001 you’ll almost certainly have become a Leiter and Robert Frank – it’s not nowadays some
better photographer in the process. about having the image in that same photographers use film
Shooting film forces you to instant but about taking your time rather than digital. I spent
Editorial Complaints We work hard to achieve the highest
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TI Media Limited switchboard tel: 0203 148 5000 Amateur checking exposure etc. But half a dozen usable prints!
Photographer is published weekly (51 issues per year) on the
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sound, film can sometimes analogue camera could just add a comment. something unique about
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hundreds of shots at no photographers the better. lightbox before I’ve got photographer Walker
real cost, or the function of David Richards around to processing the Evans, ‘You’re not

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 21

YOUR LETTERS

here long’. Let’s spend the can be downloaded

precious time we do have and loaded into
taking photographs
and not stuck for
hours in a
Lightroom and
then attached
to the relevant
Back in the day
A wander through the AP archive. This
darkroom! images
Graeme (assuming that week we look back at March 1963

1963
Youngson the time in the
camera is correct).
Though I’m not sure
Magical process whether this process also
Digital freaks really records direction or not.
don’t know what they’re Hopefully Mr Richards
missing. That magical has a compatible
moment as the image Canon camera.
slowly forms while the Dan Jeffery
print-to-be floats in the Canon’s GP-E2 GPS receiver
developer. Then its transfer Auto admirer
to the fixer, while others going to throw away) and Ok, I will say this quietly, ‘I
join it. I first thrilled to the scan about 900 slides like Auto.’ I will never be a
process over 60 years ago from my collection. I am pro or have my images
as my elder brother only scanning those slides shown in a gallery in
demonstrated his printing. showing people and London. I am a snapper for
For a while I had my own family interest, as I am my own pleasure. But I
darkroom, until my father sure no one will be have been published in my
fancied he was developing interested in the future of local rag, another monthly
urinary incontinence and the hundreds of places glossy photography
I was evicted from the we have visited since the magazine and AP’s
bathroom! late ’60s! esteemed pages, so I must
Bill Houlder The Minolta unit comes be doing something right.
with a tray that holds four I know many
Scanning know-how slides at a time, and photographers enjoy the
I was interested in the another tray which holds tech side of their hobby
letter from Ken Vines a six film negative strip. and put in the time to ON THE eve of Photokina 1963 the Editor speculates
regarding his experience of Both trays are recognised master their craft but for on what will be revealed. ‘One tendency is already
scanning colour and black by the software and load me I prefer to be out and visible; there will be many more cameras making
& white slides. Many years automatically. I have about looking for negatives smaller than the 24x36mm of the standard
ago I purchased a Minolta spotted several Minolta interesting images. miniature.’ New half-frame models will be prominent,
Dimage Scan Dual III Dimage Scan Dual III With the incredible ‘especially on the stands of the Japanese makers, who
(AF-2840) which ran on units for sale on eBay, but software available today I take their small negatives very seriously.’ But there’s
the Windows XP operating they don’t mention the find that I can correct some disappointing news: ‘On unimpeachable
system. I have not used it Windows 10 software many of my faults back at authority we learn that the rumoured Leica single-lens
for years and recently issue. The Hamrick home. Yes, I do get some reflex will not be on view at Photokina.’ (Leica’s debut
decided it was time to software certainly solves failures but percentage- SLR, the Leicaflex, was released the following year.)
digitise some of my this problem. wise I have many more A somewhat creepy guide to taking candid snaps of
3,000-strong slide Terry Nelson keepers than fails. I would courting couples begins with a warning: ‘Clearly the
collection. My new PC now recommend those new to photographer… must be wholly sympathetic and
operates on Windows 10 Some direction photography to get a understanding, for even the remotest suggestion of
and the Minolta software David Richards asks if half-decent camera and intrusion would thrust him outside the bounds of
which came with the unit is there is a device that get out there or even use decency and good taste.’ Bob Collins goes on to
not recognised. shows direction as well as their phones – I have had explain, ‘We are dealing with a relationship that is
After some online GPS position. The Canon some great pics from my immeasurably complex; tender years and emotional
research (such as Ken GP-E2 does exactly this. smartphone camera. immaturity are a delicate combination’ and admits that
Vines) I discovered the It will only write this data I also like to study as ‘misunderstandings and embarrassment can arise.’
VueScan software from to the metadata of many images from great
www.hamrick.com, which certain compatible Canon photographers as I can.
I purchased and cameras. But it can be set How they ‘see’ images can
downloaded onto my PC. to map its position against be a great inspiration. No
My understanding is that time and with some need to get bogged down
Hamrick has reverse computer ‘jiggery-pokery’ in the ‘tech’.
engineered the Minolta (details via Google) this Chris Mummery
software for my unit, and
for many other scanning YOUR FREE ENTRY CODE
units of all types, to work
on Windows 10. The Enter the code below via Photocrowd to get one
VueScan software works free entry to Round Two – Monochrome Magic

APOY30655912
fine and this has allowed
me to blow the dust off my
Minolta unit (which I was A feature on taking candid photos of courting couples

22 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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ALBUM COVERS
On the
record
In an age of music streaming, album
cover photography seems like a lost
art. Steve Fairclough talks to some
of its greatest exponents
F
or many of those who
were into music from
the 1950s through
to the late ’80s, the
album cover was an important
physical social totem. This
12-inch square cardboard
sleeve became a symbol that
identified you with a genre
of music, a style and the
attitude of the artist. They
became badges of coolness
and, conversely, shame. If
you walked into school or
college in 1969 carrying Led
Zeppelin’s first album – which
used a 1937 photograph by
Sam Shere, of the Hindenberg
airship catching fire – you
were one of the cool kids.
To the record companies, the
cover was a visual advertising
card designed to attract a
specific segment of the market.
In the 1950s classical and
jazz music were considered
highbrow and so they often
presented the covers with
esoteric contemporary
artwork or photography. At
the time popular music was
considered to be frivolous
and disposable, with little
artistic or cultural value, and
so it was presented in a more
mainstream, simplistic way.
Record covers aimed at
teenagers were often designed
for parents who controlled the
money and, to some degree,
wanted to control what their
kids listened to. Most were
photographed and designed by
in-house record company staff.
The formula was simple – a
positive, upbeat, ‘cheesy’ image
of the artist and some lengthy
‘puff-piece’ about them on the
24
A smiling shot of The
Rolling Stones from the
Between the Buttons shoot,
and, left, the US sleeve of
Between the Buttons, 1967
Gered Mankowitz
Gered Mankowitz is an
English photographer
who has shot music,
back. Don’t waste any time on
fashion, advertising and
it and do it for under £30!
commercial work since
© NEIL JUGGINS
This started to change in
Britain in the early 1960s with the early 1960s. He
a new youth market emerging, has worked with many
which became a social, big names in the music world including the
economic and cultural Rolling Stones, Jimi Hendrix, Elton John and
phenomenon spearheaded by Duran Duran. www.mankowitz.com
The Beatles. The cover of their
second album, With The What drove your initial
Beatles, shot by Robert interest in photographing
Freeman, was a game- musicians?
changer. It opened up the A desire to be within the world
creative doors to a new of showbiz. I left school when I
generation of young was 14 and served a short
photographers who loved the apprenticeship at Camera
music and were Press photo agency. Then
contemporaries of the I started working with a
musicians. Photographing wonderful photographer
album covers quickly became called Jeff Vickers – through
cool with the likes of Robert him I started doing 10x8s of
Frank, Robert Mapplethorpe, actors, casting photographs,
© GERED MANKOWITZ
Duff y, Brian Aris, Lee and I met a duo called Chad
Friedlander, Bailey, Anton & Jeremy. They got discovered
Corbijn, Mick Rock and Herb by a very young John Barry,
Ritts subsequently producing who signed them to Ember
iconic covers. Records. I did their first her first album. It was seen by
While shooting album covers album sleeve, Yesterday’s her manager, Andrew Loog
was never that highly paid, the Gone, and it was very simple Oldham, and he asked me to
benefit was the association and hip for the time. photograph the [Rolling]
with popular artists. Anyone Stones. The rest is history!
who had shot even a half- How did your shooting of
well-known band would album covers develop? Were you conscious of how
always feature the work in There was this wing of you portrayed the artists?
their portfolio and it was often showbusiness that was pop I was trying to get away from
a fantastic calling card with music. It required images that the very glamorised approach
which to hook new clients. broke the established mould from the ’40s and ’50s for
To get the inside track on the and needed young Frank Sinatra, Johnnie Ray,
art of shooting album covers photographers. Also, the Paul Anka… all those people
AP spoke to three album cover – 12 by 12 inches were photographed in studios.
photographers – Gered – was a big area to have your I was using available light or
Mankowitz, Brian Griffin and image published on and you pretty simple studio lights. I
Ed Caraeff – who, between usually got a credit. It was an wasn’t trying to impose a look.
them, were responsible for important and growing area of I was trying to create a space
photographing well over 1,000 commercial photography. that was visually attractive,
LP covers. Here are their Through Chad & Jeremy I met that would reproduce in the
memories of the golden era of Marianne Faithfull and press and that gave an artist
album cover photography. produced the photography for room to express themselves.
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

From above: Anne Ross’s A Handful of Songs, 1963, Chad & Jeremy’s
Yesterday’s Gone, 1964, Marianne Faithfull’s debut Come My Way, 1965
Did your association with the
Stones help you to get work?
Of course. They were at the
very pinnacle of that group of
R’n’B bands who were making
a name. Having such a high-
profile album cover that was
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020
The making of
With The Beatles
Disappointed with the cover of
their first album, Please, Please
Me, created by EMI’s in-house
art studio, The Beatles
demanded control of their next.
They commissioned Robert
Freeman after seeing his moody
images of jazz saxophonist John
Coltrane. This reflected their
desire to have their work viewed
as art. The session wasn’t done
in a studio but in the dark
corridor of a hotel in
Bournemouth while the band
were on their 1963 tour. The
shoot took about an hour and
the result was dark, stark and
monochrome. No longer
loveable ‘mop-tops’, they were
serious artists. EMI’s top brass
were appalled that the band
weren’t smiling but Parlophone’s
label manager, George Martin,
supported the band’s decision.
They did though lose the battle
to have the image run full-bleed
off the cover. Freeman got £75
– three times what EMI usually
paid. A revolution had begun;
Freeman would pave the way for
other talented photographers.
released in the UK and in
America, and being associated
with a band who were rising to
the top at a meteoric rate, as
well as creating controversy,
meant they were fantastic
to be associated with.
25
 ALBUM COVERS
© GERED MANKOWITZ

© BRIAN GRIFFIN
A press shot from the Kate Bush Lionheart studio shoot, plus the final Lionheart LP cover,1978
What fees did you get?
At first, around 25
on the front of my Hasselblad,
which was basically black card
session, I said to Dave
[Stewart], ‘I think that’s going Brian Griffin
guineas. We charged guineas and a glass covered in Vaseline. to make a great cover’, and he Brian Griffin is a
because we saw that doctors I discovered if you smeared the said, ‘Oh, yes. That’s my friend leading photographer
and lawyers charged in Vaseline one way or the other it in the corner; he’s going to and filmmaker who
guineas. A guinea was a would create the most fantastic make a painting of it’. I was so
began his career in
pound and one shilling, so shapes and blurs. upset and never worked with
the extra shilling covered the I had in my head that I them again, but not just 1972. He is revered
film and processing. would take a portrait of the because of that. for his innovative approach to photography
band where they seemed to and has shot album work for musicians
Can you tell us about the merge with the landscape. The Which album cover work including Depeche Mode, Elvis Costello,
Between the Buttons shoot? idea was it would have a sort of do you admire? Ultravox and Echo and the Bunnymen.
In those days the Stones stoned, trippy element to it. It Bob Freeman’s With The www.briangriffin.co.uk
recorded at night, from 10-ish was incredibly productive, Beatles… I think that changed
in the evening through to five everything seemed to work, everything. The other A lot of your album cover
or six in the morning. They apart from the fact that Brian photographer I think is really work was in black & white
were recording at Olympic [Jones] was being very interesting and different is – did you prefer it over
Studios in Barnes and I used to difficult. I thought he was Michael Spencer Jones and the colour?
hang out and take pictures. One potentially fucking up the work he did with Oasis. His To be honest I’ve never really
morning, as we fell out of the session. After about 40 work is very conceptual. They liked colour photography.
studio, the light was coming up, minutes they’d had enough, are very highly thought Having said that though, A
I turned round and looked at everybody was tired and cold through and extremely Broken Frame is regarded as
the band who were cold, and it broke up. The next day, accomplished [pictures]. They one of the best [colour]
grumpy, pissed off, hung over, when I delivered the pictures, seem to be a sort of pinnacle of photographs ever in the
stoned and thought, ‘My God, everybody was absolutely quality and style of that history of photography.
they look just exactly how The delighted. Andrew selected one mid-1990s moment. Martyn Atkins, the designer,
Rolling Stones should look.’ I and it went on the cover. had sped away on his
suggested, ‘Why don’t we do a In your opinion, are album motorbike to the local town
session early in the morning?’ At the time of shooting The covers ‘dead’? to get bacon sandwiches
One morning we drove to Eurythmics’ Revenge cover Album covers aren’t going to when I shot the cover image.
Primrose Hill. I wanted to do did you know they were going die because vinyl is still very We had set up in a cornfield
it there because I thought, to make the photograph into collectable. It’s just that they’re under a grey sky just off the
being high up, we’d get good an illustration? not being shot with the same M11. It had been raining all
early light and a big sky. I built No. I had to go to Paris to level of professionalism now. morning but the clouds
a homemade filter, which I put shoot it. At the end of the But there are some wonderful suddenly parted and we had
young photographers – there’s 30 minutes of glorious
a very talented woman called sunlight, magical light. In
Rachael Wright and she shoots 1989 I drove to Berlin to see
very high-quality, very focused the wall come down. I went
[pictures], a lot of the time still into a garage at the border
on film. There are and there was a pile of LIFE
photographers in their 20s, magazines featuring the
30s and 40s who embrace greatest photographs of the
music photography in all its 1980s and this image was on
forms. I’m a staunch believer the front cover.
© GERED MANKOWITZ

that music photography per se

is not dying out and album What sort of cameras were
covers, as long as there is an you shooting with in the
The Eurythmics’ Revenge image alongside the illustrated cover,1986 interest in vinyl [will remain]. 1970s and 1980s?

26 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


An image from the
A Broken Frame
shoot and, below,
the final Depeche
Mode album cover
from 1982
Joe Jackson’s Look Sharp!
was shot on the Olympus
OM-1 and then we’d crop it to
make album covers.
Eventually I scraped enough
money together to buy a
Hasselblad around about
1979. I was shooting album
covers then, and getting a lot
of work, so I realised the most
sensible thing to do was to
have a square format camera.
Did your album cover
images get you more work?
Oh, yeah, absolutely. People
would see your photograph
on a poster in the front
window of a record shop or
inside. So, it ignited the
curiosity of designers and art
directors. They’d just have to
look at the record cover
credit. The only way you
could get work was that way
or by taking your portfolio
and knocking on doors.
Record covers were a form of
advertising. The record sleeve
was a decent size – 12 inches
square is quite a nice size in
terms of broadcasting your
photographic capabilities. It
was a great promotional tool
for photographers to get more
work, which, unfortunately, it
isn’t any more.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020
ALBUM COVERS
Ed Caraeff but the majority were the
artists themselves who would
For over 14 years US contact me. I got an unlisted
photographer Ed Caraeff phone number; I had no
portfolio, no business card,
documented the music
no agent and no promotion.
industry, shooting
But I had all the work I could
live concerts and art do for 14 years.
directing more than 300
album covers. He shot
Did you ever work for a
LP covers for artists including Tom Waits,
record company?
Elton John, Carly Simon, Marvin Gaye, The
I was always given a lot of
Bee Gees, Neil Diamond and Dolly Parton.
work by Elektra Records in
For more go to www.iconicimages.net
New York. I did record covers The Hipgnosis era
for Carly Simon, Bread, Buffy From 1968 until 1983 the
How did you shoot covers? and Judy Collins – they were trailblazing design group
I had custom-made cases; all on Elektra. They even flew Hipgnosis – run by Storm
strobe lights that were made in me from California to London, Thorgerson and Aubrey ‘Po’
Switzerland, umbrellas, to meet and photograph Carly Powell – carved out a huge
diffusers and I had some kind Simon for what became her reputation for designing
of infrared thing to set it off biggest selling album, No innovative record covers, often
from my camera. I was into Secrets. Even though the based on imagery shot on
the darkroom and lighting record company was in New Hasselblad square format
– the reason is it gave me more York they were hiring a cameras. Their clients included
control and let me tell the photographer from California, rock behemoths Pink Floyd, Led
story or [decide] what made so I’m grateful for Elektra Zeppelin, Yes and Genesis with
them [artists] look better or Records. the photographic pinnacle of
made the album cover more Hipgnosis’s work arguably
dramatic. As the years went Were your album covers coming on the cover of Floyd’s
on, I became an art director mainly colour? 1975 LP Wish You Were Here
and we made sets, had Yeah. It was pretty rare that it (above). Shot on the Warner
costume clothes, graphics and wasn’t. But there was lots of Brothers studio lot in Burbank
signs made. I was doing all of colour that was manipulated; the image of two men ‘doing a
that and flying to wherever we did all kinds of strange deal’, with one literally being
they were, printing two things. If you want to talk burned, is said to signify the
million Bee Gees album about the evolution of cut-throat nature of the music
covers. They would fly me right photography that got involved business. Stuntman Ronnie
to the printing presses and I’d in the album packaging we Rondell Jr managed to withstand
stand there in the middle of were using die cuts and doing the heat for 15 frames before
the night. They’d run album photos on the actual label that dropping to the ground. It is
packages and I’d have to went on the vinyl. We did all of believed that the image used had
approve one and then initial it. that stuff – inserts into the to be flipped in the darkroom to
album package with photos put Rondell on the right side of
Who were your clients at and graphics would come out the frame – the wind direction
that time? like a deck of cards... that was during the shoot had meant the
The artists. I did have some one intricate album package two stuntmen were standing on
record companies [as clients], that I did for Three Dog Night. the opposite sides of the image.
An outtake from
a Carly Simon
shoot in London
and how one of
the images from
the shoot was
used on the
cover of Simon’s
album No
Secrets, 1972
© ED CARAEFF
 Photo Stories
Shared goals
Both football and photography have the power
to change lives and unite the population, as
Peter Dench discovers
T
he shortlist for the assignment is
down to two photographers and
there is one question left. ‘Do you
shoot digital?’ I don’t, but say yes. My
colleague and competitor says no. After being
informed in 2007 that I had won the
commission, I bought myself my first
professional digital cameras, two Canon EOS
5Ds. I put the batteries in and dialled the phone
number of renowned photojournalist Marcus
Bleasdale. ‘Help! What settings should I use?’
I had an inkling at the time it was going to be
one of those jobs you remember for a lifetime.
It’s taken me 12 years to fully appreciate just
how phenomenal it turned out to be. Football’s
Hidden Story (FHS) was a Fédération
Internationale de Football Association (FIFA)
funded initiative: 26 photo-stories in 20
countries across the globe: from Colombia to
Brazil, Thailand, Nepal, Norway, South Africa,
Senegal, Haiti and many places in between. A
series of emotive human interest images
showing the positive impact that football has
had at grassroots level.
Stories of hope
In Banda Aceh, Indonesia, I photographed
Martunis at home stood under a newspaper
clipping of him with the then Portuguese
national football team manager Luiz Felipe
Scolari. Martunis was seven when the 2004
Tsunami struck. He was found 19 days later
wandering the beach wearing the Portuguese
football shirt and he became a symbol of hope.
Visits were subsequently made by players
including Cristiano Ronaldo. Martunis was
reunited with his father; his mother and sister
were never found.
In east Africa I documented the Amputee
Football Federation of Liberia, an answer to
one of the most intractable questions in the
post-war nation: what to do with around
100,000 former militiamen, many of whom
started fighting as boys and grew up thinking
that the unspeakable was acceptable. After
over a decade of civil war, Liberians still grapple
with the aftermath. Football and amputee
football in particular, is as much about
reconciliation as competition. Former fighters
from enemy militias now play in the same
A selection of images from Football’s Hidden Story is published by www.fistfulofbooks.com.
28
team. Mixed among them are civilians who got
caught in the violence. Together they share,
sing victory songs and play the beautiful game.
I captured Alessandro in Italy during a football
therapy match in Rome. Before he got into
football he was very sick, suffering wild
hallucinations and hearing multiple voices. Most
of these symptoms were ameliorated by football.
There was 16-year-old Laura, practising her
football skills against a brick wall near her
home near Birmingham, UK. She admitted to
ALL IMAGES © PETER DENCH
having once been a bit of a tearaway. After being
told by a teacher that if she didn’t work harder,
playing football would be forbidden, she turned
her life around. Laura achieved at school and
studied for her coaching and refereeing badges.
There were Gypsy children in Bucharest clutching
posters of Romanian soccer star Bãnel Nicoliþã
at an anti-racism football game and I’ll never
forget a historic football match between a
Syrian team of Druze from the Israeli-occupied
Golan Heights and Arab-Israelis, the first ever
Syrian-born team to play in Israel.
Special access
Many times during the 15-month campaign,
I took a deliberate step back to absorb and
appreciate the situations that having a camera
allowed me to access. I understood that
photography can help keep humanity alive. It
can bring nations together and promote unity.
It has the power to heal and to help, to
motivate and give freedom to dreams. I learnt
a lot and created memories I’ll never forget. It’s
the assignment I refer back to when times are
tough. I remember just how beautiful, inspiring,
rewarding and diverse the profession can be.
There are songs from the trip I can’t listen to
as the memories associated with them are too
intense. I can recall the voices of people I met
that lift the darkest of moods and I have
photographs that I’ll be proud of for a lifetime.
There are millions of us using photography, we
can use it to bring a positive dimension to our
lives and those of others.
If I can leave you with one valuable piece
of advice I picked up when shooting the
FHS story on landmine clearance in Iraq,
never run into an uncleared field if you
can’t find a toilet.
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Peter
Dench
A regular contributor to
Amateur Photographer,
Peter Dench is a
London-based
photographer, writer,
author and curator. He
has won multiple awards,
published several books
and been exhibited many
times. www.
peterdench.com

Left: A player from the

Liberia national
amputee football team
warms up before a
match in the capital
Monrovia
Left: The goalkeeper
makes a save during an
amputee football
match in Monrovia
Left: A team sing
inspirational songs on
the terraces before a
football match at the
Antoinette Tubman
Stadium – the
headquarters of the
Liberia Football
Below left: Martinus at Association
home in Banda Aceh
Below: Training
Below: Children at the under way at the
Future Hope school in Colombianitos football
Kolkata practise their centre in Bogota,
football skills Colombia

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 29

 Readers of
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 IN ASSOCIATION WITH MPB | WWW.MPB.COM
Photo Stories
On the scrapheap
Carolina Rapezzi talks to Amy Davies about her
powerful series of images that documents one of
the world’s biggest electronics scrapyards
W
ith an increasing number of
photojournalists focusing their
lenses on the environment,
it’s fitting that a brand new
category for the Sony World Photography
Awards was announced for 2020.
One shortlisted story is ‘Burning Dreams’, by
the UK-based Carolina Rapezzi.
In an era where we often feel like we must
have the latest piece of equipment, it can be
easy to dismiss where our rejected technology
ends up. It has to go somewhere – the
Agbogbloshie scrapyard is one such place.
Here, in one of the world’s biggest open-air
scrapyards, you’ll find discarded appliances –
such as phones and computers – which arrive
in Ghana as second-hand goods, mostly from
Europe. When the goods are beyond repair,
they end up being dismantled and burned
across this vast site, where workers process the
waste to extract raw materials such as copper
and aluminium for resale.
Sadly, this process is not regulated, and
there’s no concern for health and safety or
environmental control. Lead levels in the blood
of workers is far above the Threshold Limit
Value (TLV), while respiratory problems,
headaches and lung diseases are common
ailments. A World Health Organisation (WHO)
report published in 2018 suggests that the
mortality rate in Ghana has increased rapidly
over the past few years – the burning activities
MPB CONTRIBUTED TO THE COSTS OF THIS ARTICLE BUT HAD NO INFLUENCE ON THE CONTENT
at Agbogbloshie are thought to be a
contributing factor, with toxic emissions,
chemicals and other problematic substances
being released into the ecosystem.
All of the pictures in this series were shot in
November 2019, but Carolina has been
working on the project since late 2018. She
explains, ‘For years, we have seriously
underestimated the concept of distance, we
have hidden, buried, shipped our waste to
different countries, accumulating it in landfills
far from our eyes, without questioning or
checking the disposal system in use or thinking
about the consequences. I wanted to tell
Photographers, go green with MPB. We all know used camera gear is better
for your wallet, your kitbag and the environment. Shooting with great kit
shouldn’t cost the Earth. With MPB, picture-perfect performance is
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32
stories of the people directly affected and try
and make those stories closer to us, trying to
re-direct the responsibilities.’
In order to get the necessary access to shoot
the series, Carolina initially organised a fixer
who put her in touch with local communities.
On her return in 2019 she worked with the
same fixer, and spent three days following
Amina, the water seller, and to take pictures of
Nana Kwame, inside the river (see opposite,
top). ‘He was working submersed into the
water up to his chest, while I took pictures of
him from outside, but I wasn’t happy with
them,’ she tells me. ‘I thought the only way to
photograph this person and his conditions was
to understand and feel what he was feeling too.
I decided to go into the water with him – we
spent a couple of hours explaining the project,
what I was doing and why. I showed them a few
photos I had taken the year before. They
recognised some of the people and this helped
gain their trust. I’m still in touch with them.’
It’s clear that Carolina is the type of
photojournalist who believes in fully immersing
herself in the situation – both literally and
metaphorically. It’s in this way that she feels
that she can represent issues most
authentically. ‘What I usually do is follow my
instinct and my emotions, try to connect them
to the actual context. It’s fundamental to know
who they are, what they think, how they see
the story you are telling and listen to them.
Most of the time they are the answer.’
Living in London, Carolina has been a regular
visitor to the Sony WPA exhibition, which
usually takes place every April at Somerset
House, so she says it’s a real honour to be
shortlisted, especially in a brand new category.
This year, of course, things are a little bit
subdued as the exhibition has been cancelled
due to ongoing coronavirus crisis. The winners
are still due to be announced on 16 April.
To learn more about the Sony World
Photography Awards, including seeing all of the
shortlisted and winning images, visit
worldphoto.org.
ALL IMAGES © CAROLINA RAPEZZI
 Carolina
Rapezzi
Carolina Rapezzi is a
London-based Italian
photographer who
focuses on long-term
projects, covering social,
humanitarian and
environmental issues in
Europe and West Africa.
She has been shortlisted
for several awards, and
has been exhibited a
number of times. See
carolinarapezzi.com for
more details.

Clockwise from above:

Carolina felt that the

best way to get this
shot was to get in the
water herself

Local fixers helped

Carolina to find her
subjects

Burning activities at the

site are thought to be
contributing to an
increased mortality rate

Regulations are few at

the scrapyard

Carolina believes in
following her instincts
and emotions
 Testbench YOUR KIT

What’s in my bag Derek Thow is a keen amateur who

has just completed a foundation Win! Send us an overhead photo
of the contents of your
camera bag and you could win a year’s
IN ASSOCIATION WITH
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subscription to AP. Don’t forget to add a
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passion is portraiture and he enjoys words about each item. Email your
working in a studio or outdoors flatlay pic and list to ap@ti-media.com

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 When Harry Met...
David Beckham
Harry Borden looks back on two shoots with the
superstar footballer almost two decades ago
I
f I’m asked about the
famous people I’ve
photographed, the
one that most people
want to hear about, more than
anyone else, is David Beckham.
Although he has been in the
public eye for 25 years, he
remains an enigmatic figure
for a lot of people.
David, like most top Premier
League players, isn’t academic
and hasn’t had a conventional
education. However, to be as
successful as he’s been in
football you need to be an
alpha male and have an
incredible animal intelligence.
There’s a brightness in his eyes
and an energy that you see in
professional sportspeople. And,
as he’s shown, he also has
formidable business acumen
and entrepreneurial skills.
When I first photographed
him, in February 1999, he was
23 and already one of
Manchester United’s biggest
stars. I was commissioned to
do a portrait shoot for the
ALL PICTURES © HARRY BORDEN
David in February 1999, with hair styled by his fiancée at the time, Victoria
36
Sunday Express magazine and
I met him at a studio in
London. Victoria Adams, his
fiancée at the time and a
member of The Spice Girls,
was styling his hair.
There had been a lot of media
interest in their relationship
and Victoria asked me not to
photograph them together.
Their publicist, Simon Fuller,
was quite a fearsome character,
so I toed the line and didn’t
take shots of them, but I’ve
always regretted not taking
that shot.
At that time, David had long,
floppy hair and still looked
quite boyish. In the pictures he
looks like a young pop star. I
shot them with my Hasselblad
‘There’s a brightness
in his eyes and an
energy that you see
in professional
sportspeople’
CM on colour negative film
that I cross-processed for a
more contrasty appearance.
Looking at those pictures now,
I see I used every trick in the
book I was doing at the time.
That included mixing tungsten
light with daylight, so the light
on his face is warm, but the
background has a blue hue.
I next photographed him in
September 2000. In the
intervening 18 months, David’s
personal fame had grown
enormously. His marriage to
Victoria had hit the headlines
worldwide and he was an
integral part of the Manchester
United team that achieved the
historic ‘treble’ of winning the
Premier League title and the FA
Cup and Champions League
finals in the same season.
This time I was
commissioned to shoot
portraits of David for the cover
of the Observer Sport Monthly
magazine. I remember
travelling first-class on the
train to where David lived,
Alderley Edge in Cheshire,
accompanied by David’s
publicist Alan Edwards.
David and Victoria were in
the process of developing a
huge mansion in the area and
in the meantime were living in
a very expensive penthouse flat.
Alan and I had arranged to
meet him in the town centre
and we were sipping
cappuccinos in a high street
coffee shop when David arrived
in a silver Ferrari to take us to
his flat. He looked very different
from when I had last seen him
and his floppy hair had been
cut to a very close crop.
As the shoot was taking place
in David and Victoria’s flat, it
felt less formal. He
remembered me from the
previous shoot and as we both
had sons of the same age
(Brooklyn, his eldest, was then
almost a year-and-a-half) we
chatted about our experiences
of fatherhood.
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 I was shooting with my
Pentax 67 II camera and by
this stage in my career I’d
moved on from cross-
processing. I shot colour and
black & white film and almost
all the shots were lit with
natural light, though I also
used a little ringflash.
I wasn’t going to have a huge
amount of time with him, so I
had to use that time to get as
much variety as possible in the
images. I got some head shots,
because they are good for
syndication, but also tried to get
something more interesting that
would stand the test of time.
My favourite from the second
shoot, and the one I always
show when I give talks, is this
black & white shot of him
standing next to a tree. I like it
because it’s not like a celebrity
portrait; it’s basically an
interesting picture of a tree
with a man standing next to it.
You might look at that man
and think, is that David
Beckham, or just a guy that
looks like him? So there’s an
element of mystery about it.
Also I was handholding my
camera and the picture’s not
completely sharp, which was
very unlike me at that time.
Because of that slight
movement it’s almost like a
snatched moment, a snapshot,
rather than a considered,
thought-out depiction of him in
order for him to sell something.
I don’t think it’s one of my
best pictures but when I give a
talk it’s always one I discuss,
partly because it’s a picture of
David Beckham and partly
because I like the perversity of
not filling the frame with his
famously handsome face.
As told to David Clark

Harry Borden
Harry is one of the
UK’s finest portrait
photographers. In
2014 he was
awarded an
Honorary Fellowship
by the Royal
Photographic
As Harry explains, Society. The National Portrait Gallery
‘An interesting
picutre of a tree
collection holds over 100 of his images. His
with a man standing book Survivor: A Portrait of the Survivors of
next to it’ the Holocaust, was published in 2017.
Visit www.harryborden.co.uk

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 37

Reader Portfolio
Spotlight on readers’ excellent images and how they captured them

1 2

Matthew Biggs, Cumbria North Face of Derwentwater

Matthew first got into photography when his the Eiger 2 ‘I wanted to
brother got a dog and he found he was constantly 1 Matthew took this experiment with the
aking photos of it. He has found that as his kit image of the blue hour, as I had
develops, so do his skills. He has been fortunate world-famous never done so before.
to have had the chance to visit Switzerland a moutain in a way that I was inspired by lots
number of times and in 2017 he moved to the Lake District. would really show its of blue hour images
He feels blessed to be surrounded by so much photographic scale and power. on Facebook.’
potential and also takes great pride in being able to share his Canon EOS 500D, Canon EOS 500D,
work with others. So it’s really no surprise that landscapes 10-22mm, 1/1600sec 10-22mm, 80sec at
and lakes are his favourite subjects. at f/3.5, ISO 100 f/22, ISO 100

Lake Lugano
in a Storm
3 ‘This was such an
atmospheric scene
it couldn’t go
un-photographed.
I wanted to create
quite a dark mood
that showed the pure
power of the storm.’
Canon EOS 500D,
10-22mm, 1/30sec
at f/3.5, ISO 400,

38 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 YOUR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

The Reader Portfolio winner chosen every week will receive a Submit your images
Please see the ‘Send us your
copy of Skylum Luminar 4, worth £81. See www.skylum.com pictures’ section on page 3 for details
Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools or visit www.amateurphotographer.
with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, co.uk/portfolio
while over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

4 Lauterbrunnen
at Night
4 ‘I had gone out at
2am with my father to
try astrophotography
for the first time. I
was looking for the
darkest place
possible. I was aiming
for a sense of awe
and tried to get as
much of the valley in
the shot as possible.’
Canon EOS 600D,
10-22mm, 10sec at
f/3.5, ISO 3200
Männlichen 5
Cable Cars
5 ‘I took this on a
walking trail from the
Männlichen cable-car
summit. The issue I
faced was timing the
shot perfectly, as the
cable car moved very
quickly. It took many
attempts and I had to
make sure I used the
right aperture.’
Canon EOS 600D,
10-22mm, 1/1000sec
at f/4.5, ISO 100
ADVERTISEMENT FEATURE
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25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Presentation top tips
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 41

 © IGGY TAVARES
2

1 Stillness by 2 Tulips Fading into Art

Paul Heester This
beautiful mono creation
has brought out the detail
in the leaf and the surface
tension of the water.
by Iggy Tavares This
artful piece has been well
thought out, from the tonal
range and background to
the image’s title.

5 On the Path by Frank 6 Thirsty Jaguar by

Edwards Who doesn’t
want to walk through this
gate and up the hill?
Keeping a low angle and
© PAUL HEESTER
Tina Nuthall Not
something you see every
day! The detail in the

jaguar’s coat presents

lots of foreground lots of visual interest and
1
interest adds so much. the shot is well cropped.

5 6
© FRANK EDWARDS

© TINA NUTHALL

Join
When was the club founded? moon named after him in recognition of his
The club was founded on 10 March 1890. contributions to astrophotography.
We are one of the longer established clubs
in the UK and have just celebrated our What does your club offer to new members?
130th anniversary. The club has strong Visitors to the club are always welcome and

Club
associations with the early days of they are encouraged to visit two or three times

the photography. Wratten & Wainwright was a

family firm based in Croydon that produced
photographic equipment and members of
the two families belonged to the club. Kodak
acquired the firm early in the 20th century
and that is the origin of the name for its
Wratten filters.
Another former member, Kenneth Mees,
was originally a Wratten & Wainwright
Croydon Camera Club employee. He moved to America to work for
Kodak and was responsible for many of the
has enjoyed a long technical developments in photography
during the first half of the 20th century.
and varied history There is even a crater on the far side of the
to experience what we have to offer before
deciding whether to join. Between them our
members have a wealth of experience that
they are always willing to share and make
newcomers feel at home.
Describe a typical club meeting
The type of meetings we hold are varied. They
can comprise competitions, talks, practical
evenings when we invite models to pose or
members’ evenings. Competitions are always
popular. This season, an image critique night and
a match-a-PDI competition were well received.
We shall be repeating both in the future.

42 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 YOUR PICTURES IN PRINT

4
© BILL YATES

© CAROLINE AVERN
3 Zzzzz by Bill Yates 4 Another Day on the
Candid photography is Web by Caroline Avern
never easy but Bill has Maybe we all spend too
caught so much here. long on the web, but this
From the boy’s shoes on arachnid has good reason
the floor to the people to. The background bokeh
moving on out of frame. adds context.

Club essentials

Croydon Camera Club

Shirley Methodist Church, Eldon
Avenue, Shirley, Croydon,
7 Solar Eclipse by Surrey CR0 8SD
Graham Cluer Meets Most Wednesdays of the year (except August)
Incredible – what a thing at 7:45pm for 8:00pm. The season concludes with a
to have witnessed. barbeque which is hosted by one of our members.
Graham travelled to Membership
© GRAHAM CLUER

Nashville in 2017 for this

solar spectacle. Contact croydoncameraclub@gmail.com
Website www.croydoncameraclub.org.uk

Do you invite guest speakers?
We aim to book a wide range of speakers so
that members can experience the broad
breadth of photography. Every other year we
invite a well known photographer to give a
talk which is open to anyone who wishes to
attend. We designate these special events
as a ‘Wratten Lecture’ in recognition of the
club’s history.
Do members compete in regional or
national competitions?
The club holds an annual exhibition which is on
for four weeks at the Clocktower Gallery in
central Croydon. We display framed prints and
PDIs. We are members of the Federation of
South London Photographic Societies which
holds inter-club and individual competitions.
The latter is well supported by members, who
also participate in Surrey Photographic
Association (SPA) individual events. Several
members have had acceptances in this year’s
biennial exhibition, which SPA hosts.
How many members do you have?
We have approximately 60 members, men
and women, of various ages and backgrounds.
Are any residential trips or outings planned?
The club has regular outings as well as an
annual holiday. Last year, we visited Northern
Ireland and spent some of the time south of
the border. This year, we went to Skye and had
a great time.
Do you have any funny stories about
the club?
A while back, a speaker turned up with his
presentation on a memory stick. When we
tried to run it, nothing happened. It was
obvious from the small file that it could not
possibly contain any images. To our
astonishment, he then produced a completely
different lecture which he proceeded to give.
We did wonder if he made a habit of carrying
two presentations! Also at our annual
barbeque one year, there was a pond beside
the path leading to the host’s garden. Our
then-President was most aggrieved when he
mistook the pond for the path and stepped
right in. His mood was not improved when he
was asked to repeat the stunt for the cameras
which rapidly appeared. Enquiries whether he
was starting a tradition were similarly rebuffed.
What are the club’s goals for the future?
With our long history, we are looking forward
to the next 130 years. The club is where
like-minded people can meet in a friendly,
social context. Competitions will continue to be
a mainstay as they allow members to show
their work and help to hone their skills.
Success in external events is always welcome
and helps promote club spirit, but is not the
ultimate goal. In the main we are a group of
people looking to enjoy our hobby and
improve our photography.
Want to see your club featured on these pages? Drop
us a line for more information at ap@ti-media.com

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 43

 Testbench
Fujifilm
X100V
Now in its fifth generation, does the X100V do
enough to entice new and existing X100 users?
Michael Topham had the honour of testing it
For and against
New and improved lens that
accepts legacy converters
First X100-series model to
benefit from a tilting screen
Introduces weather resistance
via optional kit
Refined ISO control from the
top plate
Maximum 4K video record time
(10mins)
Looses the four-way buttons
ALL PR CES ARE APPROX MATE STREET PR CES
at the rear
Touchscreen can’t be used to
navigate the menu
Single SD card slot
44
CAMERA TEST
At a glance
£1,299 body only
● 26.1MP APS-C X-Trans
CMOS 4 sensor
● X-Processor 4
● 35mm equivalent f/2 lens
● Hybrid Viewfinder (OVF&EVF)
● 3in, 1.62-million-dot tilting
touchscreen
● 4K video at 30p
● Available in silver or black
THANKS TO TIMELINE EVENTS WWW.TIMELINEEVENTS.ORG
T
here are some cameras X-series as we now know it. Ten
Data file you can’t fail to be years of evolution has seen the
Sensor 26.1MP X-Trans 4, 23.5 x 15.6mm
impressed by for their X100-series grow to be one of
charm and good looks. the most sought-after fixed-lens
Output size 6240x4160
Focal length mag
1.5x Ask any clued-up photographers to cameras. The iconic design hasn’t
Lens 23mm f/2 name the most attractive looking changed greatly, yet Fujifilm has
cameras to be released in the past continued to find ways to improve
Shutter speeds 30-1/4000sec (mechanical)
1-1/32000sec (electronic) decade and it’s likely Fujifilm’s it by listening carefully to those
ISO 160-12,800 (80-51,200 extended) X100-series would get a mention. who use it day in, day out. Does
Exposure modes PASM When I was shown the original the fifth member in the series still
Metering 256-segment TTL: Multi, spot, X100 in 2010, I was astonished by appeal and justify its four-figure
average, centre weighted what Fujifilm had created. How price tag? It’s time to find out.
Exposure comp +/-5EV in 0.3EV steps could a company that at the time
Drive mode 11fps (up to 30fps with 1.25x was best known for its run-of-the- Features
crop using electronic shutter) mill point-and-shoot compacts and You could be mistaken for thinking
Screen 3in, 1.62-million-dot tilting LCD
bridge cameras suddenly release not a lot has changed when you
Viewfinder Optical 0.52x magnification /
a camera of such splendour? view the X100V from the front.
electronic 3.69m-dot OLED EVF
AF points 117 or 425 The combination of classic But while it remains similar in soul
design, fast fixed lens, large to the original X100 and X100S,
Video
4K (30/25/24p), Full HD (120-24p)
APS-C sensor and hybrid X100T and X100F that have
External mic 2.5mm stereo
viewfinder was like nothing anyone followed since, the X100V is
Memory card SD, SDHC, SDXC (UHS-II) had expected. The X100 quickly completely transformed.
Power NP-W126S Li-ion battery became a game-changer. Not Rather than inheriting the same
Battery life 250-420 shots per charge only did it completely reinvigorate lens from the X100F, Fujifilm has
Dimensions 128x74.8x53.3mm Fujifilm’s presence in the market, it reconfigured it. The basic formula
Weight 478g (with battery and card) laid the foundations for the of 8 elements in 6 groups remains
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 The subtle sepia tone to this image was created
using the X100V’s monochromatic colour mode.
Captured on a TimeLine Events photo charter
Fujifilm X100V with WCL-X100, 1/1600sec at f/5, ISO 160

unchanged, but the lens unites a
pair of aspherical elements in its
construction whereas previous
generations have had just one. The
23mm focal length (equivalent to
35mm) and aperture range (f/2 to
f/16) is the same and it upholds a
minimum focusing distance of
10cm. Fujifilm alleges the newly
added aspherical element results
in better edge-to-edge sharpness,
lower distortion and improved
performance at close focus
distances – something I’ll touch on
in more detail later in this review.
The good news for those who
own existing adapters or legacy
conversion lenses is that they’re
fully compatible. Keeping on the
subject of the lens, users have the
option to unscrew a ring at the
front and attach Fujifilm’s wide
conversion lens (WCL-X100 II) or
tele-conversion lens (TCL-X100
II), turning the X100V’s 23mm
lens into a 28mm equivalent
(0.8x) or 50mm (1.4x) equivalent.
Another important point to note is
that Fujifilm’s first-generation
conversion lenses are also still
compatible. Unlike the second-
generation versions though these
aren’t automatically detected by
the X100V when they’re attached
and require you to manually select
tele or wide from the conversion
lens option in the menu or from a
function button to which it’s set.
Behind the X100V’s lens lies the
same sensor and processor
combination as found inside
Fujifilm’s latest premium X-series
mirrorless models. The back-
illuminated 26.1-million-pixel
X-Trans CMOS 4 APS-C sensor
and quad-core X-Processor 4
bring a number of benefits to the
X100V, including a slightly wider
sensitivity range of ISO 160-
12,800 (extendable to ISO
80-51,200), along with
continuous shooting rates of up to
11fps with the mechanical shutter,
20fps with the electronic shutter,
or 30fps with a 1.25x crop.
Although such fast shooting
speeds aren’t a prerequisite of
street, travel or documentary
users to whom the X100V is most
likely to appeal, it’s great to see
Fujifilm’s X-Trans CMOS 4
technology being used for the first
time in an X100-series model.
The X100V’s autofocus has
been improved too. Like Fujifilm’s
latest high-end X-T and X-Pro
models, the X100V spreads
2.16-million phase-detection
pixels across the surface of its
sensor and can obtain focus as
hastily as 0.02sec. As well as
being able to acquire focus in light
levels as low as -5EV, users get to
choose from 117 AF points
arranged in a 9x13 formation
across the frame, or increase
this to a 425-point layout (17x25
grid) for more precise positioning.
The X100V is also equipped with
face and eye detection, AF-C
custom settings and Fujifilm’s AF
range limiter function. The latter is
used to tell the lens to focus
across a specific range of
distances. This can be useful when
the distance to the subject you’re
photographing remains consistent
and you’d like to eliminate the lens
focusing across a wider AF range
than necessary.
As we’ve seen on other X100
models, the X100V’s mechanical
focal plane shutter lets you shoot
up to 1/4000sec. By activating
the electronic shutter you can
shoot up to 1/32,000sec, which
can be particularly useful when
you’d like to work with wide
apertures in bright conditions.
Helpfully, the X100V has its
own 4-stop ND filter built-in too,
which goes one better than the
3-stop ND filter offered by
the X100F.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 45

 The X100V’s eye detection locked onto
the model’s left eye instantaneously in
this scene aboard a local steam train
Fujifilm X100V, 1/2000sec at f/2, ISO 1600
Adding to its new features is
a monochromatic colour mode
that gives users precise control
over how warm or cool images
appear. Eterna and Classic Negative
film simulations are also added and
every film simulation is available
when shooting movies. Those who
enjoy recording video can shoot 4K
footage at 30p/25p/24p with a bit
rate of 200Mbps for up to ten
minutes. Full HD video at up to
120fps is available for a maximum
record time of 15 minutes. Anyone
wishing to record in 10-bit, 4:2:2
can do so via the X100V’s HDMI
port and it’s good to see face/eye
detection being supported in
video mode. At the side you’ll
find a 2.5mm mic input, USB
Type C port and HDMI (Type D)
micro connector.
Like the X100F, the X100V
accepts Fujifilm’s widely used
NP-W126S battery, however the
battery life has been increased.
Shooting stamina is upped to 350
frames using the EVF, or 420
shots using the optical viewfinder.
In-camera charging via USB is
supported and a USB cable (type
A to C) comes supplied in the box.
Wi-Fi and Bluetooth also feature,
enabling wireless transfer and
wireless remote control. Both
require Fujifilm’s free Camera
Remote app to be installed on iOS
and Android mobile devices .
Build and handling
I’d go as far as saying the X100V
has received the biggest shake up
46
in terms of its build and handling in
the history of the X100-series. On
close examination you’ll notice the
finish to the edge of the body is
crisp, which has been achieved by
manufacturing the top and bottom
plates from single pieces of
aluminium. The aluminium covers
are built around a magnesium
alloy frame to uphold a high level
of robustness, and are exquisitely
finished in a satin coating, with the
all-black version being anodised
rather than painted to give it a
deeper black finish.
One of the changes at the rear
has seen the four-way buttons
removed, with the drive control
being relocated to where the view
mode button was on the X100F.
This change forces users to nudge
the joystick when navigating the
menu and means there aren’t any
buttons beneath your thumb for
quick access to customised
functions. Shifting the Q-menu
button to the right a little has
helped prevent accidental presses,
however it is a bit too small and
there were times when it felt like
I was searching for it with the
viewfinder raised to my eye. The
rear dial, like the front dial, benefits
from a better knurled finish and
both can be depressed to activate
user-defined functions.
Like the X100F, the X100V
features an ISO dial that’s built
around the shutter speed dial on
the top plate. To address criticisms
that it was a bit too fiddly on the
X100F, Fujifilm has redesigned it.
It’s similar to the arrangement weather-sealed X-series body,
you’ll find on the X100F in the such as an X-Pro2, in their bag for
way the outer portion of the dial is when wet weather strikes.
lifted to adjust the ISO value, but Provided that you remember to
it’s also vastly improved in that it pack or attach the weather-
no longer requires you to lift and resistant kit before heading out, a
rotate it simultaneously. Pull the second weather-sealed camera no
outer ring up and the ISO dial can longer becomes a necessity
be rotated freely with your thumb therefore lightening your load.
before it’s pushed back down to
lock it in place. Users who’d like to Viewfinder and screen
adjust the sensitivity on the fly also Once again the X100V sports a
have the option to set the ISO dial hybrid optical/electronic viewfinder.
to its ‘C’ setting and use the front In its optical mode the finder
dial, which is my preferred way of provides parallax-corrected frame
working when you’re required to
setup and shoot quickly.
As we’ve seen before, the on/off
switch encircles the X100V’s
threaded shutter button that
accepts traditional style screw-in
cable releases. Although the
button next to it is no longer
labelled as a function button, users
will find that it can be held down to
specify the setting you’d like to
assign it to.
Like previous generations, the
X100V feels solid, very well put
together and ready to deal with a
bit of rough and tumble as well as
daily wear and tear. Its premium
build quality is immediately
obvious when you pick it up – it’s
neither too big or too heavy and
never feels cumbersome or a
burden to carry. Another benefit
of its new weather resistance is
that it allows you to head out with
just one camera.
In the past many X100-series
users have been known to carry a
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

lines, detailed exposure information
and other icons revealing
information such as battery status,
film simulation and image quality
settings around the outside of the
frame. It should be pointed out
though that these aren’t the easiest
to view in bright or backlit conditions.
Compared to the X100F’s optical
viewfinder, which offered 92%
coverage and a 0.5x magnification,
the X100V’s has improved to 95%
coverage and 0.52x magnification.
The EVF, which is activated by
pulling the switch at the front of the
body, is the best we’ve ever used
on an X100-series model. The
jump in resolution to 3.69-million
dots, higher 0.66x magnification
and improved brightness
contribute to a clearer and more
refined viewing experience.
Complementing the upgraded
viewfinder is an entirely new LCD
screen that can be used for
composition and playback
purposes. The X100V is the first
X100-series model to feature a
two-way tilting 3in, 1.62-million-
dot touchscreen that assists with
shooting from the hip or any
awkward angles. Fujifilm has
overcome the challenge of
implementing it without adding
any unwanted bulk by making it
thin, but not so thin that it feels
flimsy. One thing you’ll find
regarding its manoeuvrability is
that when you’d like to angle the
screen downwards you are
required to pull it out a little first.
The touchscreen control extends
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020
CAMERA TEST Testbench
to the quick menu, however the
Focal points
main menu can’t be controlled by
touch like we’ve recently seen on
Fujifilm’s entry-level X-A7 and
X-T200 mirrorless cameras.
Here we take a look at some of the other
Performance yet-to-be-mentioned features on the X100V
To gain a better understanding of
how the X100V’s lens performs, I Swipe gestures My Menu
conducted several side-by-side These gestures replace the function The My Menu setting gives users the
comparisons with an X100F that buttons on the X100F. You can set up choice of customising their most
was kindly loaned to us from the X100V so that when you swipe up, frequently used menu settings into
MPB.com. Just like the X100F, down, left or right on the screen you one area. Beware that the camera
the X100V produces impressive can take instant control of a returns to the My Menu setting every
corner-to-corner sharpness with pre-assigned function. Finger swipes time the Menu/OK button is pressed
minimal distortion and chromatic should be made positively. unless it’s kept clear.
aberration. At long focus distances
I found the X100V produces
marginally sharper results at the Lens hood In-built flash
edge when used at its maximum Fujifilm’s precision-milled LX-X100 lens The X100V features an in-built flash
aperture of f/2. Where the obvious hood (£70) offers protection to the front that can be controlled directly from
difference lies though is at close element and reduces the amount of the quick menu or flash settings. It
focusing distances. Images taken unwanted light and flare entering the has a guide number of 4.4 (ISO
on the X100F appear very soft lens. It connects to the same adapter 100/m). If you require more powerful
wide open when you attempt to ring as supplied with the X100V weather- illumination you can attach a flash
focus on subjects as close as resistant kit, which also allows 49mm unit such as Fujifilm’s EF-X500 (£449)
10cm. Identical shots taken on the filters and adapters to be attached. via the hotshoe or work with off-
X100V revealed that sharpness at camera flash using compatible
close distances is far superior, so wireless triggers.
much so you won’t find that you’re
forced to stop down to f/4 or
smaller like you are on the X100F.
These findings confirm that the
53.3mm
changes to the optical design have
made a notable difference, just as
Fujifilm claims, however the lens
does continue to be prone to
veiling flare in instances when you
shoot directly towards the sun and
a lens hood isn’t used.
The start-up time of the
camera is rated at 0.5sec, Stealth black Touchscreen
If you’re a street photographer, The X100V’s touchscreen lets you
An example of the shallow depth or someone who likes to work reposition the AF point and fire the
of field that can be achieved with in an inconspicuous manner, shutter in shooting mode. It can
the X100V’s aperture set to f/2 you’ll most likely want to also be used to select settings from
Fujifilm X100V, 1/1500sec at f/2, ISO 80 choose the X100V in black as the quick menu and swipe through
opposed to silver. On one day images and zoom in playback mode.
alone I had five people It’s not as advanced as some of
approach me and enquire Fujifilm’s latest X-series models
about the classic-looking that allow you to navigate the menu
silver camera in my hands. via the screen.
74.8mm
THANKS TO TIMELINE EVENTS WWW.TIMELINEEVENTS.ORG
128mm
47
 The X100V’s lens resolves
sharper-looking images than
the X100F at close focusing
distances and wide apertures
Fujifilm X100V, 1/350sec at f/2, ISO 80
which is slightly slower than
the X-Pro3, but not
something I found to be a
deal-breaker. The auto power off
function can be set anywhere
between 15secs and 5mins. By
setting this up you can preserve
battery life, plus it saves you using
the on/off switch quite as often.
The advantage that comes with
having many more phase
detection points spread across the
sensor is more responsive
autofocus acquisition. I found the
X100V doesn’t tend to hunt as
much as the X100F, which was
particularly noticeable when the
focus point was positioned towards
Weather resistance
One of the criticisms X100-
series models received from
users in the past was a lack of
weather resistance. Fujifilm has
acknowledged that many
photographers want to have the
option of shooting with the
X100V when the weather takes
a turn for the worse, and not
succumb to stowing it away or
swapping cameras to prevent
unfavourable weather or
demanding environments from
affecting its performance. As
well as adding weather
resistance around the body and
to the viewfinder to ensure the
48
the edge of the frame and I
attempted several shots in a dimly
lit interior. Although I didn’t
encounter any missed
opportunities during my testing
because it failed to achieve focus
fast enough, the fact that the lens
moves in and out during focusing
means it can’t perform at the
same rapid speed of today’s
internal-focus lenses. Like Fujifilm’s
latest mirrorless cameras, face
and eye detection makes critical
focusing a breeze when shooting
portraits. A yellow square inside
the green face detection box
reveals which eye it’s locked onto
and you get the option to switch it.
X100V is more durable, Fujifilm
has released an optional
weather-resistant kit that
consists of an AR-X100 adapter
ring and PRF-49 protection
filter. By attaching the adapter
ring and filter, the front element
of the lens, which extends and
retracts very slightly when
focusing, becomes a sealed unit
and fully resistant to ingress of
water, moisture, dust and sand.
The weather-resistant kit costs
£99 and is available in both
black and silver to match the
colour of the two available
finishes for the X100V.
From the main menu the
X100V provides a plethora of
options to aid with day-to-day
shooting. The X100V’s leaf shutter
is very quiet, but having the option
to take images in silence by
activating the electronic shutter is
great for street photographers
who’d like to blend in with their
surroundings and go about their
work unnoticed. A couple of
batteries should suffice for a day’s
shooting if you don’t plan to
charge the camera on the go via
USB, but be warned that
transferring images wirelessly does
see the battery level drain rather
quickly. Having the option to plug
the X100V into a portable USB
powerbank or USB car adapter to
ensure power levels don’t drop low
is very convenient.
There are no surprises in the
X100V’s sensor output. In typical
Fujifilm fashion the quality of
images straight out of the camera
is good, with faithful colour and
accurate exposure being met by
high levels of detail and excellent
noise control. The new Classic
Negative simulation has quickly
become a favourite of many
X-Photographers and produces a
vintage film vibe with increased
saturation and more contrast than
you get using Classic Chrome.
When you go back to using the
Standard/Provia mode after using
some of the rich film simulation
modes colours can appear a little
dull and lacking in vibrancy.
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Experimenting with the tone curve
using the highlight tone and shadow
tone options that you’ll find in the
Q menu or main menu lets you
maximise the dynamic range in
JPEG images without affecting raw
files. Increasing the highlight tone
to a positive value brightens the
highlights and decreasing it to -1 or
-2 retains detail in brighter areas. As
for the shadow tone, increasing it
to a positive figure darkens the
shadows, whereas decreasing the
value to -1 or -2 retains detail in
the darkest areas. One slight
peculiarity you’ll need to get used
to when adjusting these settings is
the counterintuitive operation of
the rear dial.
Rapid continuous shooting
speeds aren’t deemed a necessity
by most street and documentary
photographers, nevertheless it’s
something we make a point of
testing. Loaded with a fast SDHC II
memory card capable of 260MB/s
read and 240MB/s write speeds,
the X100V managed to record 18
raw files at 8fps or 11fps using its
mechanical shutter. This figure
increased to 40 frames at 11fps
when the image quality was set to
Fine JPEG. Engaging the electronic
shutter allowed 17 raw files to be
recorded at 20fps before
slowdown occurred – one frame
more than was recorded at 30fps
with a 1.25x crop. Approximately
33 Fine JPEGs were recorded at
30fps before the X100V
showed a hint of slowing.
 CAMERA TEST Testbench

Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details

The X100V adopts the tried-and-tested 26.1-million-pixel X-Trans CMOS 4 APS-C sensor
that’s also used by the X-T4, X-T3, X-Pro3 and X-T30. It has a back-illuminated structure to
enhance low-light performance and with no optical low-pass filter users will find extremely fine
detail is preserved high into the ISO range. While the finest image quality is achieved by shooting
in raw, the quality of JPEGs straight out of the camera is astonishingly impressive. JPEGs don’t GOLD
suffer from being too heavily processed, with colours remaining punchy and true-to-life.

FUJIFILM has had a good thing going with its

Resolution X100-series ever since the original arrived
ten years ago. We’ve seen it evolve a great
The level of detail recorded is comparable to the detail well with 3,200l/ph resolved at ISO 1600 and 3,100l/ph deal in this time, while preserving the iconic
resolved by the X-T3, X-T30 and X-Pro3. It resolves a at ISO 3200. Detail dips below 3,000l/ph when the design and classic styling that X100-series
maximum of 3,400l/ph between ISO 80 and ISO 400, sensitivity is pushed beyond ISO 6400. The detail cameras have become known and loved for.
with resolution dropping ever so slightly at ISO 800. resolved at ISO 12,800 (2,900l/ph) remains high and it With the X100V, Fujifilm hasn’t updated it
Pushing past ISO 800 sees the level of detail stand up even manages to resolve 2,400l/ph at ISO 51,200. by simply adding their latest X-Trans CMOS 4
sensor and fastest processor. Instead it’s
RAW RAW RAW RAW
ISO 80 ISO 6400 ISO 25,600 ISO 51,200 advanced it to the nth degree, creating a
better tool for photographers who like the
simplicity that comes with working with a
fixed lens compact and others who fancy a
Here we show details from our beautifully designed camera that fits a jacket
resolution chart test pattern pocket and can be pulled out at a moment’s
(above). Multiply the number notice to capture truly stunning images.
beneath the lines by 200 to give The X100V improves in many crucial
the resolution in lines per areas, not least its lens, which is perceivably
picture height. sharper when shooting close subjects at wide
apertures. Then there’s its autofocus system,
which covers a wider area of the frame, the
Noise ability to record 4K video (albeit up to 10
minutes in length and without being able to
Shoot between ISO 80 and ISO 800 and you’ll be guaranteed clean images employ the ND filter), and its brilliant tilting
free of noise. It’s only when you select ISO 1600 that you start to notice screen that’s so thin it doesn’t affect the
noise appearing under close inspection. Noise is so well controlled at ISO overall size or handling in any way.
1600 and ISO 3200 that users won’t shy away from using them. ISO 6400 is There will be some who’d prefer it if it was
usable too with some noise reduction applied, but luminance noise does weather-sealed out of the box or supplied
start to become a little more pronounced at ISO 12,800. The detail that’s with the weather-resistant kit at no extra
resolved at ISO 12,800 isn’t what it is at ISO 3200, however this wouldn’t cost, but this is a minor gripe on what is
The crops shown below are taken put me off pushing the X100V to ISO 12,800 in low-light situations. The otherwise a very robust and extremely well-
from the area outlined above in red extended settings should be given a wide berth to preserve best quality. made camera. The removal of the four-way
buttons at the rear is my only real criticism,
RAW ISO 80 RAW ISO 400 RAW ISO 1600 which I’d like to have seen preserved. I
accept the screen can be swiped to access
different functions, but in my opinion this isn’t
the same as having buttons below your
thumb you can access with your right hand.
To conclude, the X100V is a gorgeous
little camera that’s as satisfying to look at as
it is to shoot with. It has a special thing going
for it in the way it inspires you to venture out
and take pictures, which I put down to how
easy it is to carry, how wonderfully tactile it is
RAW ISO 6400 RAW ISO 25,600 RAW ISO 51,200
to use, and the stunning images it returns.

FEATURES 9/10
BUILD & HANDLING 10/10
METERING 10/10
AUTOFOCUS 9/10
AWB & COLOUR 10/10
DYNAMIC RANGE 9/10
IMAGE QUALITY 10/10
VIEWFINDER/LCD 10/10

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 49

 THE EISA PHOTOGRAPHY
MAESTRO CONTEST 2020
1ST PRIZE
This Year’s Theme: e1500 & EISA Maestro Trophy

Movement 2ND PRIZE

e1000 & EISA Maestro Trophy

3RD PRIZE
e750 & EISA Maestro Trophy
SHUTTERSTOCK.COM/TOM EVERSLEY

HOW TO ENTER UK DEADLINE: 1 MAY 2020 INTERNATIONAL JUDGING: JUNE 2020

Provide 5-8 photographs on the theme
of ‘Movement’. All entries must be in
digital format (camera or scanned film
originals) and must be taken by you
for the purposes of this competition.
Existing portfolios are excluded.
inners will also
All National Maestro w
ok in June for
be published on Facebo mpetition.
co
the EISA Public’s Choice is h1,000
r
The prize for the winne
AP has teamed up with Photocrowd to
host the contest. To enter, go to:
www.photocrowd.com/maestrouk
The top three will be chosen by the AP
team and published in a July issue of
AP. The winner will receive a one-year
subscription to AP and go forward to
the international round of the contest.
The winning entries from each of the
16 participating countries will be
judged at EISA’s AGM in June. The
overall International Maestro Contest
results will be revealed at the EISA
Awards Gala in Berlin on 4 September
2020, attended by the top three
winners, and published in a September
issue of AP.

Results will be published in the September or October issues of all 16 EISA photo magazines/websites.
All three winners will be invited to Berlin for the official EISA Awards ceremony on 4 September 2020

For further details, and terms and conditions visit www.eisa.eu/maestro

 FIRST INSPECTION Testbench

The Canon EOS R5 will accept

Canon RF-mount lenses as well as
Canon EF-S and EF lenses via one
of three Canon EF-EOS R adapters

Canon EOS R5
What more do we know now that we’ve seen Canon’s
At a glance

● Price yet to be announced

● Canon RF-mount
● In-body Image Stabilisation
(IBIS)
future full-frame mirrorless camera in the flesh? ● Internal 8K video at 30p with
Dual Pixel CMOS AF
Michael Topham reports on his first inspection ● 12fps with mechanical shutter,

W
ith the
cancellation of
this year’s
Photography
Show in Birmingham seemingly
slamming the door on any chance
of viewing the Canon EOS R5 for
the first time, we were pleasantly
surprised when we received an
invite to go and inspect Canon’s
forthcoming high-end full-frame
mirrorless camera. The original plan
was to have one example of the
new EOS R5 on Canon’s stand at
The Photography Show for
everyone, including the press, to
look at. Having the chance to
inspect it one-to-one without it
being locked behind glass seemed
too good an opportunity to miss.
It’s important to note that this
opportunity arose prior to the strict
social distancing measures and
self-isolation guidelines that have
since been outlined by the
government due to Covid-19.
Following up on the information
that has already been made public
in the Canon EOS R5
development announcement,
Canon has since released further
details confirming the EOS R5’s
ability to internally record 8K video
using the full width of the sensor at
up to 30p. In addition to this,
Canon has revealed that the EOS
R5 will support Dual Pixel CMOS
AF during 8K video recording and
will also provide advanced animal
autofocus that will be able to
recognise the difference between
three different species, these
being dogs, cat and birds.
The Canon EOS R5’s full
specification, price and availability
is still yet to be announced,
however having the opportunity to
view and capture a selection of
images of the camera does allow
us to inspect it and comment on
what we’ve seen. During our first
look of the Canon EOS R5 we
were under super-strict
instructions not to touch, handle or
operate the camera – so much so,
that a Canon representative was
the only person allowed to
reposition the camera for the
product shots that accompany this
article. Though we’re still yet to
20fps with electronic shutter
● Advanced animal autofocus for
dogs, cats and birds
● Articulated screen
● Dual card slots
comment on how it feels in the
hand, we hope it won’t be too long
before a working sample emerges.
First impressions
So what do we know now that
we’ve taken a look at what
appeared to be a finished working
sample of the Canon EOS R5?
Inspecting the EOS R5 alongside
our long-term loan Canon EOS R
revealed that the top plate is
virtually identical with a
similar arrangement of

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 51

 Testbench FIRST INSPECTION
controls. The on/off switch is Canon EOS R users will
located similarly on the top be very familiar with
left shoulder of the body, albeit the layout of the EOS
slightly different in its design, and R5’s top plate controls
the mode button, top plate display,
M-Fn button and movie-rec
button are all exactly where you’d
find them on the EOS R. The body
is a little thicker than the EOS R
too, which we put down to the
Canon EOS R5 featuring in-body
image stabilisation and the EOS R
doing without it.
There’s much more to comment
on at the rear of the camera. The
EOS R5 doesn’t inherit the same
M-Fn bar that appeared on the
EOS R. This came under heavy
scrutiny and wasn’t particularly
well received on the EOS R so it’s
perhaps no surprise to see it
excluded. Instead, the EOS R5
provides a more traditional-looking
arrangement of buttons and dials
at the rear that’s more akin to
Canon’s EOS 5D-series of DSLRs.
The EOS R5 has an AF joystick,
though it does seem to sit quite the EOS R’s. The cutaway to help depth-of-field preview button, and be positioned alongside each
high at the rear of the body and pull it out is also located at the what could be a connector for an other instead. No information on
could possibly result in a bit of a lower right corner rather than at E3-type remote release. On the what memory cards the EOS R5
stretch with your thumb to reach the top right. It’s the vari-angle side are microphone, headphone, will accept has yet been disclosed,
it. We’ll have to wait until we get type, which will undoubtedly offer USB, HDMI and flash sync but given the huge data
the opportunity to pick one up touch control, and it can be folded sockets. We weren’t allowed to throughput required by 8K video,
before we can report on this in in on itself when it’s not being inspect the battery compartment, we wouldn’t be surprised to see at
greater detail. Alongside it you get used. Another useful button at the but we highly suspect it’ll accept least one CFexpress slot, perhaps
a dedicated AF-ON button, with rear of the EOS R5 is its dedicated Canon’s LP-E6N battery that can alongside an SD card. The finish
magnify, info and quick menu RATE button, which is also found be recharged in-camera. and texture of the body appears
buttons beneath. The control wheel on the Canon EOS 5D Mark IV. In regard to design of the identical to the Canon EOS R’s.
is slightly smaller than you’ll find on The microphone icon beside it handgrip, the thumbrest at the It seems we’ll have to wait a little
the Canon EOS 5D Mark IV, but is suggests that users will be able to rear protrudes more than it does while longer before the full
likely to be much better received hold it and record voice memos on the EOS R. The memory card specification is announced, but
than the basic four-way controller while inspecting shots in playback. door isn’t tall enough to we’ll bring you all the news about
you get on the EOS R. At the front of the body there accommodate two SD cards the Canon EOS R5 as soon as we
As for the screen, this appears appears to be an infrared remote directly one above the other, receive it, so be sure to
to be larger in size compared to control receiver on the handgrip, a suggesting that the card slots will watch this space.

CANON EOS R5: A CLOSER LOOK IN DETAIL

Thumb rest Mode button Joystick

A close study of the thumb rest shows that it
features a new design. It protrudes further than
the thumb rest on the EOS R. Rather than
having the exposure lock and AF point
selection/Magnify button arranged vertically,
they are positioned side-by-side on the EOS
R5 like they are on the EOS 5D Mark IV.
The mode button is identical to that found
on the Canon EOS R. We expect it to work
in the same way, meaning video modes can
be accessed by first pressing the mode
button followed by info button. We also
expect the EOS R5 to inherit Canon’s
Flexible-priority (Fv) mode too.
Canon has added a joystick, or multi-controller
as it’s also known, where the criticised M-Fn
bar is located on the EOS R. It appears to be
similar in size to the joysticks you’ll find on
pro-spec Canon DSLRs, however it’s offset to
the left of the AF-ON button, which could
result in a bit of a stretch with your thumb.

52 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 At its rear the EOS R5
is more in keeping with
Canon’s EOS 5D-series
than the EOS R

We’re still waiting to

find out more about
the resolution of the
EOS R5’s electronic
viewfinder
What we
already know
CANON’S original development announcement told us
that the EOS R5 will feature in-body image stabilisation
that’ll work in concert with optically stabilised lenses, along
with dual card slots for backing up files in-camera. The
camera will shoot at 12 frames per second with its
mechanical shutter, or 20fps using its electronic shutter,
and be capable of 8K video recording. Current 8K
standards define a resolution of 7680x4320 pixels, and
this implies a sensor of at least 40MP (assuming a
standard 3:2 aspect ratio), making the EOS R5 the highest
resolution model in the EOS R range to date.

Card slots Battery Ports

We know the EOS R5 will have dual card slots,
however it’s unknown what type they’ll be.
Given the large data throughput required by
8K video, it’s likely one slot might support
CFexpress, with the other possibly accepting
SD cards. Unfortunately we weren’t allowed to
open the card door to find out.
We weren’t allowed to look at the underside of
the EOS R5 so it’s difficult to know what
battery it might accept. If it’s like the Canon
EOS R it’ll use the LP-E6N rechargeable
battery that can be charged in camera via a
USB Type C port. We speculate that Canon will
make a battery grip for the EOS R5.
Studying the side of the body reveals the EOS
R5 will house a microphone, headphone and
PC socket alongside USB and HDMI ports. We
presume it’ll be a USB Type-C port and if it’s
like the EOS R, the HDMI port will be the
HDMI mini out Type C type. The flash sync port
is located beneath the headphone socket.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020 53

 Testbench ACCESSORIES

Samsung Portable
SSD T7 Touch
Michael Topham tests a pocket-friendly SSD
drive with impressive data transfer speeds
● From £129 (500GB) ● www.samsung.com
EARLIER this year we rounded up six of the best
Portable
portable hard drives on the market and came to
the conclusion that Samsung’s Portable SSD T5 is
size
The drive takes up
one of the best options if you’re after an incredibly
minimal desk space. It’s
small, lightweight drive that’s reliable and robust.
approximately the same
Since then Samsung has released the Portable
SSD T7 Touch – a solid state drive that fits in your
size as a credit card, Capacity
albeit thicker. The drive is available in
pocket like the SSD T5, but updated in the way it
500GB (£129), 1TB (£195) and
offers faster read/write speeds and fingerprint
2TB (£365) capacities in
recognition like you get on many smartphones. The
either black or silver.
drive’s interface is USB 3.2 Gen 2 and it comes
with USB-C and USB-A cables. Embedded PCIe
NVMe technology facilitates impressive sequential
read/write speeds of up to 1,050MB/s and
1,000MB/s respectively, which is twice as fast as
the speeds offered by its SSD T5 predecessor. As Shock
well as being able to register up to four fingerprints, resistant
Samsung’s Portable SSD lets you rename the The drive is designed to
drive and input a password to encrypt it. You can survive knocks as well as
download an app for Android phones running the drops from a height of
Lollipop operating system or higher too, which 2 metres (61∕2ft).
provides the same functionality as the desktop app
and allows you to protect and access files from
your mobile device. In the hand the drive feels
reassuringly solid for such a small drive that weighs
58g and measures 85x57x8mm.
Setting up the drive on our PC was a smooth and
simple process. Turning security mode and
fingerprint unlock on instructs you to scan your Formatting
fingerprint to register it – you’ll then need to touch The T7 Touch is formatted
the blue fingerprint sensor multiple times. Once exFAT making it compatible
complete, the fingerprint sensor blinks with Windows, macOS
consecutively each time the drive is plugged into a and Android straight out
device, whereupon successful scanning of your
At a glance of the box.
finger gives you full access to the files and data on
● USB 3.2 Gen2
the drive. Unfortunately our experience of using
the T7 on Mac wasn’t as successful. Despite our ● Sturdy metal body
iMac meeting the minimum system requirements ● AES 256-bit encryption
and being installed with the latest version of
Portable SSD software, the software refused to
sync with the drive. Though we could still transfer TRANSFER TIMES
and store files, we weren’t able to encrypt it by
adding a password or fingerprint ID. This was very The data transfer speeds offered by the SSD T7 Touch
disappointing given that protecting your data is one are fast. In real-world use you can happily run a
of the main reasons you’d buy it ahead of the T5. Lightroom catalogue from it with no slowdown in
operation. Running a series of transfer tests against
ALL PRICES ARE APPROXIMATE STREET PRICES

Verdict the stopwatch resulted in 20.4GB’s worth of data being

If you’re a PC user after a secure device for making written to the drive in 54secs from the desktop.
image backups on the go and would like to transfer Transferring 42GB’s worth of raw files to the drive from
private files from one computer to another safely, another SSD hard drive took just 1minute 52secs. It’s
the SSD T7 Touch is worth a look. Its fingerprint ID also worth noting Samsung’s Portable SSD software
function comes at a premium price though and the provides a visual indication of how much space is being
issues we experienced with Mac may put some off. used on the drive and how much remains available.

54 25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Sell your Nikon to

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 Tech Talk
K
odak was probably
the best-known brand
in 20th century
photography. Its
low-cost, simple cameras led the way
in the growth of popular photography,
and there can be few people who
haven’t been on one side or the
other of a Kodak camera.
The Duaflex is in the ‘Pseudo
TLR’ style, that is it superficially
mimics a twin lens reflex, but in
fact the upper lens is merely a
viewfinder, and plays no part in the
focusing of the image, as would be
the case with a proper TLR.
It first appeared in the late
1940s, and was made, with
various changes in style and
specification, right up until 1960.
Mine is the earliest version, and
has a simple fixed focus f/15
75mm Kodet lens. The waist level
viewfinder is big and bright,
though sometimes difficult to see
as there is no hood to shade it
from the sun, a weakness that was
remedied on later versions.
This bright viewfinder lends itself
to the technique known as
through the viewfinder (TTV),
where a photo is taken, with a
digital camera or smartphone, of
the image seen on the screen. This
The upper lens of the Kodak
Duaflex is merely a viewfinder
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many
as he can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Kodak Duaflex at
www.flickr.com/tony_kemplen/sets/72157692543701751/
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 April 2020
Subscribe now
Tony Kemplen on the É from only
Kodak Duaflex
This pseudo ‘twin lens reflex’ from one of the
£1.96
best-known photographic brands is simplicity itself
per issue*
© TONY KEMPLEN
Your favourite
magazine
delivered straight
to your door
every week...
Tony’s quadruple exposure of four trees in Sheffield city centre
gives a retro analogue look to thegenerally too bulky to fit in a 620
picture, and was quite trendy a few
camera. It’s easy enough to
years ago. For a time I noticed a re-spool a new film onto an old
spike in prices for cameras like 620 spool, but if you don’t fancy
this, as people sought them out for
that, it is possible to buy re-
this purpose. If you want to see spooled stock online.
what TTV looks like, there are This is a simple camera, with magazinesdirect.com/55AW
plenty of examples on Flickr. little scope to use it other than in
bright daylight. It was a dull
Plenty for sale February day when I loaded it up,
At the time I acquired mine, so I got creative and took
around 20 years ago, they were advantage of the lack of double
commonly priced at £1 in charity exposure prevention to ensure
shops and bootsales, but even now enough light got to the film. This
there are plenty on eBay for rather sad quadruple exposure
around £10, sometimes
significantly less. One practical
(above) records the destruction of
four healthy mature trees in
0330 333 1113
problem when it comes to using Sheffield city centre. Quote code : 55AW
the Duaflex, is that like many Despite its lowly specifications Monday to Saturday
Kodak cameras of the era, it uses – let’s face it, this is no Rolleiflex from 8am to 6pm (UK time)
the obsolete 620 roll film rather – I still found a certain pleasure in
than still widely available 120 adopting the posture needed to
format. The films themselves are use a twin lens reflex, perhaps
identical, but the spool used for imagining myself as a poor man’s Offer closes
620 is slimmer, and so 120 film is Vivian Maier or Cecil Beaton! 31 December 2020.
For full details visit
www.magazinesdirect.com.
57
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fun•dom
n. The state of boredom relieved by fun
“so I raided the kids toys and with them created some fun-dom shots”

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Express Limited (Company Registration no. 03366976). ©Warehouse Express Limited 2019. Wex Photo Video is a Which? Recommended Provider Source: Which? members’ annual survey June-July 2018
and 2019.

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 Wex Photo Video is a Which?
Recommended Provider
Source: Which? members’ annual survey
June-July 2019.

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 To advertise here, call Liz Reid: 07949 179200 Email: liz.reid@ti-media.com
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LOOKING FOR FABRICS FOR A BACKDROP?

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your Photography needs
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 25 April 2020 65

 Legends
of photography
© ROBERT MAPPLETHORPE FOUNDATION
Robert
Mapplethorpe
© GETTY IMAGES
Robert Mapplethorpe created a
groundbreaking and unique legacy
that still thrives, says Oliver Atwell
S
eeing Robert
Mapplethorpe’s
work for the first
time is something
you are unlikely to forget.
I encountered his work at
around the same period I
encountered Joel-Peter Witkin.
My college photography tutor
allowed me to peruse his
library of books and these two
figures immediately jumped
out. Of the two, Witkin spoke
more to my fascinations, with
66
his monochrome tableaus
of the rich beauty found in
disabled and/or gender fluid
sitters. But while Witkin’s
world was one I recognised
from my own imagination,
Mapplethorpe’s images, in
particular his X Portfolio,
was something other entirely.
While there was undeniable
exquisiteness to be found in the the puritan sensibilities of
borderline-traditional portraits America’s locus of government.
and flower work found in his
other collections, the images in cancelled and the Corcoran
‘Thomas’, 1987
X Portfolio were the other side
of the coin. I was assaulted by
sometimes-brutal displays and
– in the one that most stuck
out in my mind – a self-portrait
displaying the artist inserting
a bullwhip into a place God
most certainly did not intend.
This was astonishing work,
challenging enough for a
liberal arts student. Just
imagine the effect it had on the
more conservative.
Actually, we don’t have to
imagine it. In 1989,
Mapplethorpe’s retrospective
The Perfect Moment, curated
by the Institute of
Contemporary Art (ICA),
stopped off on its tour to set up
camp in the Corcoran Gallery
in Washington DC. Included in
the show were a series of
photographs taken from his
X Portfolio. Suffice to say, the
images proved a little much for
In the end, the show was
25 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
severed ties with the ICA,
scared off by the political
fallout. The central point of
contention was that the display
of these ‘obscene works’ had
been funded by the National
Endowment to the Arts.
Conservative, religious and
family groups seized on the
controversy, creating an aura of
hysteria and a culture war
regarding how public arts
funding is spent. Though the
debate was somewhat abated
with time, controversy
continued: a gallery was taken
to court for ‘pandering
obscenity’; a library book in
England was confiscated by
police who demanded some
offending images be removed
from the volume.
All that said, Mapplethorpe
had the last laugh. The price of
the works doubled and he was
firmly established as a central
figure in the quest to explore
and celebrate boundary-
pushing art.
Legacy after controversy
It is difficult to know the legacy
Mapplethorpe would have
established without the above
controversy. Perhaps it doesn’t
matter. Of all of the Legends
we’ve featured, Mapplethorpe
is one that transcends the
photography world, not just as
an artist but as an individual.
This is thanks in part to Patti
Smith’s book, Just Kids,
published in 2010, in which she
detailed her unconventional
and endlessly creative
relationship with him. He was
then portrayed, not entirely
successfully, by British actor
Matt Smith in the 2018 film
Mapplethorpe.
He has been the focus of
countless documentaries,
books (including an upcoming
tome, published by Phaidon in
May) and global retrospective
exhibitions. His work, since his
death from HIV/AIDS-related
complications, is often imitated
but rarely executed with the
same sensitive and technically
intuitive approach. We may
see similar subject matter but
the impact has arguably
lessened. Ultimately,
Mapplethorpe was a true
social and artistic pioneer.
Robert Mapplethorpe is published by Phaidon
and is priced at £125. ISBN 9781838660208
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