Amateur Photographer - October 27, 2018 UK

Saturday 27 October 2018 9-PAGE GUIDE
hoto k in a in f u ll
P r’s show was one of the best:
This yea eras & gear
we reve al the hottest cam
LANDSCAPE SPECIAL Passionate about photography since 1884
Make a scene
Be inspired by the winning
images from Landscape
Photographer of the Year
Town & country

Your best landscapes and
cityscapes from APOY 2018
Ater the win

How LPOTY changed the
lives of previous winners
Celebrating a
pioneering SLR
Why the Praktina FX was
so revolutionary for its time
Plus Harry Borden on Darcey Bussell ● Street portraits from 1980s London
7days
A week in photography
COVER PICTURE © STUART MCGLENNON
In our increasingly artificial centuries with photogenic towns and cities,

world, there is something churches, castles and stately homes, ofering an
restorative about getting out infinite variety of subjects. And of course Britain
in the fresh air and engaging is just a tiny part of this beautiful planet that
with our open spaces – we live on. Anyone can take a snap of a nice
In this issue arranging them into pleasing compositions
that convey to the viewer the feelings we felt
view, but this week’s special landscape issue is
dedicated to showcasing the most inspirational
12 Love of the land being there. Britain may be small but it is photographs, and sharing the advice and skills
Charlie Waite lends his geographically diverse, the weather is ever of the photographers who made them.
expert eye to critique changing, and it has been enhanced over the Nigel Atherton, Editor
a selection of winners
from 2018’s Landscape JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
Photographer of the Year ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
19 APOY results
We salute you! The Top 30 ONLINE PICTURE OF THE WEEK
images from Round Six:
Town and Country
29 Christmas cover
competition
Enter our competition to
see your picture on our
Christmas issue cover
30 Past masters
What’s it like to win
LPOTY? Ailsa McWhinnie
speaks to those who
have had the honour of
capturing such a big
photographic prize
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
34 When Harry
met... Darcey
Bussell
The Strictly judge and
ex-ballerina made for a
very engaging subject
37 AP Good Service
© ANDY MCDONALD
Awards 2019
Where is the best place
to buy a camera? Who
provides you with the right
info and a good price? Vote Lone Tree
for your favourite retailer.
by Andy McDonald
39 Photokina 2018 Fujifilm X-T1, 16mm, 1/180 sec at f/10, ISO 200
AP was there in force
last month to get the
This lone tree was uploaded to our
Facebook page. It was taken by
farmhouse near Haworth, West
Yorkshire] towards Stanbury. I got
Win! Each week we choose our favourite
picture on Facebook, Instagram,
Flickr, Twitter or the reader gallery using
inside track on the latest
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
photographer Andy McDonald. down low to frame the tree against #appicoftheweek. PermaJet proudly supports
photographic technology He tells us, ‘My 2018 the sky with the path leading in. the online picture of the week winner, who will
photography project is on lone The tree leaning to the right was a receive a top-quality print of their image on the
Regulars trees, so I was excited about visiting bonus! I used manual exposure to finest PermaJet paper*. It is important to bring
3 7 days the Yorkshire moors to see what retain detail in the clouds, knowing images to life outside the digital sphere, so we
I could find. I saw this tree as I I’d lift shadows before converting encourage everyone to get printing today! Visit
28 Inbox walked from Top Withens [a ruined using SilverEfex Pro.’ www.permajet.com to learn more.
51 Tech Talk
66 Final Analysis Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.com.
CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 28.
Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 28.
3
NEWS ROUND-UP
The week in brief, edited by Geof Harris
Google releases Google Pixel 3 and 3 XL

The new Google phones look similar to their predecessor, keeping
a 12.2MP sensor with an f/1.8 aperture (still a single-lens system).
There are software and AI changes, however, including a low-light
mode called Night Shot and a Super Res Zoom mode that combines
multiple shots. Two cameras sit on the front including a wideangle
8MP shooter. Prices start from £869 (64GB), with contract deals.
Special Adobe offer from X-Rite

Colour management specialist, X-Rite, is offering customers a free
Adobe CC Photography plan worth £119 when they buy an X-Rite
i1Display Pro, i1 Photographer Kit, ColorMunki Photographer Kit or
i1Studio. You need to buy before 31 December 2018, and request a
unique code before 31 January 2019. See www.xritephoto.eu/adobe.
Geology photo
winners rock
The Geological Society has
THE GOLDEN COUPLE © MARSEL VAN OOSTEN - W LDL FE PHOTOGRAPHER OF THE YEAR 2018 GRAND T TLE W NNER
announced the winners of its

Earth Science Week 2018
photography competition,
themed ‘Earth science in our
lives’. First prize goes to Andy
© TRACY KIDD
Leonard for his photograph of

Bow Fiddle Rock in north-
eastern coast of Scotland. All
Four-legged friends 12 winners will feature in the
on show Earth Science Week 2019
Tracy Kidd, the well-deserved calendar, as well as in an
winner of the ‘Dogs at Work’ exhibition at Burlington House.
category in The Dog
© ANDY LEONARD
Photographer of the Year 2018

competition, is exhibiting her
canine and equine shots at The
Station in Richmond, North
Yorkshire, from 3 November for
BIG
two weeks. Full details at www.
thestation.co.uk/whats-on/
Awe-inspiring portrait wins
exhibitions/tracy-kidd. Wildlife Photographer of the Year
One of the most highly anticipated images
picture
of the year has finally been revealed at the
DNG Converter brought up to date Natural History Museum in London. Dutch
Adobe has updated its free Adobe DNG Converter 11.0 for easily photographer Marsel van Oosten has won
converting native raw files, and now supports the following the prestigious Wildlife Photographer of the
cameras: Canon EOS R, Fujifilm X-T3, Nikon Z 7 and Coolpix P1000, Year 2018 title for his extraordinary image
and the Panasonic Lumix DC-LX100 II. More info at helpx.adobe. ‘The Golden Couple’. This stunning winning
com/uk/photoshop/digital-negative.html.
4 27 October 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

portrait captures a pair of golden snub-nosed
9.9
SOURCE: WWW.FUTURESOURCE-CONSULTING.COM
monkeys in the temperate forest of China’s Words & numbers

Qinling Mountains – the only habitat for
these endangered primates. It captures
the beauty and fragility of life on earth.
Beating over 45,000 entries from 95
It’s always been my philosophy to try to make
countries, Marsel’s image will be on show art out of the everyday and ordinary… it never
billion US dollars
with 98 other spectacular photographs at
the exhibition in the Natural History Museum
occurred to me to leave home to make art Total value of dedicated
from 19 October 2018 until next summer. Sally Mann digital camera sales in 2017
US photographer – a growth of 5%
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 27 October 2018 5

© CEWE PHOTOWORLD
Selfies can
cause you
stress
AP TAKES a keen
interest in photography
and mental health, and a
new study suggests that
taking selfies can make
anxiety worse. According
to the results of a study by
photobook specialist CEWE
Photoworld, the average
person takes at least five
selfies a day, and spends
44 minutes editing them,
which rises to 74 minutes
The V&A’s new for 25-34 year olds.
© WILL PRYCE
Photography Centre Over a third (36%) of

collection aims to
span 150 years
25-34 year olds take most
of their photos for social
media. However, 41% said
Major Photography that the process made

them stressed or anxious,
with 34% saying selfie-
taking had caused an
argument with their
Centre opens at V&A

THE FIRST phase of a major (RPS) collection from the National the summit of Mount Everest in
partner. CEWE has
launched a competition
to encourage more
positive image taking; see
cewe-photoworld.com.
new Photography Centre at the Media Museum in Bradford, the 1921 and 1922. The opening of
Victoria and Albert Museum (V&A) display shows prints and negatives the new centre is accompanied by a
in London opened on 12 October, by William Henry Fox Talbot, Julia three-week spotlight on photography
featuring some of the most influential Margaret Cameron and Frederick across the V&A, including a series
and important photography of the Scott Archer, alongside camera of talks by leading photographers,
past 150 years. The world’s first equipment, photographic screenings, events, workshops,
photographic experiments, pictures publications and original documents courses and a Friday Late dedicated
by Alfred Stieglitz and Edward to tell a broader story of international to photography.
Steichen, recent acquisitions by photography. It also features a digital ‘Our collection now seamlessly
Linda McCartney gifted by Paul
McCartney and his family, and newly
commissioned works by Thomas
wall to show the most cutting-edge
imagery of today.
The Photography Centre will also
spans the entire history of
photography, telling the story of
the medium from the daguerreotype
Subscribe to
Ruff, will all go on display this autumn feature the ‘dark tent’: a multimedia to the digital,’ says V&A director
to mark the opening. projection and lecture space inspired Tristram Hunt. ‘In an era when
The first phase doubles the space by the travelling darkrooms of everyone’s iPhone makes them
dedicated to photography at the 19th-century photographers. a photographer, the V&A’s
V&A. The inaugural display traces
a history of photography from the
Specially commissioned films
revealing early photographic
Photography Centre explores and
explains the medium in a compelling
SAVE *
19th century to the present day
through the theme of collectors and
collecting. Drawn from the V&A’s
significantly expanded holdings,
processes such as the calotype
and wet collodion process and the
daguerreotype, will be screened,
along with a slideshow projection
new way.’
The V&A Photography Centre
is open every day from 10am to
5.45pm, and until 10pm on Fridays.
40%
Visit amateurphotographer
following the controversial transfer of rarely seen magic lantern slides It is free to view. More at www.vam. subs.co.uk/AJR8 (or see p36)
of the Royal Photographic Society revealing the first attempts to reach ac.uk/collections/photographs. * when you pay by UK Direct Debit

Huawei goes wide Back in the day
with Mate 20 Pro A wander through the AP archive. This
week we pay a visit to November 1923
CHINESE smartphone
giant Huawei has
established a solid
reputation for building
1923
devices with interesting,
high-quality cameras
co-developed with Leica,
and its new Mate 20 Pro
continues in this vein with
a three-camera set-up
that features an ultra-
wideangle lens alongside
wideangle and portrait
modules. This is similar to
the new Samsung Galaxy
A9 (see below), although
the Huawei has rather
higher-end aspirations.
Its 16mm-equivalent
ultra-wideangle camera
sports an aperture of f/2.2
and a 20MP sensor, and Three cameras arranged in a square on the back of the phone
can focus as close as
2.5cm in super-macro sunlight and artificial light. that can charge from
mode. Meanwhile the main Huawei claims the empty to 70% in 30
27mm camera combines camera can recognise minutes, with wireless
an f/1.8 aperture with a 1,500 scenes and charging also available at a WHAT a wonderfully 1920s cover, complete with
40MP sensor. The 80mm scenarios using artificial slower rate. We’ve already exquisitely ornate typography and a cracking drawing
telephoto module only intelligence built into its had our hands on the Mate of a British Louise Brooks. Along with lots of adverts.
has an 8MP sensor, but its Kirin 980 HiAI processor, 20 Pro, and it looks like a Festooning our cover with advertisements these days
f/2.4 lens includes optical and that focus tracking is very impressive device with would cause a mini riot, but don’t be too hard on our
image stabilisation. The improved compared to its a really attractive design. predecessors as the cost of photo reproduction back
lenses are arranged in a previous models. Other We’re looking forward to then was pretty high. There was a lot of interest in
square on the device’s features include IP68 putting it through its paces enlarging in this issue, and you get a strong sense
back, alongside the Dual water-resistance, a 6.39in in a full review. Handset- of what a convoluted and highly technical process
Tone flash that aims to curved OLED screen and a only pricing and availability everyday photography was back then. We really are
match the colour of both huge 4200mAh battery are still to be confirmed. spoiled today, and the readers of the 1920s could
barely have imagined that within less than a century,
everyone would be taking high-quality pictures on
their phones. Even getting a tripod involved a lot of
Samsung debuts five-camera phone effort, as revealed on page 411, where the author
IN ANOTHER big smartphone Then there is a 10-megapixel telephoto explains how he got to grips with an ‘ex-Government
camera development, Samsung has sensor, which Samsung claims improves telescope tripod costing six shillings and sixpence.’ We
announced the Galaxy A9, featuring five the image quality when zooming right in. have an ink drawing of the said tripod, rather than a
cameras. The main camera is based Next up is an ‘ultra-wide’ picture, and if the wrangling gets too much, the
on a 24-megapixel sensor with 8-megapixel sensor, author’s advice is priceless: ‘if no tools are available,
an f/1.7 aperture lens. Below which provides a any local mechanic would do the job for a trifling sum.’
that sits a depth-sensing 120° view, and
5-megapixel camera, at the front of
which focuses on the phone is a
gathering depth 24-megapixel
information for device with an
the Live Focus f/2.0 aperture. You
bokeh feature also get 128GB and
for attractive a micro SD slot.
depth-of-
field effects. The Galaxy A9 debuts the world’s
first rear quad camera
For the latest news visit www.amateurphotographer.co.uk

An article reviewing an ex-Government telescope tripod

Exhibition
In Your Face
by Paul Trevor
An overlooked body of work, ‘In Your Face’ features
portraits shot at close range highlighting the
diferences between Brick Lane and London’s
inancial district in the 1980s, as Tracy Calder reveals
D
uring the1970s Paul Trevor Despite funding from the Gulbenkian
‘In Your Face’
spent much of his time Foundation, money was tight and the
runs at the
drinking tea, sleeping on group (minus Olson who had left by then)
Martin Parr sofas and photographing lived on the margins of poverty while they
Foundation, strangers. Having abandoned his job as an worked on the project. Drawing inspiration
Bristol, until 22 accountant at the age of 25 he, along with from Walker Evans’s and James Agee’s
December 2018. Nicholas Battye, Diane Olson and Alex classic book Let Us Now Praise Famous
The Foundation Slotzkin, co-founded the Exit Photography Men they set out to prove that inner-city
is open to the Group. Each of the members had a keen poverty was endemic, and had the
public from interest in social issues in the UK, and in potential to lead to significant social
Wednesday to 1974 they produced a small booklet Down disorder. At the time, everyone in the
Saturday, 11am Wapping, a portrait of London’s last dock group lived in London, so it seemed only
to 6pm. For community. Soon afterwards Slotzkin left natural that their quest should begin in
more details the group and Chris Steele-Perkins joined England’s capital.
visit www. it, having responded to an advert for new They also covered Glasgow as a
members that he saw pinned to a wall in collective, but after that they divided the
martin parr
The Photographers’ Gallery. UK up between them: Paul Trevor went
foundation.org. The group met at Paul Trevor’s flat off to stay in Liverpool, Battye covered
Brick Lane. ‘Paul was clearly the organiser Birmingham, and Steele-Perkins went
and explained they wanted to go beyond to Newcastle, Middlesbrough and Belfast.
ALL PICTURES © PAUL TREVOR
Down Wapping and look at the larger issue ‘We made contact with community
of inner-city poverty across Britain,’ recalls organisations in search of contacts, we
Steele-Perkins in an article for photoworks. also did a lot of walking around deprived
‘They were ambitious and serious and had districts, talking to people in the street,
shown, with Down Wapping, that they knocking on doors,’ says Steele-Perkins.
finished what they started.’ Aside from taking pictures, the team also Brick Lane
Brick Lane Brick Lane The City

Also out now
The latest and best books from the
world of photography.
© PAUL HART
Brick Lane Sea Bank
Drained
By Paul Hart, Dewi Lewis Publishing, £35,
96 pages, hardback, ISBN 978-1911306375
The second in a three-part
series focusing on the Fenlands
of eastern England, Drained is
a beautiful book. Each image
has been scanned from a silver
gelatin print made by Paul
Hart, and the publisher has
treated the project with the
reverence it deserves. The pictures have been given
room to breathe, inviting a slow, considered reading. A
single electricity pylon emerges from the fog, a pool of
water glints on the tarmac, bands of sky, land and
water create pleasingly graphic shapes. This landscape
of drainage ditches and flat arable land is not beautiful
in the traditional sense – at times it feels as though
the damp air is creeping into your bones – but seen
through Hart’s eyes it seems to merit our attention.
There is a quietness to this work that is hard to find in
The City most contemporary photography. Images from the
series have been shortlisted for the Wolf Suschitzky
interviewed their subjects, vowing to give were noticeably different: in the financial Photography Prize, and it’s easy to see why.
text and images equal billing in any book district a young man clutches a bloodied +++++ Tracy Calder
they might produce. In 1982 (seven years handkerchief to his nose (we can only
after the project began) their ambition speculate as to its cause), while in Brick Door J’Adore: A Celebration of
was realised when Open University Lane a young boy is having his nostrils
Press published Survival Programmes: tugged by an older man (perhaps his the World’s Most Beautiful Doors
In Britain’s Inner Cities. father) for some misdemeanour we’re not By Nick Rowell, Ryland Peters & Small, £9.99,
While working for the group, Paul Trevor privy to. ‘The idea was to say something 160 pages, hardback, ISBN 978-1849759632
took some experimental pictures of about the two places without having to Nick Rowell developed an interest in
people going about their daily business in show what people did,’ says Paul Trevor. doors while travelling through South
Brick Lane market in London. A departure ‘It was shot during the Thatcher years America in 2008. His mother came to
from his usual style, these were shot at which had polarised debate on market visit him in Buenos Aires and the pair
close range, revealing every crease, patch values versus community values.’ spent a few hours walking up and down
of stubble and fold of fabric. This is an The Martin Parr Foundation in Bristol the cobbled streets of San Telmo market
approach we are familiar with today, is the perfect place to showcase this looking at the antiques for sale. At
thanks to street photographer Bruce series. When Parr established the studio, one point his mother was lagging behind, so Nick went
Gilden, but these images, while intrusive, gallery, library and archive in 2014, ahead to find a lunch spot. When his mother appeared
have none of the colour or cruelty of he made it clear that he intended to she showed him a picture of a door and began waxing
Gilden’s work. Paul Trevor returned to this champion overlooked bodies of work, and lyrical about its history. Nick was hooked, and mother and
‘in your face’ project in the 1980s, only ‘In Your Face’ is a prime example. The son spent the next few days shooting ‘doortraits’. This
this time he decided to focus on two exhibition features more than 50 images resulted in an Instagram account (door jadore) and a
locations: Brick Lane and the City’s from the series, and marks the first time neat little hardback book. All a great example of what can
financial district a mile or so away. The the project has been exhibited in be achieved when you pay attention to the small stuff.
people he encountered in each location nearly 25 years. +++++ Tracy Calder
In next week’s issue
Viewpoint On sale Tuesday 30 October
Nigel Atherton
© JOAKIM LEROY/GETTY IMAGES

The DSLR’s days are numbered. That was the
overwhelming message from Photokina 2018
I
f you had asked me three months The full-frame mirrorless systems
ago if I thought mirrorless cameras that Nikon and Canon have just launched
would kill the DSLR I’d probably had been long-anticipated, but the results
have said, ‘not for the foreseeable of their labours exceeded many people’s
future’. Despite the growth in popularity of expectations. Bursting with cutting-edge
mirrorless systems the DSLR has remained technology and supported by some
the camera of choice for most serious mouth-watering lenses, make no
photographers. But now, I’m not so sure. mistake these cameras are DSLR killers.
Until now Canon and Nikon have Meanwhile Panasonic – who started the
dabbled in mirrorless in a half-hearted mirrorless ball rolling and came to the
way, but their dominance of the full-frame show with a ‘told-you-so’ face – surprised
DSLR market is so total that they have everyone by revealing that it too was
seemed content to watch from the going full frame, in alliance with Sigma
battlements of their castles while and Leica.
everyone below fought over the scraps, No one who visited Photokina 2018
with their lightweight, smaller-sensor would have been left in any doubt that the
alternatives. But when Sony took the future of the serious camera is mirrorless,
mirrorless concept full frame and began
selling Alpha 7s by the bucketload, alarm
bells started ringing at Canon and Nikon
HQ and, it now transpires, elsewhere else.
and full frame (or bigger). You only had to
look at the hordes of people queuing on
the Canon stand, day after day, to get
their hands on an EOS R, or jostling to
Ready for
Perhaps the high-end DSLR wasn’t
invincible after all. Plans were hatched,
and the words ‘Photokina 2018’ were
written on the calendars of R&D labs all
over Japan. For fans of anniversaries it
press their faces up against the display
cabinets containing the forthcoming
Lumix S1 and S1R, to see that this is
what the people want.
Sony has had this sector pretty much to
anything
seemed a prophetic date, coming ten itself for five years but suddenly there are
Be prepared for all the action
years after Panasonic first introduced now six camera manufacturers involved in all the time by setting up
the mirrorless camera concept at it, so you can bet that Canon and Nikon
Photokina 2008. will now be focusing the majority of your camera the correct way
their resources on building the biggest
full-frame mirrorless systems they can,
as quickly as possible. This will inevitably
mean less focus on DSLRs.
So what about the remaining brands?
Fujifilm has one foot either side of full
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
frame with its successful APS-C based

X-series and its medium-format
mirrorless system, which it has cleverly
dubbed ‘Super full-frame’. Its new, more
affordable GFX 50R isn’t that much more
of a financial stretch than Nikon’s Z 7,
putting medium-format digital within
reach of more people than ever before.
Olympus hasn’t revealed its hand but I Fujiilm X-T3
believe there is still a big audience for this Michael Topham discovers the best
small, lightweight, system with its enticing APS-C camera on the market
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
range of tiny, high-quality lenses. As for

Pentax – well that’s a conversation for Laowa 15mm f/2 FE Zero-D
another time. Andy Westlake tests an ultra-wideangle
lens for full-frame mirrorless
Long queues to try out the Canon EOS R Nigel Atherton is Editor of Amateur Photographer.
A haunting photographer
Geof Harris delves into the spooky
Do you have something you’d like to get off your chest? Send us your thoughts in around infrared imagery of Simon Marsden
500 words to the address on page 28 and win a year’s digital subscription to AP, worth £79.99

© Photo by Terry Donnelly www.terrydonnelly.co.uk
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Technique LPOTY 2018
Love
of the
Land
With the winners of LPOTY 2018 recently
announced, we speak to Charlie Waite
about some of our competition favourites
N
ow in its twelfth one of today’s most respected
year, Landscape landscape photographers, the
Photographer of the competition’s aim is to provide an
Year is back, with ‘on-going platform for capturing
even more entries than ever. This images that best symbolise our land
prestigious competition celebrates and our times, and that will stand
all that is great about the British as a record of our country.’
landscape, and this year we were AP had the opportunity to speak
once again spoilt with a wonderful to Charlie Waite, who still plays an
and varied selection of images active role in the judging process,
across the four main categories: about some of our favourite images.
Classic View, Living the View, Over the next six pages he shares
© M CK BLAKEY
Canon EOS 5D Mark III, 70-200mm,

Urban View and Your View. his thoughts on and critiques eight
1/500sec at f/5.6, ISO 200
Founded in 2006 by Charlie Waite, prizewinning images.
Car Wash, Lancashire Canon EOS 5D Mark II,

Tony Bentley 17-40mm, 1/60sec at
Urban view – Commended f/10, ISO 400
‘I’ve always liked the sense of
isolation and nostalgia of this
really simple, old-school petrol station.
I was walking past with my dogs in
2016, in very similar conditions, but
only had my iPhone with me. By the
time I managed to return with my
‘proper’ camera, the snow had stopped
and the light was bright, changing the
mood completely. Last winter the snows
never came, but this year I was ready!’
WHAT CHARLIE SAYS…
‘The snow adds a simplicity and
cohesion to what would normally
be a busier scene. The structure
and remote feel are reminiscent of
road-trip images from the USA, and
the restrained palette means that the
only colours evident are the primary
© TONY BENTLEY
tones of red, blue and yellow, which

work well against the winter snow.’

Fisherman on rocks, Rannoch Moor, Scotland Fujifilm X-E1 (converted
Porth Nanven, Cornwall Paul Mitchell to infrared – 830nm)
Mick Blakey Classic view – Commended 14mm, 1/13sec
Living the view – Winner ‘This was my first visit during winter at f/11, ISO 200
‘Having planned a trip to and I certainly wasn’t disappointed!
photograph a beautiful serene During my stay, the snow just kept falling,
sunset, I was in for a shock on arrival. culminating in deep drifts and on our very
There had been strong westerly winds for last day, some amazing skies. I almost
a few days, which resulted in a much bigger filled a memory card but then thought
Atlantic swell than anticipated. I was happy that the white snow and blue skies were
to sit and photograph the waves and spray, looking a bit formulaic. It then dawned on
but then some magic happened: a me that I also had my infrared camera. As
fisherman appeared on the rocks in soon as I turned the camera on and saw
frame; I could not believe my luck!’ the infrared effect, I knew I was going to
capture something very different.’
WHAT CHARLIE SAYS...
‘The spray behind the fisherman turns him WHAT CHARLIE SAYS…
into a powerful silhouette. As I have been ‘Although a very cold image, the sky
known to say about some of Cartier- makes you think of fire and offers a
Bresson’s work, it’s amazing how the striking feel of flames. It has a feel of
smallest element can play the biggest role. the beginning of time, with no human
The layered promontories unfold to the presence. The summit points exactly to
horizon and weaken in definition. The the centre of the image, which is key to
© PAUL MITCHELL
fishing rod shows clearly, which is essential its success, as is the textural variety and
as it gives a clear meaning to the story.’ softness of the shadows.’

Canon EOS 5DS R, 24-70mm,
1/250sec at f/10, ISO 100

LPOTY 2018 Technique
Clearing Fog, Beachy Head The Birds, Elgol,
Lighthouse, East Sussex Isle of Skye, Scotland
Rachael Talibart Stuart McGlennon
Your view – Classic view –
Highly commended Highly commended
‘I call this photograph Clearing ‘Having seen so many images
Fog because, when I made it, I from Elgol and being such an iconic
thought the fog was indeed clearing. place, I was quite conscious of trying to
In fact, it quickly descended and I create something a bit different from
didn’t see the lighthouse again for the my first visit here. On arrival, there were
whole day. I made a few exposures, birds everywhere and the tide was low,
but this was the “keeper” because it which wasn’t ideal, but I did my best to
was the only one where a flock of work with them. Conditions were
birds passed in just the right position. extremely difficult, and I was shooting in
Thank you, gulls!’ 40mph winds. In the end, I was happy
to come away with something unique.’
‘The sea is almost incidental in this WHAT CHARLIE SAYS…
image, although its presence is ‘There is a juxtaposition of warm and cool
strongly felt in both the lighthouse and colours, which is very appealing. The
as creator of the mist. The birds add a position of the rocks on the diagonal and
living element to an otherwise remote their dark colour form a good relationship
and desolate landscape and, with the with the black of the swirling birds. The
lighthouse, provide a joint focus. The mountain beyond plays a pivotal role in
lack of colour distils the image to its offering a sense of dimension. There’s a
essential qualities.’ lovely feeling of movement generally – a
perfect shutter speed for the subject.’
© STUART MCGLENNON
Nikon D810, 16-35mm,
0.4sec at f/11, ISO 64
© RACHAEL TALIBART
Technique
Sightseeing, Tower Bridge, London
David Hopley
Your view – Commended
‘Despite not having the drone with me, I wasn’t going
to be prevented from getting some “top-down” aerial
abstract shots. This was taken from the glass walkway at
Tower Bridge. I set up the composition and waited for an
open-top tourist bus to pass beneath. Several went past
which were sparsely occupied but as the one in this image
appeared, a speedboat also shot into the frame!’
‘This photograph provides a visual puzzle, as the boat,
bridge and bus appear to be at the same height, making
us wonder how the boat will navigate the obstacles safely.
The red echoes across the image, visually linking the
subjects, including the centrally placed side of the bus.
This is a fascinating and compositionally strong image,
with an excellent sense of timing.’
Unstacking Stooks, Coldridge, Devon

Paul McLoughlin
Living the view – Commended
‘Thatching straw has been grown in the fields
around Winkleigh in Devon for generations. The
scene reminded me of the legendary work of James
Ravilious and with such inspiration, I knew I had to
document and capture the essence of the thatching
fields and the people who worked in them. Once the
straw is long enough, it is cut into tied sheaves, nine of
which are then stacked into stooks to dry. The whole
process was a landscape photographer’s dream.’
WHAT CHARLIE SAYS...
‘This photograph sends the viewer back 100 years –
there is a sense of nostalgia, both in the subject matter
and the treatment of colour chosen to represent it. The
vantage point offers three ‘runways’ which lead the
viewer through the photograph. The people play a
© DAV D HOPLEY
Canon EOS M, 18-55mm,

supportive role and become part of the landscape rather
1/500sec at f/5, ISO 400
than dominating it. Graphic shapes play a key role here.’
Canon EOS 5D Mark II,

24-105mm, 1/250sec
at f/16, ISO 320
Moonrise over
Lavender,
Hertfordshire
Peter North
Your view –
Commended
‘Lavender fields are one
of those rare landscape
features that have an abstract
quality by virtue of their
regular pattern and saturated
colour. I like the way that this
field gently inclines towards
the horizon and the way the
moon provides a focal point
while casting light and shadow
on the field, emphasising both
the curvature of the individual
lavender runs and the whole
field. The broken cloud adds
another, more random,
texture to complement the
fixed pattern of the field.’
‘The symmetry is 100%
accurate here and the
glimmering sheen over the
entire field helps to define the
rolling nature of lavender. The
position of the moon suits
the scene and the clouds add
interest. The stronger glow
from the moon on the land
directly beneath is effective.’
An exhibition of Canon EOS 650D,

winning entries from 16-300mm, (two
exposures combined)
the 12th Landscape
1/100 sec at f/11, and
Photographer of the Year 2 sec at f/16, ISO 200
Awards, supported by
Network Rail, will be
at The Balcony, London
Waterloo Station, from
19 November 2018 until
3 February 2019, followed
by a nationwide tour. The
Awards book, Landscape
Photographer of the
Year: Collection 12 (AA
Publishing) is available
now. For more go to
www.take-a-view.
co.uk
© PAUL MCLOUGHL N
© PETER NORTH

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Amateur
Photographer
In association with
of the Year
We bring you our favourite 30 images uploaded to Photocrowd from
Round Six, Town and Country, with comments by the AP team
1 st
Round Six Town & Country 1 Joe Baumann USA 30pts
DJI FC300C, 20.7mm, 1/400sec at f/2.8, ISO 100
So many things come together in this image
Featuring a 39MP-equivalent Foveon sensor, the SIGMA sd Quattro balances outstanding to make it a success. It’s an eye-catching,
image quality with fundamental performance. This interchangeable-lens camera is designed beautifully considered shot, with the kayaker
for the artist who loves photography and, as such, aims to get the most out of SIGMA’s perfectly placed within the frame to create
high-quality lenses. The prize a sense of scale and human context. The
includes a SIGMA 30mm warm, autumnal colours are radiant, while
f/1.4 DC HSM Art lens. This the high vantage point afforded by the drone
large-aperture lens has an makes it particularly special, allowing the
angle-of-view equivalent to viewer’s eye to be drawn through the image,
45mm on a 35mm camera, along the curves of the river. There’s a
making it a great go-to lens wonderful sense of place and peacefulness
for multiple purposes. The – you can almost hear the silence.
total prize value is £1,050.

APOY 2018
2nd
2 Tom de Waart Hong Kong 29pts

Nikon D750, 14-24mm, 1/20sec at f/11, ISO 100
A UNESCO World Heritage Site, the vast South
China Karst covers several provinces and more
than 500,000km2. This outstanding panorama
by Tom does tremendous justice to the scene,
managing to capture the sheer scale of the
landscape. The curving river leads the eye from
left to right, and then into the horizon with
the apparently endless range of mountains
disappearing into the evening mist. We love
the way the image captures the mixture of
housing, farmland and epic landscape, while the
glowering clouds and burst of light from the
sunset are the perfect finishing touch.
4 Laura Hacking UK 27pts

Fujiilm X-T1, 16-55mm at 16mm, 1/160sec at f/8, ISO 200
This kind of scene is a classic subject for
a British landscape, but in this case it has
been executed extremely well. The bright,
glistening road adds interest, while the sheep
dotted around the scene help to convey a sense
of scale. Converting to monochrome is a good
choice, giving the image a satisfying range of
tones and an atmosphere of timelessness. The
hazy highlight at the top is just light enough
not to be a distraction from the main event
of the winding road. 4th
In association with
3rd
3 Nicholas Jones UK 28pts 5 Michael Epel Israel 26pts

DJI FC220, 26.3mm, 1/120sec at f/2.2, ISO 100 Phase One IQ3, 35mm, 5sec at f/25, ISO 35
You’d be forgiven for thinking this drone image was There’s a bit of everything in this scene: dramatic
shot over the forests of New Hampshire, but it is snow-capped mountains, foreground interest,
in fact Nicholas’s local woods near Coventry. He wonderful textures and, of course, that stunning
headed out to shoot at sunrise, and as a result, the light that’s just catching the side and tops of the
beautiful side lighting brings the scene into sharp peaks. Compositionally, the foreground balances
relief. The combination of colours is mesmerising; very nicely with the jagged mountains, and there’s
look at it long enough and you’ll be drawn into the even an echo between the shapes created by the
dark spaces between the trees as much as you clouds and those created by the flat rocks in the
are to the trees themselves. A deceptively simple lower part of the image. Any of us would be
image that offers more the longer you look at it. happy to have taken this shot.
5th

APOY 2018
7
7 Nicholas Jones UK 0pts
DJI FC220, 26.3mm, 1/320sec at f/2.2, ISO 100
This shot is all about balance and timing. The tones of the
brown stripes in the field, the trio of trees and the red of the
tractor all combine to make a very successful composition.
6 Peter Maguire UK 25pts

Nikon D7100, 8mm, 15sec at f/16, ISO 100 11
The reflection of the bridge, along with the mirrored shapes
created by the railing, help this night shot to really stand out.
Waiting for the ‘blue hour’ makes the most of the light.
10
11 Marco Tagliarino Italy 20pts 14 Nicholas Jones UK 0pts

Canon EOS 5D Mark IV, 70-200mm, 1/640sec DJI FC220, 26.3 mm, 1/100sec at f/2.2, ISO 100
at f/4, ISO 100
A number of comments on Photocrowd
If ever a composition needed a figure to say they thought this was a computer
give it a sense of scale, it’s this one. The circuit board - and we have to agree!
enormity of the landscape is conveyed The beauty of drone photography is that
extremely well, and the monochrome it shows us new views of familiar scenes,
tones serve to highlight its bleakness. and this image is no different.
14
10 Stu Meech UK 0pts

Nikon D750, 70-200mm, 1/500sec at f/5.6, ISO 100
The contrast between the yellow field and grey, glowering
sky is glorious, while the green tree works beautifully on the
thirds. Simple, well-seen and effective.
22
In association with
8
8 Stu Meech UK 23pts 9 John Bull UK 22pts
Nikon D750, 70-200mm, 1/125sec at f/11, ISO 100 Sony RX10, 8.8mm, 1/320sec at f/8, ISO 100
Staring at this image is not dissimilar This fantastic abstract is a wonderful
to looking through a kaleidoscope. The interpretation of our competition
repeated layers and patterns created brief. The mono conversion makes it
by the mist, with the shafts of sunlight particularly striking, while the curves
coming through, are more like a piece and lines are mesmerising. The stark
of graphic art than a photograph. black background keeps it simple.
12 Rob Amsbury UK 19pts

12 13 Pentax K-1, 15-30mm, 30 seconds at f/2.8,
ISO 3200
The lights shining from South Stack
Lighthouse in Anglesey are echoed
by those on the distant horizon from
Dublin, linking two countries. The
silhouetted figure introduces a sense of
mystery to the scene, and the colours
and tones add richness and depth.
13 Shaun Mills UK 18pts

Canon EOS 5D Mark IV, 70-200mm, 1/4000sec
at f/2.8, ISO 1600
Looking at this line of brightly painted
beach huts disappearing into the snowy
distance, it’s almost impossible to
picture how they would look in summer.
A subtle and clever image that sums up
the British seasons.
15 16
15 Richard Eyers UK 16pts 16 Angi Wallace UK 15pts

Fujiilm X-Pro2, 16-55mm, 1/600sec at f/8, ISO 200 Canon EOS 650D, 10-20mm, 1sec at f/18, ISO 400
With an image such as this, the crop is Buachaille Etive Mòr in the Scottish
vital, and Richard has got it spot on, Highlands is a must-shoot location for
creating a beautifully balanced image. landscape photographers. Angi has
The open windows inject life into what captured some stunning winter light
might have been a sterile scene. that was worth braving the cold for.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 27 October 2018

APOY 2018
17
18
17 Laura Hacking UK 0pts 18 Stu Meech UK 0pts 22 Gary Horsfall UK 9pts
Fujiilm X-T1, 16-55mm, 1/150sec at f/8, ISO 200 Nikon D750, 16-35, 0.8sec at f/8, ISO 800 Sony SLT-A99V, 70-300mm, 1/1000sec
at f/5.6, ISO 200
Stillness and silence sum up this atmospheric winter scene. This is an unusual view of Bath’s famous
The green door provides a clever accent within the grey. Pulteney Bridge, which makes it stand We love the warm hue and contrasting
out from the crowd. The blurred water tones of this simply framed image. This
and dramatic sky complete the scene. surely appears to be a road to nowhere!
21
22
21 Tim Crabb UK 10pts

Canon EOS 5D Mark III, 70-200mm, 1/1000sec at f/11, ISO 400
Tim has carefully framed a section of the Mongolian desert
that plays with scale, and highlights its curves and forms.
28
25 Mike Morton
25 UK 6pts
Fujiilm X-Pro1, 18-55mm,
1/190sec at f/9, ISO 320
A lovely moment
captured that invites
the viewer to ask
who the people are,
what they are talking
about and where
they are going.
29 Charlie Jobson
29 UK 2pts
Sony NEX-7, 18-200mm,
1/250sec at f/6.3, ISO 125
The smoke rising
from the chimney
is what makes this
image. It’s
wonderfully
28 Pawel Zygmunt Ireland 3pts atmospheric and
Nikon D810, 16-35mm, 1/8sec at f/5.0, ISO 200 works perfectly in
The way the headland points towards the rock stack leads in black & white.
the eye, and the long exposure keeps things simple.
24
In association with
20
19
19 Helen Trust UK 12pts 20 Agnes Carpenter UK 11pts
CanonEOS5DMarkIII,24-70mm,310secsatf/11,ISO50 Panasonic DMC-TZ10, 1/500sec at f/4, ISO 125
The clouds bursting from the skyline are In this striking image, the spaces
wonderfully dynamic, and contrast with between the structures are as
the still water. Beautiful light, too. important as the buildings themselves.
23 Sam Blinding UK 8pts
23 24 Canon EOS 80D ,55-250mm, 1/320sec at f/6.3,
ISO 100
The shallow depth of field in this image
of the Clifton Suspension Bridge is the
perfect complement to the soft, golden,
early-morning light.
24 Neil Burnell UK 7pts

Nikon D810, 24-70mm, 1/4sec at f/11, ISO 64
Snow is the perfect medium for
stripping a scene back to its most
simple. This strong image is about the
stream and the tree, and little else.
Rob Amsbury UK
Pentax K-1, 15-30mm, 1/6sec at f/14, ISO 100
Rob’s dramatic image of the
sunrise over the lake Llyn Padarn
in Snowdonia National Park is the
winner of this round’s Crowd vote
on Photocrowd. It’s the second
time around for Rob, as the
same image was voted
26 Warren Chrismas UK 5pts 27 Kaye Kelly Crowd Winner in Round
Fujiilm X-T2, 10-24mm, 120sec at f/4, ISO 100
It’s always tricky to shoot a well-known building in
27 Australia 4pts
Nikon D600,
One of APOY 2018:
Best of British. CROWD
an original way, but Warren has managed it by
24-120mm, 1/500sec
at f/5.6, ISO 800
WINNER
capturing the Shard’s reflection in a puddle. The mass of
graphic lines and
26 colours in this
scene could be
confusing, but
Kaye has made
sense of them in
a clever way.
30 John Boteler The 2018 leaderboard

UK 1pt
Canon EOS 60D,
30 There’s little change to the top of the leaderboard, with first, second and
joint third places remaining the same. Neil Burnell now has a 27-point
10-20mm, 1/60sec at
f/11, ISO 100 lead after scoring 7 points in this round. The bottom half has opened
The ground-level up with a number of photographers scoring well in this round.
viewpoint is
dynamic while 1 Neil Burnell 86pts 6 Peter Maguire 49pts
the sense of 2 Richard Whitson 59pts 7 Rob Amsbury 47pts
the dancers’ 3= Steve Palmer 54pts 8 Dave Balcombe 45pts
movement
3= SimonHadleigh-Sparks 54pts 9 Tim Crabb 40pts
has been
well captured. 5 Michael Farley 50pts 10 Marco Tagliarino 38pts
To enter and find details of the upcoming rounds of APOY 2018 visit www.amateurphotographer.co.uk/apoy and click Enter Now
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YOUR LETTERS
A good vintage
Inbox
newspaper to read while I waited
In my opinion, AP 29 September – I gave up. Along with others I
2018 was a vintage edition. am concerned that Adobe will
Composition is a vital aspect of dedicate more and more of its
photography that is very difficult to development resources to
learn, but Ian Plant’s Compelling cloud-based services, eventually
compositions was one of the most abandoning those of us who do
Email ap@ti-media.com and include your full postal address. helpful pieces I’ve read on the not live on cabled streets. Please
Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, subject. James Abbott’s The big bear in mind readers who cannot
switch compared the virtues and use cloud-based services, no
Farnborough Business Park, Farnborough, Hants GU14 7BF vices of alternative cameras in matter how advantageous they
a more meaningful way than may eventually prove to be.
LETTER OF THE WEEK straightforward reviews. (It also Colin Rogers
supports the view that Nikon was
Prime candidate
Changing times for the pro right to develop a full-frame
mirrorless system, but might have
retained more customers if it had
I read your review of the Samyang
AF 24mm f/2.8 FE lens (AP 6
What an enjoyable feature by done so earlier.) I would also have October) with interest, as I’ve
© JOHN PERIAM
Keith Wilson on the current found James Paterson’s guide owned one for a couple of months:
state of press photography to raw editing with Photoshop purchase was the result of wanting
(Press photography: RIP, AP Elements very useful, but a compact E-mount lens, and
6 October). As a professional unfortunately my copy, Version 8, knowing that I mainly shoot with
photojournalist myself I have pre-dates my Nikon D800, and so either an 85mm or a 24mm.
seen vast changes. Having can’t edit the raw files unless I was The Samyang is much smaller and
been a press officer for a major to convert them to DNG. Thank lighter than my Minolta 24mm
airshow for many years, I always you for an excellent magazine. and an Alpha-E-mount adapter.
made sure those who got full Chris Newman I’m surprised by the comment
media accreditation were Shoreham Lifeboat Launch – by that its usefulness is limited, given
professionals, while also giving photojournalist John Periam Missing Picasa modern standard zooms; on
opportunities to youngsters to I refer to John Cunningham’s the contrary, I’d question the
further their ambitions. am a feature writer for several letter in Inbox (AP 29 September) usefulness of the sort of zooms
Many local papers are now publications. Experience is what regarding the discontinuation that you suggest in the same
owned by major media groups, it is all about and Simon Dack’s of Picasa. I have thousands of edition’s Ask the Wexperts.
and they have changed the comments have proved that. pictures stored in this system, Compared with two or even three
rules to suit them. Sadly they The magazine shelves are full which is so easy to use – prime lenses, any of the zooms
want it all for free: the first line of publications – print will not particularly the exporting of mentioned will be expensive,
of any request for a pro to die and magazine editors often pictures to friends. I can’t seem to heavy, and rather unwieldy.
cover a story is often, ‘Sorry I still prefer the working find a way to send them now. I am Taking the Samyang 24mm, a
am unable to pay you.’ knowledge of experienced sure many people would be only 50/55mm and a Sony FE 85mm
Mobile phones now provide photojournalists and their too pleased to pay to have this makes for a versatile kit, and will
an opportunity for the public to specific subject matter. Our system reinstalled or taken over tend to make you fitter by moving
cover incidents as they happen, strength lies in our loyalty to by another company. Picasa was about, rather than standing in one
and this has resulted in lower each other, and I have made a superb system, I cannot find my place and zooming.
picture quality. But times many good friends as a result. way round Photoshop, etc. And in low light, the primes have
change and we sadly have to Thanks for supporting us at AP. Stanley Groom an edge, to say nothing of better
accept it. I miss the red phone John Periam defocusing at the widest aperture,
box and a call to the editor – Rural internet should differential focus appeal.
waiting to see my processed A nice letter, John. The main As a subscriber to Adobe’s CC John Duder
images and, most important problem, though, is not who package (and indeed to AP) I was
of all, sharing quality time with owns the local newspapers, interested in your review of the
fellow pros. I have seen some it’s that most are struggling two versions of Lightroom, cloud
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
in total despair as their to stay afloat in a world of (CC) and desk based (Classic).
workload diminishes. plummeting readerships I was disappointed to see no
I still cover some major and free content online. reference to the most
events and sadly many of the With less and less consumers fundamental requirement for use
press offices are now half full prepared to pay for their of Lightroom CC – a half-decent
or contain those working for content, there is a lot less internet connection.
their own websites. money available to pay for I live in a semi-rural area with In association with
One can move on – I have that content to be created a download speed of 9-10Mbps:
expanded my writing skills and – Nigel Atherton, Editor sufficient for streaming. However,
my upload speed is 0.5Mbps.
Encouraged by your talk of YOUR FREE ENTRY CODE
Win!
‘seamless syncing’ I attempted to Enter the code below via
import into Lightroom CC a day’s Photocrowd to get one
The MicroSDHC EVO Plus with SD free entry to Round Eight –
shoot of just under 200 images. Travellers’ Tales
adapter 32GB Class10 UHS An hour later, during which time
Grade U1 card will support 4K and has read speeds
of up to 95MB/s and write speeds up to 20MBs.
my internet connection was APOY81756158
www.samsung.com/uk/memory-cards/ entirely consumed by Lightroom LAST CHANCE TO ENTER. ROUND EIGHT CLOSES ON 26 OCTOBER
TO ENTER VISIT WWW.AMATEURPHOTOGRAPHER.CO.UK/APOY
– I couldn’t even download the

COMPETITION
Be a Christmas
© JIRI M DOLEZEL
© STEVE PALMER
cover star
© DEAN MORRIS
© ELENA PARASKEVA
© PAUL GREENHALGH
© ANDREA HERIBANOVA
Tips for cover success
Would you like to see one of your images in print, Don’t crop in too tightly. Leave space for
the magazine ‘furniture’ – masthead, cover
on the cover of the world’s number one weekly lines and graphic devices. Busy images with
photography magazine? If so, read on… lots of detail are generally unsuitable as they
make superimposed text tricky to read.
THE HOLIDAY season is almost upon us, which bag worth £265, courtesy of Billingham (www. Shoot portrait-format pictures. While it’s
means it’s time for Stir-up Sunday, sentimental billingham.co.uk). The winner can choose from not unheard of for us to use a section of a
TV adverts, and the Amateur Photographer six classic colour combinations. A second landscape-format shot, your chances are
Christmas cover competition. This year we have winner (as awarded by the public vote via improved by shooting in the upright format.
teamed up with Photocrowd and Billingham to Photocrowd, www.photocrowd.com) will receive Make eye contact. If you’re submitting a
offer you global exposure, and some great a year’s subscription to AP. If the standard of portrait, ensure good eye contact, with the
prizes to boot. entries is deemed high enough, the winner(s), subject looking directly into the lens. Make
and a selection of commended entries will also sure the eyes are pin-sharp.
The prizes appear inside a future issue of the magazine.
Provide plenty of options. Try various
The overall winner (as judged by the AP team) For full terms and conditions visit
www.amateurphotographer.co.uk. angles and subject placements, with the
will see their picture grace the cover of the AP
main focal point to the left, the right and
Christmas Special issue (22-29 December). The closing date for entries is
centre, to give the art editor lots of options
They will also receive a Billingham Hadley One midnight on 25 November 2018
of where to put the cover lines.
HOW TO ENTER
The competition is open to everyone, whether amateur or professional, and you are
free to interpret the theme in any way you choose. Naturally we are happy to see shots of
baubles, trees and lights, but we also want pictures that show the creative potential of the
season in general, so feel free to submit winter landscapes, indoor portraits, frosty flora
and fauna, etc. If you think you have something suitable on file, great; if not have a go at
shooting something for the competition. To enter, upload your image(s) to the Photocrowd
website via the following link: www.photocrowd.com/apxmas.
For your chance to win, go to www.photocrowd.com/apxmas

LPOTY
Past
masters It’s one of the biggest competitions in photography,
but what did winning mean to those whose images
were awarded the top prize? Ailsa McWhinnie Andy Farrer
advises to shoot
speaks to six previous winners of LPOTY to ind out for yourself – not
for competitions
– otherwise you
go off the boil
2012
Simon Butterworth, Biggar
Condemned, Port Glasgow,
Inverclyde, Scotland
‘My image of a tenement
block was quite unusual for
the competition at the time, as
landscape photography was very
much wideangle in those days
(although it was only six years ago).
‘When the results were announced, I received
Jon Gibbs was an email telling me it had won the Urban View
the first winner
of the Landscape
category, which I was thrilled about. Then, a
Photographer couple of weeks later, Charlie Waite phoned
© JON GIBBS
of the Year me. He told me the overall winning image had

been disqualified, and that the judges had
voted my picture as the winner. I was taken
2007 ‘I went numb when I got the phone call. I completely unawares, and it took about a week
Jon Gibbs, Great Yarmouth found my wife, Steph, who was hanging out for it to sink in. I felt very sorry for David Byrne,
Storm over Scroby Sands Wind the washing, and told her the news. She said, who was eliminated. It was such a difficult
Farm, Great Yarmouth, Norfolk “That’s nice.” It brought me right back to earth! situation, but he handled it with dignity.
‘The prize money was a real shot in the arm ‘My image, though, was massively unpopular.
‘In 2007, I was working in and it gave me the confidence to open a People on forums were discussing how awful it
Morrisons in Norwich. At photography gallery in Wells-next-the-Sea. was, and I started to feel as if I didn’t deserve to
the time, there weren’t many My business partner Gareth and I had ten win. However, when I went to the ceremony and
photography competitions, years there, but we recently made the saw the beautiful big print of my image, I was so
and as this new one had a decision to close it, so I now have a bit of time proud. Out of all the pictures there, it was the
prestigious title, I thought I’d give it a go. to think about what I’m going to do next. only one I’d want to have taken. When the online
‘The evening I took the image, the weather ‘The biggest difference between winning comments dried up, I actually missed them!
was mad, and when the storm moved behind then and now is social media. Not many ‘It was a turning point for me. Winning with
the turbines, I knew I’d got something. In those remember me for winning the competition an unpopular image made me determined to
days, you didn’t think in terms of competitions, – which is fair enough – but I’d swap the plough my own furrow. In 2015, I had a series
and I certainly didn’t consider that it might win money for the attention you now get on social of images shortlisted in the Professional
anything. These days, though, a lot of people media. It allows you to capitalise on the win in a category of the Sony World Photography
have an LPOTY file on their computer, and way I couldn’t back then. It’s a little bittersweet, Awards. That and the LPOTY award have been
although I don’t think we should shoot but at the end of the day, I won it – the first the two most important events in terms of
specifically for competitions, anything that one – and that can never be taken away.’ giving me the confidence to do my own thing.’
gets people – particularly youngsters –
outside and taking pictures is a good thing. Visit www.jon-gibbs.co.uk Visit www.simonbutterworthphotography.com

LPOTY
2015
Andy Farrer, Swanage
Bat’s Head, Dorset
‘I’d entered the
competition three or four
times before I won it. By chance,
I was in Norway with Antony
Spencer when his win was
announced [in 2010], and I saw his inbox go
ballistic. It was then that I understood what a
big break it was in terms of putting him on the
map – you can’t buy that sort of publicity.
‘I’d been entering competitions for a while,
and they were a good way of benchmarking
my progress. I’ve never shot specifically for
a competition, though, because you can’t
possibly second-guess what the judges will like
and what else is on the table. You have to enter
images you can stand next to, knowing you
were happy with them.
‘I clearly remember taking my winning image.
I’d started shooting in the opposite direction,
towards Durdle Door, then I turned round and
saw the lines that the sea was carving in the
snow – I had to capture them before they were
© ANDY FARRER
washed away. Needless to say, though, it was
the “wow” shots of Durdle Door itself that got
all the interaction on social media at the time.
‘When the winners were announced, my
Twitter account started to get a few tags at
© SIMON BUTTERWORTH
Simon’s image was

midnight, when subscribers to the digital
shot on a very
long lens from version of The Sunday Times were seeing the
a distance of a results. Soon, though, everything went nuts
couple of miles – it was all a bit of a blur, and I almost felt like
a spectator rather than the winner.
‘The prize money helped me upgrade my
camera gear. And the win added value to my
workshops, as it gives clients confidence that
they’re booking with someone who knows
what he’s doing. When I won, I already had a
large body of work, so people could see that
I was an experienced photographer.
‘I was keen not to squander the opportunity
– I knew I’d have to keep up the momentum
and not be overshadowed by the next winner.
I’m still busy and a couple of years on, my
photography has matured, too. I also have a
print studio in Swanage with a wide-format
printer, and my business partner and I print for
photographers. A lot of our clients are quite
new to photography, so we help them with
their prints, and often the conversations will
lead to one-to-one workshops, so one area
of the business filters into the other.
‘I don’t think any of these opportunities
would have presented themselves without
LPOTY. Everything aligned in that moment,
and it’s quite surreal to look back on it and
realise it was so decisive.’
Visit www.andyfarrer.co.uk
‘I’ve never shot specifically for

a competition, because you
can’t possibly second-guess
what the judges will like’
31
LPOTY
2016 For Benjamin

Matthew Cattell, Bracknell Graham, returning
Starling Vortex, Brighton to a location he
knows very well
‘I almost didn’t enter in paid dividends
2016, as I was quite busy
at work, but I managed to bundle
together some images in time.
This was one of 25 I entered,
and it was a bit of a filler. I had another shot
from the same evening I liked better – that’s
now changed, of course! Now that I’ve had a
couple of years to reflect, I can see how this
one is better, and it has more impact. I suspect
quite a lot of people didn’t know what to make
of it, as it’s not a traditional landscape; I
appreciate it’s a Marmite picture.
‘When I was told I had won, I had to keep it
quiet for a couple of weeks. It was a horrible
mixture of excitement, anxiety and disbelief
– I kept thinking I’d get a phone call telling
me they’d made a mistake. Once it had been
announced, I did a few radio and magazine
interviews, and the attention lasted until the new
year. Someone a bit more social-media savvy
might have whipped up more of a storm.
‘Prior to winning the competition, I had more
of a hit-and-miss approach to my photography.
Now, my work is a lot more considered, and I’m
doing more long-term projects. As far as the
money is concerned, I still have it! I ummed
and ahhed about what to do with it, but I
started to get a bit disillusioned at work, so I
kept it to one side, just in case. Having grappled
with anxiety for several years, it finally came to
a head in June this year, at which point my wife
suggested I give up my job as an architect and
concentrate on photography full time. I’m very ‘It wasn’t my preferred 2014
thankful for that, as it has allowed me to work shot from the evening. Mark Littlejohn, Penrith
on some personal projects. There’s a creative A Beginning and an End, Glencoe
freedom that’s come with it, too, and I’ve had I had another I liked
time to reflect on what I want to do with my life.’ ‘This image was shot on the
better – that’s changed most miserable day ever,
Visit www.matthewcattellphotography.com now, of course’ but there’s beauty to be found
everywhere – to my mind,
© MATTHEW CATTELL
Matthew Cattell says

weather is never miserable. If
there’s no point in you go round always expecting pink light and
entering images that diffused mist, you’ll be disappointed, but we
have been seen before can’t be tied into a preconceived idea of what’s
beautiful. A successful picture doesn’t need to
be something that knocks our eyes out – it can
be a small, subtle, sideways view that’s magical.
‘I bought my first camera in 2010. I entered
the competition for the first time the following
year, and got two images in the book. I thought
that was normal! I’m lucky in that I live
somewhere very picturesque, and those two
pictures were taken about five miles from
home. In 2014, I entered about 15 images
and used the same criteria I always do –
I wanted to pick images that meant something
to me. They had to have had some sort of
emotional impact when I took them.
‘I hadn’t put the winning image on my
Facebook page when I shot it, but a lot of
people I respect had said it was really striking
when I’d shown it to them. When I run
workshops, I always tell people to relax and
enjoy the landscape, because when you’re

LPOTY
© BENJAMIN GRAHAM
2017 whether the shot works; I’m almost certain that
Benjamin Graham, Felpham even if I’d gone to West Wittering that evening
Diminutive Dune, West Wittering with half a dozen people, I’d probably have
been the only one to see that composition.
‘I have a mental catalogue ‘The first year I entered LPOTY, I inadvertently
of locations that reward submitted my files in the wrong pixel
me every time I visit them. One dimensions, so they were all dismissed! The
of those places is West Wittering second time, I got the sizes right, but I certainly
beach. It’s an enormous shelf of didn’t expect to win. Most of the feedback on
sand, and the tide can retreat an incredibly social media was positive, but inevitably there
long way - leaving almost completely are some who feel compelled to announce
uninterrupted views westward. The sand forms that their taste in photography doesn’t concur
change shape every time the water goes out. with the judges’. That’s competitions, though.
‘The day I took this picture, I had gone down ‘Since winning the competition, I’ve had
on the spur of the moment. Weather-wise, it some very rewarding commissions. One, for the
was a very gentle, pastel evening, and any light National Grid, meant I had to shoot five different
that was there threw the sand forms into locations where they are removing pylons from
subtle relief. When I started, I struggled, as the Areas of Outstanding Natural Beauty and
tide was miles out and there was so little detail burying the high-tension cables. Another is for
and contrast. I really only had the sand forms to a book – The Complete History of the London
work with. In the end, the image that won was Underground. It’s a three-month project and
one of my favourites because it was so simple. I have 50 stations to shoot, including lifts and
There’s only sand and sky. A lot of people think escalators, tiling, entrances, trains, platforms
it’s a wave in the water – it’s not – it’s a form and depots. It’s a fascinating contract, and
in the sand that’s been left by the outgoing winning LPOTY certainly gave the publishers
tide. I really like its indeterminate scale, its extra confidence to hire me.’
compositional simplicity and its quiet palette.
‘I had no expectations for the shot and, Visit www.benjamingraham.co.uk
after I won, I suffered a little from impostor
syndrome. I am conscious there are ‘The first year I entered
photographers who got their shots by camping
out in sub-zero conditions on the side of a LPOTY, I inadvertently
mountain. All I did was to go spontaneously to submitted all my files in the
one of my favourite local beaches. Having said
that, it’s not about the back story – it’s about wrong pixel dimensions’
© MARK LITTLEJOHN
relaxed, you’ll see something you like and you’ll
photograph it. That was the case with this image.
‘It was a surprise to get the phone call telling
me I’d won. In fact, I was in Tynemouth, waiting
to collect my daughter, who had been on a day
trip to Auschwitz. The volume on my phone is
quite loud as my hearing isn’t great, and when
Charlie [Waite] told me I couldn’t even tell my
wife, it was too late, because she was sitting
next to me and beaming. I have a feeling the
couple behind us heard, too…
‘There was a fair bit of criticism when the
announcement was made. Some folk on the
internet were saying they’d taken better pictures
out of moving trains, but others really rallied
round, and the support I got from people whose
opinion I respect was wonderful. I couldn’t give
a bugger about those who didn’t like it – if it
offended a few of the traditionalists, brilliant.
‘I don’t enter competitions any more. I’m
rather wary of them for putting pressure on
photographers, and they can stifle individual
development. I recently saw someone say
they’d “failed” because they hadn’t been
shortlisted. But if you’ve been out in lovely light,
followed your passion and met like-minded
people, how can you say it’s a failure just
because a judge didn’t like a picture? It’s not.
It’s about which picture gave you the most Mark spotted this
satisfaction and a sense of pride.’ composition as a
squall passed
through Glencoe
Visit http://marklittlejohnphotography.com

When Harry Met...
Darcey Bussell
Harry Borden was bowled over by the grace and poise
of the former ballerina and Strictly Come Dancing judge
W
hen I was in my when the opportunity finally The shoot took place at the
early twenties, arose for me to photograph her Royal Academy of Dance in
I didn’t feel in 2015, I’d been aware of Darcey Battersea, London. When I
any strong and her work for many years. arrived at the academy in my
pressure to achieve great Darcey (who became car, I saw some beautiful red,
things because few people of Dame Darcey Bussell at the orange and yellow autumnal
my age had done anything beginning of this year) was one leaves hanging from a tree.
spectacular. But I remember of the Royal Ballet’s greatest I parked my car underneath
seeing Darcey Bussell in an stars until she retired in 2007. them, to stop anyone else from
advert on television around In 2012 she became a judge parking there, just in case
that time. She had become the on the BBC’s Strictly Come I needed to use the leaves
principal dancer at the Royal Dancing. In December 2015 during the shoot.
Ballet in 1989, when she was I was commissioned to shoot I had brought my Canon
20 years old. portraits of her for The Sunday EOS 5D Mark III and my
I remember thinking: she’s Times Magazine, to be preferred 50mm lens. Knowing
about my age and globally published with an interview I was mostly going to shoot
famous, as well as being linked to her role in Strictly. indoors, I had also brought
cultured and beautiful, but I’ve some lights and a couple
achieved nothing. Also, at a
time when I was trying to work
‘She reminded me of rolls of Colorama as
backgrounds, to give some
out what being a man and a of a beautiful variety to the portraits.
woman meant, she was a kind The main location for the
of ideal representative of
thoroughbred horse shoot was a dance rehearsal
conventional femininity. So preparing for Ascot’ space with large mirrors,
white-painted walls and good
One of Harry’s shots natural light from the windows.
taken outside in the There was also a piano I could
car park. It was use as a prop. I always prefer
never used working with daylight, so with
the light bouncing of the white
walls, I hardly needed to use
the lights at all.
Darcey arrived, and, as
expected, was very statuesque
and beautiful. The stylist on
the shoot, Carol Howard, had
brought along a selection of
clothes for Darcey to wear. They
were mainly slightly masculine
jacket tops as The Sunday
Times people felt she would
look good in them – they would
contrast with her very feminine
face. If someone has any hint of
masculinity it’s probably not a
good idea to go for that look,
but it worked very well with
Darcey. They had also wanted
her to do some dancing during
the shoot, but you have to warm
up before doing that, so it wasn’t
going to happen.
She tried on a couple of the
ALL PICTURES © HARRY BORDEN
jackets, and the one that

worked best was a white
tuxedo with black lapels, which
she wore with leather trousers.
I took several shots of her,
some full-length and some
Darcey Bussell in cropped below the waist, lit by
the dance studio, the nearby window. I used the
where it seemed ballet barres in the background
she felt most at as both a compositional
home and relaxed
element and something that
referred to her career.
Throughout the shoot, she
struck me as being very poised
and balanced, like an athlete
or a model. She walked
around the studio with total
confidence. At one point, while
she was between outfits, she
stood in the studio in her bra,
completely comfortable with
her body. She reminded me of a
beautiful thoroughbred horse
preparing for Ascot.
Darcey was very professional
and did everything I asked of
her, but at the same time there
was a professional distance.
I didn’t get to know her in the
way I’ve got to know some of
my other sitters.
Later on, I persuaded her to
go outside and got my assistant
to move my car, so she could
pose with the autumnal leaves
hanging down from the wall
behind her. While we were
there, a group of young
wannabe ballet stars saw her
and were really star-struck by
seeing their heroine.
After the shoot, I thought
the portraits with the leaves
were probably the best ones.
However, The Sunday Times
ran the indoor tuxedo pictures
in the feature. I don’t think the
leaves pictures were used at all.
Over time, I’ve come to
prefer the indoor tuxedo shot
(left) because there’s more of
a connection with her. The
leaves shot (far left) was taken
in the car park with people
all around us and I think she
was more comfortable in
the familiar domain of the
dance studio.
As told to David Clark
Harry Borden
Harry is one of the
UK’s finest portrait
photographers and
his work has been
widely published.
He has won prizes
at the World Press
Photo awards
(1997 and 1999), and was awarded an
Honorary Fellowship by the RPS in 2014.
The National Portrait Gallery collection
holds more than 100 of his images.
Visit www.harryborden.co.uk
35
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Testbench
Photokina APS-C sensors, alongside the Fujifilm

X-T3, which to be fair is sure to sell by
the bucketload. No Micro Four Thirds
cameras were announced at all.
2018
Of course it’s not just about cameras,
and a whole array of new lenses and
This year’s Photokina, held from accessories were also revealed at the
26-29 September, was perhaps the show. You can read all about them
most exciting for some years. By far, towards the end of this report.
the biggest news revolved around
full-frame mirrorless: huge crowds The end of Photokina?
swarmed around the Canon and Nikon Sadly, though, that’s the end of
stands to catch their first glimpse of Photokina as we know it, as from 2019
the new EOS R and Z 7 cameras, while onwards it’ll run annually in May. This
Geof Harris, Michael Topham Leica, Panasonic and Sigma jointly means that it’ll miss out on the camera
announced their ‘L-Mount Alliance’ and lens announcements that have
and Andy Westlake report on to produce cameras and lenses based been its lifeblood, and will most likely
on a common standard. Somewhat become a German domestic event
photography’s biggest show mischievously, Fujifilm proceeded to instead. At AP we’ll miss our biennial
suggest that its exciting new medium- expedition to Cologne, although
F
or the past five decades, An estimated format cameras should be known as perhaps not this year’s dismal hotel.
in the September of 180,000 visitors ‘super full-frame’. Even Zeiss tried to Photokina’s change of focus shouldn’t
even-numbered years, the from127 countries jump on the bandwagon by calling its have much impact on enthusiast
came to Photokina
world’s photographic press upcoming full-frame ZX1 ‘mirrorless’, photographers, who’ll still see plenty
2018 to see the
has descended on Cologne, Germany, latest offerings despite the fact that with its fixed lens, of fancy new kit announced during
to hear camera and lens makers from the 812 it doesn’t fit the category at all. the course of next year. But we can
announce their latest cutting-edge participating Strikingly, other sensor formats and probably expect the most exciting new
products. Traditionally, this is where all companies camera types were left by the wayside. camera announcements to be focused
the biggest news breaks: ten years ago Only two SLRs were announced: the on the Japanese CP+ show in February,
it saw the launch of the world’s first entry-level Nikon D3500 and the with other releases spread more evenly
mirrorless camera, the Panasonic Lumix specialist medium-format Leica S3. through the year. However, if 2018
G1, while in 2016 the show was stolen by The D3500 was also one of only two really was the last ‘proper’ Photokina,
Fujifilm’s GFX medium-format system. new interchangeable-lens models with at least it’s gone out with a bang.

Testbench PHOTOKINA 2018
Leica reveals
L-Mount
Alliance
Panasonic and Sigma will build full-frame
mirrorless cameras and lenses based on
Leica’s L-mount
IN THE biggest news of Photokina SA-mount lenses. Initially it will make
2018, Leica, Panasonic and Sigma have its highly regarded Art-series full-frame
jointly announced the ‘L-Mount Alliance’ primes in L-mount, along with its
for the production of full-frame existing APS-C format DN lenses.
mirrorless cameras and lenses. This But in the future we can expect to
development sees Panasonic and see new full-frame optics specifically
Sigma formally licensing Leica’s existing designed to take full advantage of
L-mount, giving them a shortcut into the mirrorless architecture.
this rapidly expanding sector of the The firm also intends to produce The alliance was f/2 and 21mm f/2 lenses are on their
market without having to develop an mount adapters that will allow Canon EF announced at way. These won’t come cheap though;
entirely new mount. Panasonic says and Sigma SA-mount lenses to be used a joint press prices range from £3,750 to £5,100
conference with
that it’s developing two new full-frame on L-Mount cameras. The potential for the current range.
Sigma, Leica
mirrorless ‘Lumix S-series’ cameras benefit in driving uptake of the system is and Panasonic
along with three lenses (see right for considerable, just as the existence of EF What does ‘alliance’ mean?
full details). adapters encouraged adoption of the While the three companies are in
Sigma says it will produce a full-frame Sony E-mount. ‘alliance’, strictly speaking they’re not
mirrorless camera with a Foveon As for Leica, it already makes the From left to right: working together. Instead, they will
Mr Kazuto Yamaki
sensor, along with matched L-mount SLR-like full-frame mirrorless SL (Typ independently make cameras and
of Sigma, Dr
lenses early next year. As a result, it 601) along with six matched lenses. In Andreas Kaufmann lenses to meet their customers’ needs.
won’t make any more cameras using addition, it revealed that 35mm f/2 and of Leica, and Mr The L-mount is still owned by Leica,
its long-running SA mount; however, 50mm f/2 primes are about to enter Junichiro Kitagawa and the firm will control all of its
it will continue to produce new full production, while 28mm f/2, 24mm of Panasonic specifications and communication
protocols. The alliance members have
promised that cameras and lenses from
each firm will be seamlessly cross-
compatible; however, the standard
doesn’t extend any further than the
mount, meaning that they won’t adopt
the same flash interface or remote-
control terminal. The rationale is that
this would make the development
of new products and technologies
unnecessarily slow. Leica says that other
firms could join the alliance, with the
proviso that they would have to be the
‘correct fit’ with the existing members.
The technical bit

Leica’s L-mount was introduced in April
2014 with the APS-C Leica T, and went
full-frame with the appearance of the
Leica SL 18 months later. It has an
internal diameter of 48.8mm, a
flange distance from the sensor to the
mount of 20mm, and uses 10 pins for
communication between the lens and
camera body. Like the Nikon Z mount,

Panasonic goes
full-frame with
Lumix S system
Two new cameras and three matched lenses are
scheduled to be launched early next year
AFTER ten years of producing the
Micro Four Thirds mirrorless system,
Panasonic has declared its intention
to enter the full-frame market. Its
new Lumix S system will co-exist
alongside Micro Four Thirds and
will be targeted at professionals and
serious photographers who don’t
want to make any compromise
when it comes to image quality
or performance.
it has a four-pronged design that The firm intends to launch two
promises faster lens changes due to full-frame L-mount cameras early
a smaller rotation angle, along with next year: the 24MP Lumix S1 and
greater robustness. the 47MP Panasonic Lumix S1R.
Compared to the Canon RF and It’s also developing three matched
Nikon Z mounts, which measure 54mm lenses: a 50mm f/1.4, 24-105mm
and 55mm internally, the L-mount is standard zoom and 70-200mm
distinctly smaller, although it’s still larger telephoto zoom. We’ve been told
than the Sony E mount’s 46.1mm. In we can expect ten Panasonic
principle this should give a little more Above: We got L-mount lenses to be available by the
leeway to make faster or more exotic hands-on with a end of 2020.
optics compared to Sony, without detailed mock-up of As we’ve seen from other
the upcoming S1R
necessarily matching Canon and Nikon. manufacturers, Panasonic will launch
One potential advantage is that the twin models with the same body design
L-mount allows the firms to make but different sensors. Shared features
relatively small camera bodies along Left: Mock-ups of will include a new Venus imaging
the lines of the APS-C Leica CL. the 50mm f/1.4, engine, a three-axis tiltable
70-200mm and touchscreen, a large top-plate status
Our thoughts 24-105mm lenses panel and a Dual IS system that
Until now, Leica’s L-mount system combines in-body image stabilisation
has been largely neglected by the Below: Panasonic’s with in-lens optical image stabilisation.
mainstream, simply because of the Mr Yosuke Yamane Both models will support 4K 60p/50p
price. But with two heavyweight with the Lumix S1R video recording, and after all the talk of
companies joining in, it’s going to have recent full-frame mirrorless cameras
to be taken much more seriously. only having one card slot, it’s refreshing
The big question is whether any other to confirm that both will offer an XQD
companies might come on board. The slot as well as an SD slot. We’re
L-mount could provide a lifeline for promised weatherproof build and an
Olympus, for example, and enable it to extremely durable shutter mechanism.
grab a piece of the full-frame action. Right now, Panasonic is only showing
Third-party lens makers like Tamron, plastic mock-ups, which it says should
Zeiss and Samyang who already make closely resemble the final products. The
optics for full-frame mirrorless will camera design is essentially like that of
surely be evaluating whether they a G9 on steroids, and should inherit
should ask to join. One thing’s for sure: most of that model’s excellent handling.
the sudden expansion of the full-frame We’ll have to wait until next year to
mirrorless sector from one to four offer a detailed report of how the first
major systems promises exciting extra pre-production samples feel in hand,
choices for photographers. but early impressions are positive.

Fujifilm ups the ante

The launch of the GFX 50R
and development of the
GFX 100 medium-format
cameras made the headlines
TWO YEARS ago, Fujifilm stole Fujifilm’s GFX 100
the limelight at Photokina with the is packed full of
announcement of its new medium- impressive features,
including in-body
format GFX system and GFX 50S
stabilisation
camera. Since then we’ve seen the
manufacturer slowly build up its range
of GF-mount lenses, yet we’ve been
left somewhat in the dark about what
cameras it might follow up with. Two
years on, Fujifilm invited journalists to a
packed press conference and revealed
the GFX 50R – a rangefinder-style
medium-format version of the
company’s GFX 50S that’s designed to
be more portable and easier to use.
With this latest release, it shows that
Fujifilm wants to take a similar route
as with its X system and give medium-
format users the choice of SLR-style
or rangefinder-style bodies. Just when
we thought the press conference
was coming to an end, Fujifilm also
announced that it’s developing the
GFX 100: the world’s first mirrorless
camera to feature a 100MP sensor.
Fujiilm GFX 50R

The GFX 50R is designed in a flatter,
rangefinder style, which is what the 'R'
in its name stands for. Fujifilm was keen AP’s reviews editor and one that would please the type 64 places. In terms of its looks, styling
to get across the point that it felt the Michael Topham of photographers who specialise in and handling, the GFX 50R is possibly
need to produce a more compact and gets hands-on with wedding, portrait, street, documentary best described as a beefed-up Fujifilm
lightweight camera in its GFX lineup the GFX 50R and reportage photography. Compared X-Pro2. There’s a focus lever, twin dials
to the GFX 50S, the GFX 50R sheds on the top plate to control shutter speed
145g from its body and is 25mm and exposure compensation, plus a
thinner. We’re told the design of the tilting touchscreen at the rear. The
camera is inspired by the company’s difference here is that it offers two-way
classic medium-format film cameras of tilt whereas the GFX 50S’s screen
days gone by, including the GA645 and presents three-way tilt. Above it is an
the GF670, both of which have since off-centre 0.77x, 3.69-million-dot
been discontinued. electronic viewfinder that allows users
At its heart, the GFX 50R inherits the to keep one eye on a subject, while
same 51.4-megapixel medium-format looking through the viewfinder with the
sensor and X-Processor Pro imaging other – a bonus for those who never
processor combination as the GFX 50S. want to miss a moment.
With many of the same internal specs, Bluetooth connectivity also makes its
we expect the performance to be on par debut for a GFX-series camera in the
with its GFX sibling. Combined with the 50R, allowing users to maintain
GF 50mm f/3.5 R LM WR (see far right), constant low-energy technology with a
the GFX 50R becomes the world’s smartphone or tablet for easy transfer
lightest medium-format combination of shots. As for pricing and availability,
currently available. To ensure its the GFX 50R is currently available to
durability caters to the needs of all pre-order for £3,999 (body only) and
photographers, the magnesium alloy is expected to hit online stores and
body is weather-sealed in no fewer than retailers some time in November.

Lenses galore
This upcoming
16-80mm f/4
will offer a
really useful
zoom range
The GFX100 took pride of place in Fujifilm’s display of upcoming products

FUJIFILM also released its not expected to arrive until
Fujiilm GFX 100 expecting it to handle well with latest lens road maps for 2020. One of two lenses
So what do we know about the Fujifilm’s larger telephoto lenses. both GFX and X-series that will arrive in 2019 is the
Fujifilm GFX 100? When it arrives During the press conference, Fujifilm systems. Fujifilm GFX users XF 16mm f/2.8 R WR – a
next year it will become the new confirmed that all GFX lenses will be glad to hear that three compact wideangle prime
flagship model in the GFX-series produced so far are optimised for use new GF lenses are on their that will complement Fujifilm’s
and will boast a 102-million-pixel with 100-million-pixel sensors. The way, which will bring the total smaller X-series models. The
Fujifilm G Format image sensor GFX 100 is expected to arrive in number in the lineup to 11. other optic due to appear
that’s never been seen before. early 2019 and will be priced around First to arrive will be the GF next year is the XF16-
It will feature phase-detection AF $10,000 excluding VAT. 50mm f/3.5 R LM WR: a 80mm f/4 R OIS WR. This
coverage across the entire sensor compact prime lens with standard zoom (equivalent
and is promised to provide a level Capture One support the focal length equivalent to 24-120mm) fills a gap
of performance that defies the At the same time as launching the to 40mm in the 35mm film in the XF lineup and will be
current standards of medium-format GFX 50R and announcing the format. The two lenses that weather-sealed and feature
digital cameras. development of the GFX 100, will follow are the GF a 72mm filter thread. Pricing
The new sensor will be paired Fujifilm also revealed that all of its 45-100mm f/4 R LM OIS of all these lenses has yet to
up with the company’s fourth- medium-format mirrorless cameras WR (equivalent to 36- be announced.
generation X-Processor 4 image will be fully supported by Capture 79mm) and GF 100-
processing engine and will feature One software. This news has been 200mm f/5.6 R LM OIS WR
a new in-body image stabilisation a long time coming for professional (equivalent to 79-158mm).
system, making it the world’s first photographers, who will now be able Although there were no
medium-format digital camera to to incorporate the GFX system into new X-series cameras this
feature IBIS. It’ll also become the first their regular workflow and have year, Fujifilm did reveal three
mirrorless digital camera equipped much better access to tethered XF lenses currently under
with an image sensor with the size shooting. All Fujifilm GFX users will be development. The most
of 43.8mm x 32.9mm to support entitled to Capture One Express for interesting of these is the
4K/30p video recording, and with free with a number of subscription XF 33mm f/1 R WR – an
an integrated vertical grip, we’re packages also available. ultra-fast prime that stands
to be the first mirrorless lens
with a maximum aperture of
f/1 and AF capability. This
lens will be weather-sealed
and feature a 77mm filter The super-fast and weather-
thread, though we’re told it’s sealed XF 33mm f/1 R WR
The rangefinder-
style GFX 50R is
like an oversized
version of the
Fujifilm X-Pro2
Medium-format users can look forward to this100-200mm zoom

Zeiss unveils ZX1 and

Batis 40mm f/2 CF
Camera will feature a ixed
Distagon 35mm f/2 lens and
37.4MP full-frame sensor, as
well as integrated Lightroom
ZEISS revealed that it’s developing a Right: Zeiss’s ZX1
full-frame camera based around a fixed full-frame compact
Distagon 35mm f/2 lens and a 37.4MP features both
traditional dials and
sensor. The ZX1 has traditional
a large touchscreen
analogue controls, with top-plate
shutter speed and ISO dials alongside
aperture and focus rings around the
lens. An OLED electronic viewfinder
is used for composition.
So far, this is as much as you’d expect
from Zeiss, but the rest of the camera is
radically innovative. The whole of its
back is given over to a 4.3in multi-
touch screen, and there’s no memory
card slot either. Instead images are
stored on the impressive 512GB of Below right: The
internal memory, which should be Batis 40mm f/2 CF
enough for 6,800 DNG raw files. is for full-frame
Sony mirrorless
The really big news, though, is that the connectivity are intended to make focusing over the entire range, or
touchscreen can be used to operate an Below: ZX1 owners it easy to share processed images. restricts it to either infinity to 40cm for
integrated version of Adobe Lightroom will be able to use Tell-tale on-screen buttons reveal everyday shooting, or 50cm to 24cm
CC for processing and retouching Lightroom CC built that Lightroom runs on Android. Zeiss for close-ups. Like all Batis lenses, the
photos. Wi-Fi, Bluetooth and USB-C into the camera won’t let anyone so much as touch the 40mm features an LCD that shows
camera yet, so we have no idea how the focus distance and depth of field.
well the concept works. Other firms At 93mm long and 91mm in
have made Android-based cameras diameter, and weighing in at 361g, the
before, including Nikon and Samsung, lens is rather large for its specification.
but without any commercial success. The optical formula utilises 9 elements
With its intriguingly unconventional in 8 groups, with three aspheric
design, the ZX1 sets itself apart from elements and four elements made of
other full-frame compacts such as the special glass with anomalous partial
Sony RX1R II and Leica Q. However, dispersion. It features weatherproof
its price is likely to be in the same construction, accepts 67mm filters, and
ballpark, so expect to fork out well over comes supplied with a bowl-shaped
£3,000 for one when the camera goes lens hood. The Zeiss Batis 40mm f/2
on sale next year. CF is due to go on sale in November,
priced at £1,129.99.
The perfect normal lens
Zeiss also announced the latest
member of its Batis family of
autofocus lenses for Sony full-frame
mirrorless cameras. With a focal
length that many photographers
prefer to the more common
35mm or 50mm, the Distagon T*
40mm f/2 CF should provide a
very natural perspective to images.
CF stands for close-focus, with
the lens offering a minimum object
distance of just 24cm, affording 0.3x
magnification. A limiter switch enables
27 October 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Lots of lovely lenses

All of the major third-party lens makers Irix
Since its debut a couple of
showed new designs at Photokina, with years ago, Swiss-Korean
lens-maker Irix has
upcoming products also on display concentrated on producing
wideangle primes for
full-frame DSLRs. So it’s
perhaps something of a
surprise that its latest lens,
on display for the first time at
Photokina, is a very different
beast. The whimsically
named Dragonfly 150mm
f/2.8 Macro is a manual-
focus optic that offers 1:1
magnification in a relatively
compact, weather-resistant
package. According to its
creators, the aim is to offer a in Canon EF, Nikon F and
lens unlike anything offered Pentax K mounts. Pricing
by the mainstream camera and availability are still to
companies. It’ll be produced be revealed.
Laowa’s ultra-wideangle 10-18mm f/4.5-5.6 FE Zoom for Sony full-frame mirrorless
Laowa
Chinese lens maker Venus Optics was as wildly creative as ever, with an array
of new Laowa manual focus lenses on display. Micro Four Thirds shooters were
particularly well served, with a minuscule 4mm f/2.8 circular fisheye joined by
compact 9mm f/2.8, 12mm f/1.8 and 17mm f/1.8 primes. At the other end of
the sensor-size scale, the firm unveiled a 17mm f/4 wideangle prime for Fujifilm
GFX medium format, as part of its Zero-D series with minimal curvilinear
distortion. Its 21-element, 14-group construction suggests that it’s essentially
the firm’s existing 12mm f/2.8 Zero-D mated together with its Magic Format
Converter, which converts full-frame lenses for use on GFX.
Also on view was the world’s widest-angle full-frame zoom, the remarkably
compact Laowa 10-18mm f/4.5-5.6 FE Zoom, which even accepts screw-in
37mm filters behind the rear element. Macro enthusiasts were served by
the 100mm f/2.8 2x Ultra Macro APO, which is capable of twice-life-size
magnification and, in a first for Venus Optics, includes automatic aperture
setting on the Canon EF-mount version. The show-stopping 25mm f/14 Macro
was also prominently on view, with its long, thin submersible barrel.
Tokina
This tiny fisheye lens It may have been overshadowed by Tamron
is for Micro Four and Sigma in recent years, but Tokina is
Thirds cameras showing every intention of forcing its way
back into serious contention. For the first
time, we saw its new premium Opera 50mm
f/1.4 DSLR prime, and very impressive it
looks too. Also making its debut at the show
was the autofocus version of its Firin 20mm
f/2 wideangle for full-frame mirrorless.
A couple of upcoming Tokina lenses were
on display too, giving a hint to the firm’s
future intentions. The next in its Opera series
will be a 16-35mm f/2.8, which will update
and replace the current eight-year-old
AT-X design. Also hidden away inside a glass
cabinet was a Firin 100mm f/2.8 Macro
FE AF, which should come as a welcome
development for Sony Alpha 7 users.

Voigtländer Mr Kazuto Yamaki
Its fully manual lenses may have a somewhat niche appeal, of Sigma with the
but Cosina is pressing on with making new Voigtländer new 60-600mm
lenses. Its latest models on show include the lovely 40mm telezoom lens
f/1.2 Nokton alongside a 21mm f/3.5 Color-Skopar and
110mm f/2.5 APO-Lanthar Macro, all for Sony full-frame.
Leica M-mount users were treated to a first sight of new
50mm f/1.2 ASPH and 75mm f/1.8 optics, while the Micro
Four Thirds Nokton range has been supplemented by a
10.5mm f/0.95 ultra-wideangle.
Sigma (FLD) glass. As with other Sports-series

When it comes to third-party lens lenses, both the autofocus and optical
makers, Sigma is the biggest beast in stabilisation systems can be customised
the pack. Alongside the headline news using Sigma’s USB dock.
that it’s joining Leica and Panasonic in In addition, two more fast primes
the L-Mount Alliance, it also revealed joined the premium ‘Art’ lineup. The
four new lenses for full-frame DSLRs, 28mm f/1.4 DG HSM | A slots neatly
along with one for APS-C mirrorless. between existing 24mm and 35mm
Voigtländer’s latest 40mm f/1.2, 21mm f/3.5 and 110mm f/2.5 Kicking off the SLR launches is a optics, offering a moderate wideangle
monster of a telephoto zoom, the view. Much less expected is the
60-600mm f/4.5-6.3 DG OS HSM | S. 40mm f/1.4 DG HSM | A, although
Samyang Interestingly, this doesn’t adopt the this focal length is widely appreciated
Samyang was proudly showing off all eight of superficially obvious approach of taking both by cinematographers and many
its current lineup of autofocus lenses, including the existing 150-600mm and photographers. Mr Yamaki explained
its petite AF 24mm f/2.8 FE for Sony extending its telephoto reach, but that to help distinguish it from the
full-frame mirrorless. The message certainly instead expands its wide view. As a 35mm f/1.4 and 50mm f/1.4, this
appears to be that this is where the Korean result, sports and action photographers places an absolute premium on optical
firm will focus most of its efforts in the future. should be able to cover a much broader quality and will be the sharpest lens
Also on display under glass was a mock-up range of subject distances without in the entire f/1.4 Art lineup, so we’re
of a hitherto-unseen optic, in the shape of the having to change lenses. This also really looking forward to trying it out.
XP 10mm f/3.5 ultra-wideangle for full-frame keeps the size just about manageable, In amongst all this excitement, the
DSLRs. It was shown alongside the existing XP although at 2.7kg, it’s still a real brute. little 56mm f/1.4 DC DN | C could
14mm f/2.4, helping to illustrate its relatively Also joining the Sports line is the possibly go overlooked. But in fact, it’s
compact size. long-awaited 70-200mm f/2.8 DG a really attractive, small, unobtrusive
OS HSM | S. According to Sigma CEO short-telephoto portrait lens. For
Kazuto Yamaki, the goal was to build Sony APS-C mirrorless users it’s the
Samsung showed its new XP 10mm f/3.5 a lens that competes with equivalent largest-aperture autofocus lens of its
alongside the existing XP 14mm f/2.4 optics for sharpness, but which also type and far smaller than full-frame
(seen on the right) for comparison practically eliminates colour fringing in 50mm f/1.4s, while for Micro Four
out-of-focus areas due to longitudinal Thirds shooters it slots in neatly
chromatic aberration. To achieve this, between entry-level f/1.8
the design employs a remarkable nine and expensive
elements made of ‘F’ Low Dispersion f/1.2 primes.
Sigma
Tokina’s premium showed off
Opera 50mm f/1.4 an impressive
array of new lenses
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 27 Octobe

Best accessories
Photokina 2018 wasn’t just about big
camera and lens releases. Here are
some of the cool accessories and photo
services that caught our eye ▲ Gitzo mini tripod
Hauling full-sized tripods around can be a pain, while a lot of
mini tripods feel very compromised. If you don’t mind paying
a premium price (£189.95), Gitzo’s cleverly designed Gitzo
▲
LowePro ProTactic bags

LowePro showcased its latest £209 Mini Traveler is a good solution. It weighs only 265g but is
ProTactic BP 350 AW II and £259 able to support 3kg with the Mini Traveler Head or 10kg
ProTactic BP 450 AW II range. These are when paired with a Gitzo Centre Ball Head. The ergonomics
well made and capacious, able to house are very clever, too. See manfrotto.co.uk/gitzo.
two DSLRs with up to eight lenses and
other accessories including a laptop. Outergram straps
▲
See www.lowepro.com/uk-en. Some interesting camera straps and harnesses were on
display at the show, but the best-looking ones were made
by Korean company, Outergram. They feature strong leather
and sturdy but eye-
catching threads, and are
sold on eBay and Amazon.
Blackrapid was also
▲ showing off its Nicole
Skylum sotware Elliott range, developed
Moving on to software, the company by the eponymous
previously known as MacPhun photographer – the only
impressed visitors with its latest camera strap designed for
version of Luminar 2018, along with women by women, claims
Photolemur 3, Aurora HDR and Picture the company.
Speed. The company now has an
interesting range of products, from
▲ Kodak Ektachrome quick and easy photo fixes (e.g. bland/
▲
blown-out skies) to sophisticated HDR STC clip-in ilters

Back in the day Kodak dominated Tired of carrying around easily damaged lens filters in your
editing. See skylum.com/luminar.
Photokina, but now it’s a much bag? The Taiwanese filter maker attracted a lot of interest
smaller player that gets distracted with its ‘clip-in’ filters, which you clip inside the
by crypto-currencies. A lot of film camera before affixing the lens.
photographers will be cheered to STC claims its filters can solve the
hear it’s bringing back Ektachrome colour shift issue that might occur
film, however. The Ektachrome Film on the edges of filtered images
E100 range is available now along taken with wideangle lenses.
with a Super 8 format. A 16mm A wide range of camera
version of the film is also planned. models is supported. See
See bit.ly/newektachrome. stcoptics.com/en/clip_filter.
The Hähnel charger comes in Canon, Nikon, Panasonic/Fujifilm, Olympus and Sony versions
▲ Hähnel charger for Sony

▲
Manfrotto tripods
The Irish accessory maker showed off the The tripod maker used its large stand to show off the
ProCube2 charger for the Sony Alpha 7 III. It aluminium, all-in-one BeFree 2N1 that turns into a
can charge two batteries at the same time and monopod as needed, along with the attractive-
has plates for the Sony NP-BX1 and FW50 looking BeFree Nerissimo and Live QPL, aimed at
batteries, along with four AA batteries. Also in videographers needing fail-safe stability. A good
a pipeline is an all-in-one USB lead supporting all-rounder for travel photographers, the Nerissimo
the three main types. See www.hahnel.ie. is yours for £174.95. See www.manfrotto.co.uk.
48

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Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
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If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
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As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
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Amateur Photographer Insurance Services can be there to help protect against the things that
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Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services
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Tech Talk
TechSupport
Email your questions to: ap@ti-media.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
Colour differences with You will get better results if you
use raw files rather than camera
flash and ambient light JPEGs. Better still, use the
Q I have recently been

using flash quite a bit,
both indoors and
outdoors, mainly to illuminate my
Adjustment brush to apply
saturation and white balance
adjustments to specific areas
only. Alternatively, you can use
subject under difficult ambient a red or yellow colour filter on
conditions. The problem is that your flash to warm its light to
while the subject comes out the match the rest of the scene,
way I want it, occasionally the though this would be quite
rest of the scene has a different tricky to set up.
colour. This is mainly when I am
indoors and I’m sure it’s to do
with artificial light, though it
Where do photos go when
sometimes happens with light they are deleted? Modification is marked by an ‘A’ or a black mark on the bracket
from windows. I would really like
to harmonise the colour across
Q If you choose to delete a
single image from a batch Is buying a used EOS-1D X risky?
the image if at all possible. I have
tried balancing the colours in
Lightroom but without much
success. I use Pentax K-70 and
on an SD card in the
camera, where does it go? What
is the mechanism by which the
image is erased from the SD
Q A friend of a friend is selling his Canon EOS-1D X. I have
had an EOS 5D Mark II for several years and I feel it’s
time to move on. While the 1D X isn’t exactly what I had
in mind, the asking price is very tempting. So is my destiny with
have just started using Adobe card? If the SD card is in a this camera? I’ve done some research and I’m a little concerned
Lightroom Classic. Can you give computer, the deleted image that there are lots of reports of issues to do with the mirror
me any suggestions to do this? does not show in the recycling mechanism, including oil splattering onto the sensor and focusing
Holly Samuels bin; it just vanishes! Images irregularities. I’m in that classic state of mind where I have
from the computer’s C drive do, convinced myself that a 1D X would be a good move, but I’m
A
Your flash however, get sent to the recycling now having second thoughts. If there’s no risk of the unreliable
produces daylight bin until emptied. features as I have described, I’ll go for it.
colour temperature Max resist (AP forum) Mitch Akers
illumination. Compared to
A A
typical artificial lighting, you will All computer files, Early EOS-1D X examples required a free Canon
see it’s ‘colder’ or blue-ish regardless of type (and service to modify the mirror mechanism, which couldn’t
compared to the warmer, more images are no exception) cope with the very fast frame rates the camera is
yellow, artificial light. The are recorded onto the storage capable of, leading to imprecise mirror positioning and focusing
simplest and quickest way to media in blocks of data that problems, as well as lubricant spots on the sensor. Affected
synchronise these lighting have addresses which the models had a serial number beginning with 0 and with a sixth
temperature differences is to operating system uses to find digit of 1-7. If the camera doesn’t fall within that range, it
use the Lightroom HSL/Color the data when it’s required. That shouldn’t have a problem, but even if it does, it could have
adjusters for individual colours. location information is stored in been fixed by Canon. To identify whether the camera has
If you want to reduce the a disk filing system index. When already been modified, look out for an ‘A’ mark under the
distraction of warm artificial light an image is deleted, only the battery compartment door or a black mark on the silver
in the image try desaturating index information is erased. bracket inside. If there is no mark, then give it a miss, perhaps.
yellow, orange and red. This While the image is still
works best if your subject referenced in the index the
doesn’t have these hues as well. actual image data blocks can’t contents can be recovered trash can will the file be removed
be accidentally erased or though details like the file name from the index. But the file
overwritten in normal use. and file type may be missing. data persists until eventually
Once the image is deleted On a PC, the operating system overwritten. This is, of course, a
its data remains intact but has additional safeguards security issue. Even a simple
unprotected, and it will against accidental file deletion. card reformat simply resets the
eventually be overwritten. This When a file is deleted all that index, leaving the data intact. To
is why you can recover some happens is the file entry in the obliterate the data you need to
deleted images using a file- index is flagged as deleted, but apply a full format, which resets
recovery software. This scans the entry remains. If you decide all the blocks and takes time, or
the disk for recognisable data to undelete the file, the deleted an erase function.
Use the Lightroom HSL/Color blocks that can be used to flag is simply reset. Only when
adjusters for individual colours rebuild an index entry. The file you empty the recycle bin or Q&A compiled by Ian Burley

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Tech Talk
Contact
BLAST FROM THE PAST Amateur Photographer, TI Media Limited,
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LAUNCHED 1953 for 17 metres for producing Photo-Science Consultant Professor Robert Newman
stereo Senior contributor Roger Hicks
of film to shoot Office Manager Hollie Bishop
PRICE AT LAUNCH £100-120 450 exposures. images on
Special thanks to The moderators of the AP
35mm film website: Andrew Robertson, lisadb, Nick Roberts,
GUIDE PRICE NOW £40-70 For close-up
The Fat Controller
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The Japanese Nikon F, launched are manual and Commercial Manager Liz Reid 07949 179 200
in 1959, is often thought to be automatically Commercial Director Dave Stone 07961 474 548
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the first 35mm single lens reflex coupled extension Production Coordinator Chris Gozzett 0203 148 2694
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accessories. Not so. The German A stereo attachment Publishing team
Chief Executive Officer Marcus Rich
Praktina FX (not to be confused comprises a beam splitter Group Managing Director Andrea Davies
with the Praktica) pre-dated the that adapts the standard lens Managing Director Gareth Beesley
Editorial Director Simon Collis
Nikon by six years. to shoot a stereo pair on a
Printed in the UK by the Wyndeham Group
Here we have a solidly built standard 35mm frame, plus Distributed by Marketforce, 5 Churchill Place,
35mm SLR with a focal plane a special viewfinder with London E14. Telephone 0203 787 9001
shutter offering 1–1/1,000sec, set binocular-like eyepieces. Editorial Complaints We work hard to achieve the highest standards of
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If you have a complaint about our editorial content, you can email us at
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your complaint by reference to the Editors’ Code. We will endeavour to
unusually incorporates a direct better specified Praktina acknowledge your complaint within 5 working days, and we aim to correct
substantial errors as soon as possible.
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24mm wideangle to 1,000mm What’s bad Lenses made The camera with extension
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whether printed, electronic or otherwise, without the prior written
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was rare in the 1950s. They all or advertising matter without first obtaining written permission from
the publisher. TI Media Limited does not accept responsibility for loss
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base to replace the top-mounted
wind knob and a huge film back

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KD Dϭ // &ƌŽŵ άϭϰ DϭϬ /// &ƌŽŵ άϱϳ <ϭ // ŽĚǇ άϭϳ y,ϭ &ƌŽŵ άϭϲ ydϯ &ƌŽŵ άϭϯϰ
KD Dϭ // ŽĚǇ άϭϰ KD DϭϬ /// ŽĚǇ άϱϳ <ϭ // ŽĚǇ άϭϳ y,ϭ άϭϲ ydϯ ŽĚǇ άϭϯϰ
άϭϯϮϰ ŝŶĐ άϭϳϱ ĂƐŚďĂĐŬΎ άϰϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ <W ŽĚǇ άϯ άϭϰϲ ŝŶĐ άϮϯϬ ĂƐŚďĂĐŬΎ ydϯ н ϭϱϱŵŵ άϭϲ
KD Dϭ // н ϭϮϰϬŵŵ άϮϬ KD DϭϬ /// н ϭϰϰϮŵŵ άϲϮ <ϳϬ ĨƌŽŵ άϱ y,ϭ н 'ƌŝƉ άϭϰ ydϮ ŽĚǇ άϭϮϰ
άϭϮϰ ŝŶĐ άϭϳϱ ĂƐŚďĂĐŬΎ άϱϰϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ άϭϳϭ ŝŶĐ άϮϯϬ ĂƐŚďĂĐŬΎ ά ŝŶĐ άϮϱϬ ĂƐŚďĂĐŬΎ
ZKDDE >E^^ ZKDDE >E^^ &h:/EKE >E^^
KůǇŵƉƵƐ Ϯϱŵŵ Ĩϭ Ϯ WƌŽ ά WĞŶƚĂǆ ϱϬŵŵ Ĩϭ ϰ &Ύ άϭϭ &ƵũŝĮůŵ Ϯϯŵŵ ĨϮ Z tZ y& άϰϬ
KůǇŵƉƵƐ ϰϱŵŵ Ĩϭ Ϯ WƌŽ άϭϬϰ WĞŶƚĂǆ ϭϬϬŵŵ ĨϮ DĂĐƌŽ άϱϮ άϯϲϰ ŝŶĐ άϰϱ ĂƐŚďĂĐŬΎ
KůǇŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳϱ WĞŶƚĂǆ ϭϱϯϬŵŵ ĨϮ άϭϰϰ &ƵũŝĮůŵ ϭϬ Ϯϰŵŵ Ĩϰ Z K/^ y& &ƵũŝŶŽŶ άϮ
KůǇŵƉƵƐ ϭϮϭϬϬŵŵ Ĩϰ WƌŽ άϭϲ WĞŶƚĂǆ ϭϲϱŵŵ Ĩϯ ϱϱ ϲ άϰ άϲϰ ŝŶĐ άϭϯϱ ĂƐŚďĂĐŬΎ
KůǇŵƉƵƐ ϳϭϰŵŵ ĨϮ WƌŽ άϰ WĞŶƚĂǆ ϮϭϬϱŵŵ Ĩϯ ϱϱ ϲ άϱϮ &ƵũŝĮůŵ ϭϲ ϱϱŵŵ ĨϮ >D tZ &ƵũŝŶŽŶ ά
KůǇŵƉƵƐ ϭϰϭϱϬŵŵ Ĩϰϱ ϲ άϰϲ WĞŶƚĂǆ ϱϱϯϬϬŵŵ Ĩϰ ϱϲ ϯ άϯ άϳϭ ŝŶĐ άϭϬ ĂƐŚďĂĐŬΎ
ΎKůǇŵƉƵƐ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϱ Ϭϭ ϭ+ Ύ&ƵũŝĮůŵ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϬϬϭϭ
6WRUHV )LQG \RXU QHDUHVW VWRUH DW ZH[FRXNVWRUHV
1RUZLFK :H[ 3KRWR 9LGHR %LUPLQJKDP :H[ 3KRWR 9LGHR %HOIDVW :H[ 3KRWR 9LGHR %ULVWRO :H[ 3KRWR 9LGHR
6OJU # 'SFOCVSZ &TUBUF /3 %1 6OJU )BHMFZ 3PBE # -5 6OJU #PVDIFS 1MB[B #5 )3 .POUQFMJFS $FOUSBM 4UBUJPO 3PBE &) )(
5FM 5FM 5FM 5FM
/RQGRQ :H[ 3KRWR 9LGHR (GLQEXUJK :H[ 3KRWR 9LGHR 0DQFKHVWHU :H[ 3KRWR 9LGHR *ODVJRZ :H[ 3KRWR 9LGHR
$PNNFSDJBM 3PBE & -' #POOJOHUPO #VTJOFTT $FOUSF &) )( 6OJU %PXOJOH 4USFFU . )) 6OJU 0BLCBOL *OEVTUSJBM &TUBUF ( -6
5FM 5FM 5FM 5FM
YLVLW ZH[FRXNVWRUHV IRU PRUH LQIRUPDWLRQ DQG RSHQLQJ WLPHV

'D\ 5HWXUQV 3ROLF\ 3DUW([FKDQJH $YDLODEOH 8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\
!! ! ! ! # #

#
!

&ƌŽŵ ƚŚĞ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚŽ ƚŚĞ ďƌŝŐŚƚĞƐƚ ĂŶŽŶ ũŽŝŶƐ ƚŚĞ ĨƵůůĨƌĂŵĞ
ŚŝŐŚůŝŐŚƚ Ă ϯϬŵĞŐĂƉŝǆĞů DK^ ƐĞŶƐŽƌ ŵŝƌƌŽƌůĞƐƐ ƉĂƌƚǇ ǁŝƚŚ ƚŚĞ K^ Z
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ dŚŝƐ ϯϬϯ ŵĞŐĂƉŝǆĞů ĐĂŵĞƌĂ ƐƉŽƌƚƐ
ĐŽŶĚŝƟŽŶƐ ǁŝƚŚ Ă ŵĂǆŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚǇ ƵĂů WŝǆĞů DK^ & ĂŶĚ ŚĂƐ ĂŶ
ŽĨ /^K ϯϮ ϬϬϬ ^ŚŽŽƚ ƵĂů WŝǆĞů Zt ĮůĞƐ ŝŵƉƌĞƐƐŝǀĞ ϱ ϲϱϱ & ƉŽŝŶƚƐ ĨŽƌ
ĨŽƌ ƉŽƐƚ ƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ ǇŽƵ3ǀĞ ƋƵŝĐŬ ƉƌĞĐŝƐĞ ĂƵƚŽĨŽĐƵƐ ĨŽƌ ƐƟůůƐ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ ĂŶĚ ǀŝĚĞŽ
K^ ϱ DĂƌŬ /s ŽĚǇ άϯϮϰ
K^ Z ŽĚǇ άϮϯϰ
K^ Z н ϮϰϭϬϱŵŵ άϯϮϲ
&2K^ Z ZŝŶŐ DŽƵŶƚ άϭ
ϯϬϰ ϳϬ &Ƶůů &ƌĂŵĞ ϯϬϯ ϳ%Ϭ ϰ<ϯϬW
ŵĞŐĂƉŝǆĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ ŵĞŐĂƉŝǆĞůƐ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
K^ ϱ DĂƌŬ /s ŽĚǇ άϯϮϰ K^ Z ŽĚǇ &ƌŽŵ άϮϯϰ

K^ ϳϳ K^ ϳ DĂƌŬ // K^ ϲ DĂƌŬ // K^ ϭ y DĂƌŬ //
ϮϲϮ
ϮϰϮ ϮϬϮ ϲϱ ĨƉƐ ϮϬϮ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϭϬ%ϬƉ
ϲϬ ĨƉƐ ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ϭϲϬ ĨƉƐ
&Ƶůů &ƌĂŵĞ ϭϬ%ϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
DK^ ƐĞŶƐŽƌ ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ
K^ ϳϳ &ƌŽŵ άϲ K^ ϳ DĂƌŬ // ŽĚǇ άϭϯϰ K^ ϲ DĂƌŬ // ĨƌŽŵ άϭϱϰ K^ ϭ y DĂƌŬ // ŽĚǇ άϱϰϮ
άϲϭϰ ŝŶĐ ά%ϱ ĂƐŚďĂĐŬΎ K^ ϳ DĂƌŬ // ŽĚǇ άϭϯϰ K^ ϲ DĂƌŬ // ŽĚǇ άϭϱϰ K^ ϭ y DĂƌŬ // ŽĚǇ άϱϰϮ
K^ %Ϭ н ϭ$ϱϱŵŵ ά%ϭ K^ ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϭ%
άϳϯϰ ŝŶĐ ά%ϱ ĂƐŚďĂĐŬΎ
K^ %Ϭ н ϭ$ϭϯϱŵŵ άϭϬϳ
άϰ ŝŶĐ ά%ϱ ĂƐŚďĂĐŬΎ ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϳϬϭϭ
dƌŝƉŽĚƐ
" ^ĞƌŝĞƐ ϯ ϰ^ y>

4 ϮϬϮĐŵ DĂǆ ,Ğ
'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<
&ůĞǆŝ dƌŝƉŽĚ ůĞŐƐ
4 ϭϬĐŵ DŝŶ ,ĞŝŐ
dϬϱϱyWZKϯ
ϭϳϬĐŵ DĂǆ ,ĞŝŐŚƚ
Đŵ DŝŶ ,ĞŝŐŚƚ
ĞĨƌĞĞ ϮEϭ
dƌĂǀĞů dƌŝƉŽĚ
+ ϭϱϬĐŵ DĂǆ ,ĞŝŐŚƚ
4 ϮϭĐŵ ůŽƐĞĚ >ĞŶŐƚŚ
4 ϭ<Ő DĂǆ >ŽĂĚ
YƵĂůŝƚǇ ƵƐĞĚ ĐĂŵĞƌĂƐ ůĞŶƐĞƐ + ϰϬĐŵ DŝŶ ,ĞŝŐŚƚ
EĞǁ ^ǇƐƚĞŵĂƟĐ dƌŝƉŽĚƐ' 'ŽƌŝůůĂƉŽĚ'
ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ^ĞƌŝĞƐ ϯ ϰ^ y> άϲ 'ŽƌŝůůĂƉŽĚ ϱϬϬ άϯϰϱ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚǇΎ ^ĞƌŝĞƐ ϯ ϯ^ > άϲϮ DdϬϱϱyWZKϯ ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<άϱϭϱ
^ĞƌŝĞƐ ϱ ϰ^ y> ά DdϬϱϱyWZKϯ ĂƌďŽŶ &ŝďƌĞ άϮ ǀĂŝůĂďůĞ ŝŶ dǁŝƐƚ ĂŶĚ >ĞǀĞƌ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϯ<ά%ϰϱ
ǁĞǆĐŽƵŬ ^ĞƌŝĞƐ ϱ ϲ^ ' άϭϬ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ άϯϭ ĨƌŽŵ άϭ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϱ<άϭϯ%
ΎǆĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ
&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϳϭϬϭ$

DĂĐƌŽůŝƚĞƐ' ^ƉĞĞĚůŝŐŚƚƐ' <ŝƚƐ' &ůĂƐŚŐƵŶƐ' &ůĂƐŚŐƵŶƐ' &ůĂƐŚŐƵŶƐ'
^ƉĞĞĚůŝƚĞƐ'
ϰϯϬy /// Zd
άϮϲ
ϰϳϬy / ϲϬϬy // Zd άϮϬ ŝŶĐ DZ ϭϰy // ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞhƉ Zϭϭ ,s>&ϰϯD ,s>&ϲϬZD &>ϯϬϬZ &>ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϰϳ άϱϯ άϲϬ ĂƐŚďĂĐŬΎ άϲ άϱϲ άϮϱ άϰϳ άϲϱ άϮϰ άϲϭ άϭϯϰ άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ' DĂĐƌŽ ŇĂƐŚ' &ůĂƐŚŐƵŶƐ' &ůĂƐŚŐƵŶƐ'
D ϭϰϬ ' ^ƉĞĞĚŵĂƐƚĞƌ

ϰϰ &Ϯ DϰϬϬ ϱϮ &ϭ ϲϰ &ϭ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ŝϰϬ ŝϲϬ ^ĞŬŽŶŝĐ >ϯϬ$y WƌŽ >ϰϳ$Z > $ϱ$
άϭϲ άϭ άϭ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϱ άϮϯ άϮϭϱ άϯ% άϲϬϬ
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй WƌŝĐĞƐ
ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌǇΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ
&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰ ĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ &Žƌ EĞǆƚ tŽƌŬŝŶŐ ĂǇ ĞůŝǀĞƌǇ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰΎΎ ^ĂƚƵƌĚĂǇ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
Ăƚ Ă ƌĂƚĞ ŽĨ άϳϱΎΎ ^ƵŶĚĂǇ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ Ăƚ Ă
sŝĞǁĮŶĚĞƌ ϲŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ ά$ϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ĐĐĞƐƐŽƌǇ <ŝƚ ^ƵƉƉŽƌƚ ^ƚĂŶĚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽǆ ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂǇ ďĞ ƐƵďũĞĐƚ ƚŽ ĞǆƚƌĂ ĐŚĂƌŐĞƐ Θ K
WƌŝĐĞƐ ƐƵďũĞĐƚ ƚŽ ĐŚĂŶŐĞ 'ŽŽĚƐ ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚǇ >ŝǀĞ
&ůĞǆddϱ άϭ άϮϮ άϭϰ άϯϰ άϭϲ άϯϳϱ ^ǇƐƚĞŵ άϰ άϲϭ &ƌŽŵ άϯϯ άϮ% ŚĂƚ ŽƉĞƌĂƚĞƐ ďĞƚǁĞĞŶ ϯϬĂŵϲƉŵ DŽŶ&ƌŝ ĂŶĚ ŵĂǇ
ŶŽƚ ďĞ ĂǀĂŝůĂďůĞ ĚƵƌŝŶŐ ƉĞĂŬ ƉĞƌŝŽĚƐ Ώ^ƵďũĞĐƚ ƚŽ ŐŽŽĚƐ
Kī ĂŵĞƌĂ ďĞŝŶŐ ƌĞƚƵƌŶĞĚ ĂƐ ŶĞǁ ĂŶĚ ŝŶ ƚŚĞ ŽƌŝŐŝŶĂů ƉĂĐŬĂŐŝŶŐ
ŇĂƐŚ ŽƌĚ tŚĞƌĞ ƌĞƚƵƌŶƐ ĂƌĞ ĂĐĐĞƉƚĞĚ ŝŶ ŽƚŚĞƌ ŝŶƐƚĂŶĐĞƐ ƚŚĞǇ ŵĂǇ
&ƌŽŵ άϯϯ ďĞ ƐƵďũĞĐƚ ƚŽ Ă ƌĞƐƚŽĐŬŝŶŐ ĐŚĂƌŐĞ ΏΏƉƉůŝĞƐ ƚŽ ƉƌŽĚƵĐƚƐ
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
ZĞŇĞĐƚŽƌƐ' ƐƉĞĐŝĮĐĂůůǇ ĚĞƐĐƌŝďĞĚ ĂƐ ,/E- Žƌ ŝŶĐŽŵƉůĞƚĞ ;ŝĞ ďĞŝŶŐ ƐŽůĚ
ϱϬĐŵ άϮϰ ĨŽƌ ƐƉĂƌĞƐ ŽŶůǇ tĞǆ WŚŽƚŽ sŝĚĞŽ ŝƐ Ă ƚƌĂĚŝŶŐ ŶĂŵĞ ŽĨ
ŽůůĂƉƐŝďůĞ ϳϱĐŵ άϯ ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
/ĐĞ >ŝŐŚƚ Ϯ hŵďƌĞůůĂ &ůĂƐŚ <ŝƚ ǌǇďŽǆ ^ƉĞĞĚ ǌǇďŽǆ ,ŽƚƐŚŽĞ ǌǇĂůĂŶĐĞ 'ƌĞǇ ĂĐŬŐƌŽƵŶĚ dƌŝ&ůŝƉ <ŝƚƐ hƌďĂŶ ŽůůĂƉƐŝďůĞ ϱĐŵ άϲϮ dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ ĂŶĚ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ
άϱϰ άϭϬ >ŝƚĞ Ϯ άϰϳ &ƌŽŵ άϭϭϳ tŚŝƚĞ άϮϮ ^ƵƉƉŽƌƚ άϭϯ &ƌŽŵ άϳϭ άϭϲϯ ϭϮϬĐŵ άϳϲ άϮϲ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲϳϲ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ
ϮϬϭ$Ύ^,<^ ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
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DSLR Lenses
EF 24 70mm f2.8L IS USM II.......................... £1739 24mm f1.8 G AF S ED.................................... £719 105mm f2.8 APO EX DG OS HSM Macro .......£359
EF 24 70mm f4L IS USM ............................... £799 28mm f1.8 G AF S ......................................... £659 150mm f2.8 EX DG OS HSM Macro ...............£779
£624 inc. £175 Cashback* 35mm f1.8 G ED AF S.................................... £489 8 16mm f4.5 5.6 DC HSM..............................£599
CANON LENSES EF 24 105mm f3.5 5.6 IS STM ...................... £414 40mm f2.8 G AF S DX Micro ......................... £269 10 20mm f3.5 EX DC HSM .............................£329
EF 20mm f2.8 USM ....................................... £449 EF 24 105mm f4L IS II USM........................... £1019 50mm f1.4 G AF S ......................................... £449 17 70mm f2.8 4.0 DC OS HSM ......................£349
EF 24mm f1.4L II USM................................... £1419 £909 inc. £110 Cashback* 60mm f2.8 G AF S ED.................................... £579 18 250mm f3.5 6.3 DC Macro OS HSM.........£349
EF 28mm f1.8 USM ....................................... £464 EF 28 300mm f3.5 5.6 L IS USM ................... £2289 85mm f1.8 G AF S ......................................... £489 18 300mm f3.6 6.3 C DC Macro OS HSM......£369
EF 28mm f2.8 IS USM ................................... £474 EF S 55 250mm f4 5.6 IS STM ...................... £299 105mm f2.8 G AF S VR IF ED Micro .............. £849 24 35mm f2 DG HSM A..................................£759
EF 35mm f1.4L II USM................................... £1649 EF 70 200mm f4L IS USM ............................. £1099 300mm f4E AF S PF ED VR ............................ £1709 24 70mm f2.8 DG OS HSM ............................£1199
EF 35mm f2 IS USM....................................... £519 EF 70 300mm f4 5.6 L IS USM ...................... £1229 500mm f4E FL AF S ED VR ............................ £9199 50 100mm f1.8 DC HSM Art .........................£949
EF-S 35mm f2.8 Macro IS STM ..................... £369 EF 100 400mm f4.5 5.6L IS USM II ............... £1949
ϭϱŵŵ Ĩϯ%ϱ ϰ%ϱ &ŝƐŚĞǇĞ....................... £1299 70 200mm f2.8 EX DG OS HSM .....................£899
£324 inc. £45 Cashback* £1649 inc. £300 Cashback* 10 24mm f3.5 4.5 G AF S DX ........................ £849 100 400mm f5 6.3 DG OS HSM.....................£699
EF 40mm f2.8 STM........................................ £199 TS E 24mm f3.5L II ........................................ £1809 16 80mm f2.8 4E ED AF S DX VR.................. £989 120 300mm f2.8 OS.......................................£2699
EF 50mm f1.2L USM...................................... £1339 EF 135mm f2 L USM...................................... £959 18 200mm f3.5 5.6 G AF S DX VR II.............. £439 150 600mm f5 6.3 C DG OS HSM..................£789
EF 50mm f1.4 USM ....................................... £384 EF 500mm f4 L IS II USM............................... £8599 18 300mm f3.5 5.6 ED AF S VR DX................£989 150 600mm f5.0 6.3 S DG OS HSM ...............£1329
EF 50mm f1.8 STM........................................ £119 EF 17 40mm f4 L USM .................................. £709 24 70mm f2.8 G ED AF S................................£1699 200 500mm f5.6E AF S ED VR .......................£1349
TS-E 50mm f2.8L Macro................................ £2199 EF S 17 55mm f2.8 IS USM ........................... £789 24 70mm f2.8E AF S ED VR............................£2099 50mm f1.4 DG HSM Art . ..............................£599
EF-S 60mm f2.8 USM Macro......................... £439 £689 inc. £100 Cashback* 24 120mm f4 G AF S ED VR ...........................£1079 18 35mm f1.8 DC HSM .. ...............................£649
EF 85mm f1.2L II USM.................................. £1749 EF S 18 55mm f3.5 5.6 IS II........................... £169 28 300mm f3.5 5.6 G ED AF S VR..................£939 24 105mm f4 DG OS HSM .............................£599
EF 85mm f1.4L IS USM.................................. £1379 EF S 18 135mm f3.5 5.6 IS USM .................. £474 70 200mm f2.8E AF S FL ED VR .....................£2549
£1279 inc. £100 Cashback* EF 70 200mm f2.8 L USM ............................. £1359 70 300mm f4.5 5.6 E ED VR AF P .................£519
EF 85mm f1.8 USM ....................................... £414 EF 70 200mm f2.8 L IS III USM...................... £2149 70 300mm f4.5 6.3 G ED DX AF P VR ............£339
TS-E 90mm f2.8L Macro................................ £2199 EF 70 200mm f4 L IS II USM.......................... £1299 50mm f1.8S L .................................................£599 TAMRON LENSES - with 5 Year Manufacturer
EF 100mm f2.8 USM Macro.......................... £519 EF 70 300mm f4 5.6 IS II USM...................... £464 35mm f1.8 S Lens...........................................£849 Warranty
EF 100mm f2.8L Macro IS USM .................... £899 £354 inc. £110 Cashback* 24 70mm f4 S Lens ........................................£999 85mm f1.8 SP Di VC USD ...............................£749
TS-E 135mm f4 L Macro................................ £2199 RF 24 105mm f4 L IS USM ............................ £1119 500mm f5.6E PF ED VR AF S..........................£3699 90mm f2.8 SP Di VC USD Macro....................£649
EF 300mm f4 L IS USM.................................. £1269 RF 35mm f1.8 IS Macro STM ........................ £519 16 300mm f3.5 6.3 Di II VC PZD Macro.........£449
EF-S 10-18mm f4.5 5.6 IS STM ..................... £239 RF 28 70mm f2L USM................................... £3049 18 200mm f3.5 6.3 Di II VC............................£199
EF-S 10-22mm f3.5 4.5 USM ........................ £589 18 400mm f3.5 6.3 Di II VC HLD....................£649
EF 11-24mm f4L USM ................................... £2789 SIGMA LENSES - with 3 Year Manufacturer 24 70mm f2.8 Di VC USD G2 .........................£1249
EF-S 15-85mm f3.5 5.6 IS USM..................... £689 Warranty 28 300mm f3.5 6.3 Di VC PZD .......................£699
EF 16-35mm f2.8L III USM ............................ £2049 14mm f1.8 DG HSM .......................................£1449 70 200mm f2.8 Di VC USD G2 .......................£1299
EF 16-35mm f4L IS USM ............................... £949 20mm f1.4 DG HSM Art .................................£699 70 210mm f4 Di VC USD................................£699
EF-S 18-55mm f3.5 5.6 IS STM ..................... £214 NIKON LENSES 24mm f1.4 DG HSM .......................................£649 70 300mm f4 5.6 SP Di VC USD.....................£329
EF-S 18-135mm f3.5 5.6 IS STM ................... £429 20mm f1.8 G AF S ED.................................... £729 30mm f1.4 DC HSM .......................................£359 100 400mm f4.5 6.3 Di VC USD.....................£789
EF-S 18-200mm f3.5 5.6 IS............................ £499 24mm f1.4 G AF S ED.................................... £2179 35mm f1.4 DG HSM .......................................£649 150 600mm f5 6.3 SP Di VC USD...................£799
85mm f1.4 Art DG HSM .................................£999 150 600mm f5 6.3 VC USD G2 ......................£1129
Photo Bags & Rucksacks ŽŵƉƵƟŶŐ

Pro runner BP 350 AW Flipside 300 AW II
II Backpack Lifestyle Windsor Anvil Slim Professional Hadley Pro
Messenger S: Backpack Original
Purpose-built • DSLR, with up Khaki PIXMA Pro 100S ....£359
to organise to 70-200 mm
This practical PIXMA Pro 10S ......£499
messenger bag
and protect attached lens, or
features an easily ImagePROGRAF PRO-1000
more gear, and compact drone ...............................£899
accessible top
provide more • 2 extra lenses opening to the
options for • Compact tripod main compartment, ĂŶǀĂƐ>ĞĂƚŚĞƌ Khaki, Black
manoeuvring • 7” tablet where a DSLR with &ŝďƌĞEǇƚĞ>ĞĂƚŚĞƌ Khaki,
in busy airports
and crowded
24-70mm f2.8 lens Sage, Black. Datacolor Spyder Intuos Pro Professional
streets.
attached Digital .............................£129 5 Pro...............£119 Pen and Touch Tablet
Anvil: Small...............................£159
Pro Runner: Flipside: Messenger S..................... £89.95 Anvil Slim.................£122 i1 Display Pro.£178 Small................... £184
Large...............................£179 ColorMunki Medium ............. £313
WϯϱϬt//.................... £199 ϯϬϬ t // ........................ £112 Messenger M ................... £107 Anvil Super ..............£134 Pro Original ................... £199
WϰϱϬt//.................... £189 ϰϬϬ t // ........................ £119 ĂĐŬƉĂĐŬ .......................... £149 Anvil Pro ..................£126 ,ĂĚůĞǇ KŶĞ.................... £265 Smile ..............£90 Large................... £439
ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϳ%Ϭϭ%ϭ+

Digital Compact Cameras Digital compact camera accessories are available on our website D
IXUS 185 HS ................................................. £99
IXUS 285 HS ................................................. £169
20.2 20.1 12.8 PowerShot SX70 HS..................................... £519
megapixels megapixels megapixels
PowerShot SX620 HS................................... £179
4.2x 4.2x 5.0x PowerShot SX730 HS................................... £299
ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ
£269 inc. £30 Cashback*
1080p 1080p 1080p PowerShot SX740 HS................................... £349
movie mode movie mode movie mode
PowerShot G5 X PowerShot G9 X II........................................ £379
PowerShot G7 X Mark II PowerShot G1 X Mark II Premium Kit
£619 PowerShot G1 X III ...................................... £1089
£529 £699
PowerShot G3 X........................................... £779
£489 inc. £40 Cashback*
Black or Lumix FZ1000 ........................................... £528

Silver New Lumix FZ2000 ........................................... £879
24.3 Lumix TZ90 ............................................... £319
megapixels
Lumix TZ100 ............................................. £499
1080 17 20.1 20.1 Lumix LX100.............................................. £599
movie mode megapixel megapixels megapixels
&ƵũŝĮůŵyϭϬϬ&
£1199 Lumix LX100 II Lumix TZ200 Lumix DMC-LX15
£1019 inc. £180 Cashback* £849 £729 £509
Theta V Digital Theta SC Digital

Spherical Camera Spherical Camera - White
4K 16 4K movie mode and ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ
' ŝŶƚĞƌŶĂů
movie mode megapixels
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Stylus TG-5 Ricoh WG-5 iOS and Android supported 16
megapixels Coolpix W300
£379 £249 ............................. £399 ..................................... £199
£389
New New
18.2
megapixels
16
megapixels 30.0x 20.1 20.1
ŽƉƟĐĂůǌŽŽŵ megapixels megapixels
125x
Ž
ƉƟĐĂůǌŽŽŵ Cyber-Shot RX10 Mark IV
Cyber-Shot HX90V Cyber-Shot RX100 Mark VI
Coolpix P1000 £299 £1799 £1149
£999 £249 inc. £50 Cashback* £1649 inc. £150 Cashback* Ύ^ŽŶǇĂƐŚďĂĐŬĞŶĚƐϯϭ%Ϭϭ%ϭ+ DJI Mavic 2 from £1099
FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.
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EF 24-70mm f/4L IS USM £799.00 £175 £624.00
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Used Used Used

Canon Nikon D810 b d Fujifilm X-T2
EOS-1D X II
body
available from £3,779.10 available from £1,259.10 available from £1,529.10 available from £629.10
CANON BODIES NIKON BODIES SONY
Y BODIES FUJIFILM BODIES
EOS 60D ..........................................from £224.10 D300 ...................................................from £134.10 NEX-7 .............................................................£188.10 X-PRO2 ............................................from £611.10
EOS 6D..............................................from £431.10 D7100 ................................................from £386.10 a5000 ................................................from £125.10 X-T1......................................................from £269.10
EOS 5D Mark III..........................from £899.10 D700 ...................................................from £359.10 a7R II .............................................from £1,169.10 X-E2s ......................................................from 287.10
CANON LENSES NIKON LENSES SONY

Y LENSES FUJIFILM LENSES
TS-E 45mm f/2.8 ......................................£620.10 AF-S 85mm f/1.4G......................from £593.10 E 16mm f/2.8 Pancake..................from £98.10 14mm f/2.8 R ........................................ from £413.10
EF-S 10-22mm f/3.5 4.5 USM ............£620.10 AF-S 400mm f/2.8E FL ED VR ........£8,099.10 E 24mm f/1.8 ZA Carl Zeiss ..................£494.10 35mm f/2 R WR .................................. from £278.10
EF 200-400mm f/4.0L USM IS ...........£269.10 AF-S 24-70mm f/2.8G ED.......from £692.10 FE 35mm f/2.8 ZA Zeiss T* ........ from £359.10 18-55mm f/2.8 4 R LM OIS....... from £287.10
Used Used Used We have over

Olympus Panasonic LUMIX G7 LEICA M Monochrom
OM-D E-M1 (Typ 246)
1,500 pre-owned
products in stock!
See the range by visiting
available from £368.10 available from £323.10 available from £1,529.10 us in store, or online at
OLYMPUS BODIES PANASONIC BODIES LEICA BODIES www.parkcameras.com
E-M10.................................................from £188.10 DMC-GX7 ........................................from £188.10 M (Typ 240)................................from £2,519.10
M-P (Typ 240)...........................from £2,789.10
OLYMPUS LENSES PANASONIC LENSES
17mm f/2.8 ...................................................£134.10 LEICA 42.5mm f/1.2 ASPH. O.I.S .......£809.10 LEICA LENSES
40-150mm f/4.0-5.6 R ............................£116.10 G Vario 7-14mm f/4.0 ASPH. ...........£476.10 SUMMILUX-M 35mm f/1.4 ASPH.£2,699.10
We add pre-owned items to our website DAILY! See www.parkcameras.com/used for the
current range, plus learn how you can sell or part-exchange your current photographic gear.
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Photo Critique
Final Analysis
Roger Hicks considers…
‘Octopus’ from Life Science, 2016, by Eran Gilat
© ERAN GILAT
‘You can
all but feel
the textures
on your
fingertips;
you can even
imagine
the smell’
E
ran Gilat is a neuroscientist and are one of his favourite subjects); a seed them only with your mind. You
fine art photographer. Well, that is milled into flour; seaweed that is understand them emotionally; you can
everyone knows about doctors dried to flavour a soup or make sushi. all but feel the textures on your fingertips;
and cameras, don’t they? Except you can even imagine the smell.
that Gilat is as far from the archetypal Contrasts of nature and machine Purely technically, he must work
equipment-nut wannabe as you can easily The props he uses do not always make very fast: blood and mucus dry quickly.
get. I first saw his work at Galerie Huit at sense at first sight. Antique syringes I suppose that it is possible he used
the Rencontres d’Arles in July 2018 and and corroded scissors share a table with a glycerine on this shot, but the heart says
was delighted to discover that his book, Life fresh brain. Three small hearts, dribbling no; not least on the evidence of other
Science, is available from Kehrer Verlag. blood, are arranged on top of a rusting pictures in the book. Yes, it’s a bit like
His images are totally sui generis: rich, steel helmet. A polished part of an old food photography, but much more
heavily staged still lifes, often involving sewing machine, the needle and foot, immediate: much more (in many cases
(usually dead) animals or bits of animals completes a composition with three literally) visceral.
together with antiques such as the (stufed?) birds and a fig. Then you start The lighting is almost invariably like
support in this picture. He explores the thinking about them and you perhaps this. The darkest parts of the image
extraordinary overlap between attraction think that they are too obvious: the disappear into blackness. Sometimes the
and disgust; between life and death; contrasts of nature and machine, the background is hinted at; sometimes not.
between beauty and ugliness. And indeed organic and the metallic, the all too fresh His pictures are simultaneously blindingly
between food and death: we must eat with the visibly antique. Then you think obvious and completely obscure. I’m not
to live, and in order that we may eat, some more. And look some more. And sure I’d want to live with them on my
something must usually die. It may be an decide that perhaps they aren’t all that walls, but I’m very glad to have them
animal like the octopus here (octopuses obvious after all. You don’t understand safely trapped in a book.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Phil Griffin

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Saturday 27 October 2018 9-PAGE GUIDE

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