Amateur Photographer - 16 02 2019 PDF

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Home ligh t i n g
for getting great
Best starter kits
ag es without leaving the house
im
Awards special
Gear of the year

Our top cameras, lenses and
extras: buy with confidence
Revitalise
old prints
Breathe new life
into family memories
Hone your
drone skills
Don’t miss these tips
and insights from a
fascinating new book Taken in
good faith
How one photographer
covers world religions
Northern lights and more Get the most from Norway’s Lofoten Islands
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COVER PICTURES © ANDREW SYDENHAM, TOBIAS HÄGG
A week in photography
It’s that time of the year again, Even if you’re happy with your existing
when our annual awards equipment there’s lots to enjoy in this issue,
recognise the finest cameras, including a guide on how to revitalise old family
lenses and accessories for the photos, on getting better drone images, as well
serious photographer. However, as advice on planning a trip to Norway’s
In this issue you don’t need to have attended our glittering Lofoten Islands – one of the best destinations
8 First look awards ceremony in London to get the winners’ for shooting the Northern Lights. And if you
Michael Topham gets details – all the products are listed on pages haven’t done so already, take advantage of a
a detailed look at the 37-51, which also serves as a handy shopping subscription – see our offer on page 21.
new Panasonic Lumix S1 list if you’re in the market for the best new gear. Nigel Atherton, Editor
and S1R
JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
16 Lighten up ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
Learn how to create the
best home studio set-ups
with James Paterson ONLINE PICTURE OF THE WEEK
22 Hone your
drone skills
Don’t let the recent
negative publicity put you
off drone photography.
It’s a great way of finding
a new photographic
perspective
28 Location guide
Andy Farrer shares his tips
on shooting in Norway’s
beautiful Lofoten Islands
30 Photo stories
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
Jerusalem-based
documentary photographer
Gali Tibbon shares her
amazing images of faith
32 Cosmetic
surgery
Breathe new life into old
prints. James Paterson
© STEPHEN ABRAMS
takes you through the

steps using PS Elements
37 AP Awards 2019
AP celebrates and
rewards all the products Darenth Valley Mist
and companies that have
made photography truly by Stephen Abrams
great in the past
12 months.
Canon EOS 5D Mark II, 17-40mm f/4L, 1/10sec at f/11, ISO 100
Win! Each week we choose our favourite
picture on Facebook, Instagram,
Flickr, Twitter or the reader gallery using
Regulars
This early-morning misty scene was dawn but was disappointed at the
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
uploaded to Instagram with the lack of clouds necessary for a #appicoftheweek. PermaJet proudly supports
3 7 days hashtag #appicoftheweek. It was spectacular sunrise; however the the online picture of the week winner, who will
taken by photographer Stephen lovely layers of mist hanging in the receive a top-quality print of their image on the
14 Inbox Abrams. He tells us, ‘The Darenth valley more than made up for it. finest PermaJet paper*. It is important to bring
53 Tech Talk Valley in Kent is one of my favourite The clear sky helped define the images to life outside the digital sphere, so we
66 Legends locations and is beautiful all year lone tree, and the cattle wandering encourage everyone to get printing today! Visit
round. I headed out well before into shot were the icing on the cake.’ www.permajet.com to learn more.
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 14.
Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
3
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
‘Smartphones could halve camera market’

Canon believes the threat from smartphones could halve the size of the
conventional camera market in two years. It therefore intends to focus
its camera business on corporate customers, says Canon president
Fujio Mitarai. ‘The mirrorless product is growing, but it is a replacement
[for] single lens reflex, it is not adding to the market as a whole.’ See
parts of the translated interview at www.mirrorlessrumors.com.
X-Rite competition
Colour management specialist X-Rite Inc. has launched a
competition to celebrate the 10th anniversary of its ColorChecker
Passport Photo. For a chance to win, upload an image to the
competition page at bit.ly/xritecompetition by 24 February showing
the ColorChecker Passport Photo in action. The winner will be
announced on 1 March and exhibited at The Photography Show.
Limited-edition Leica
M10-P goes safari
Got a spare £7k burning a hole
in your pocket? Leica has just
released a limited-edition Leica
M10-P ‘Safari’ in olive green
livery. Originally designed for
the armed forces, its
olive-green editions date back
to the early 1960s. Only 1,500
US finds Syria guilty units of this M10-P model have
been released and it’s available
The US District Court for the now for £6,900, while a
District of Columbia has found matching green Summicron-M
the Syrian government guilty of 50mm f/2 lens can be snapped
deliberately targeting war up for £2,300 from 15 February.
correspondent Marie Colvin and For further details see
French photographer Remi Ochlik, www.leicastore-uk.co.uk.
who were both killed during the
siege of Homs in 2012. The lawsuit
was brought by Colvin’s family
and Syria has yet to comment.
Colvin and UK photographer
Paul Conroy are depicted in a
new film, A Private War.
ON1 Photo RAW 2019 update

Software maker ON1 has released Photo RAW 2019.2, a free
update to its Photo RAW 2019 editing software. Headline features
include tethered shooting support for the Nikon Z 6, Z 7 and D850,
© JILL WELHAM
along with support for the Leica D-Lux 7 and Panasonic Lumix
DMC-TZ100. Try it out for free at www.on1.com.
4
BIG
picture
Garden Photographer of
the Year results announced
The winners of the International
Garden Photographer of the Year
(IGPOTY) competition 12 were
announced at the Royal Botanic
Gardens, in Kew, London, on Friday,
8 February. The overall winner of
£7,500 and the grand title is Jill
Welham from North Yorkshire. The
winning image entitled ‘Fireworks’,
(left), showcases the wet cyanotype
process that Jill uses. The resulting
study of three allium heads is
accompanied by the wonderful,
distinct swirling patterns and
shapes this process offers.
This latest IGPOTY competition
saw more than 19,000 individual
entries from over 50 countries.
The competition exhibition is
open to the public at Kew from
9 February and the new IGPOTY
Collection Twelve hardback book is
now available. See www.igpoty.com.
Words & numbers
Reality is to
photography
what melody
is to music
Ralph Gibson
American art photographer (b.1939)
150,000
SOURCE: WWW.CNET.COM
The number of times photo-

sharing app Facebook Moments
was downloaded in December,
compared to over 10 million in June
2016. It’s being discontinued
5
Remembering respected
AP writer Ivor Matanle
WE ARE sad to report that to rights with a series that
that Ivor Matanle, a showed benefits and quirks of
regular contributor to AP for old cameras from a practical,
many years, died in January. user’s position. Ivor was a
Ivor was an expert on owning first-class writer and published
and using classic cameras, and author. He also helped some
had a strong following among auto-obsessives discover the
readers. ‘His books and joys of using real cameras.’
articles will live on... I bought Another former AP Editor,
my second Leica IIIf from him Damien Demolder, said, ‘What
Pentax releases fast prime in January 1977,’ said reader
David Loxley, one of many
a terrible shame Ivor has left
us. He was a lovely man, and I
and ultra-wide zoom who paid tribute to Ivor on our
forum. Ivor was brought on
enjoyed our chats a great deal.
The breadth of his knowledge
PENTAX has announced two new board by the then Editor, never failed to astonish me,
lenses, beginning with a fast, ultra-wide Garry Coward-Williams, and and I took great delight in how
zoom – the HD Pentax-DA* 11-18mm F2.8 wrote for us until 2016. meticulous he was in noting, The late Ivor Matanle: prolific,
ED DC AW. The lens, aimed at outdoor ‘Before Ivor, vintage say, the delicate adjustments meticulous, a true legend
shooters and astrophotographers, is cameras were treated as that had been made between
designed for Pentax APS-C DSLRs and has curios, nice to own, but you the production years of a articles, calling in favours from
a maximum aperture of f/2.8, with an wouldn’t use them,’ recalls particular camera or lens. I his vast network of friends and
equivalent focal length of 17-27.5mm. AW Garry. ‘There was a lot of doubt there are many to rival fellow-collectors, and
in the lens nomenclature stands for ‘all ignorance about oldies the depth of his understanding travelling the length of the
weather’, so the 11-18mm is dust- and especially from those brought and appreciation of vintage country to borrow some
splash-proof. Other noteworthy features up on modern auto- photographic equipment. He fascinating rarity. It was the
include a Focus Clamp Mechanism to lock everything cameras. Ivor put worked very hard on his AP uncommon, the best, the
the focal point. The lens is made from 16 highest quality, the most
elements in 11 groups, has a minimum popular and the most unusual
focusing distance of 30cm and weighs that would really get his blood
704g. It is available now for £1,399.99. pumping, and his eyes would
The other new lens is the HD Pentax-FA sparkle when discussing
35mm F2, an update of Pentax’s 35mm f/2 whatever it was. I’ll never forget
prime lens. Designed for full-frame Pentax the look he gave me when I
DSLRs, it features a high-grade multi-layer told him I was collecting
HD coating, and a stain-repellent SP coating cameras from the decidedly
on the front surface for robust outdoor use. ordinary Ensign range. It was
The lens is made from six elements in five like telling a birder that I liked
groups, with a six-bladed diaphragm. It’s sparrows. He will be greatly
available now for £399.99. missed by all his friends and
fans, and I’m immensely
grateful that I had the chance
to get to know him.’
AP’s sincere condolences
One of Ivor’s Icons of photography features for AP from 16 July 2011 go to Ivor’s family.
Tetenal teetering? Tetenal UK is still

‘very much here’
FILM-CHEMISTRY specialist Tetenal Europe
Subscribe to
GmbH appears to be in difficulties, with
German staff told that production will cease in
April and the company wound up after 172
years, according to a report on imaging + foto
contact’s website. However, Tetenal UK said
that while discussions are continuing, ‘Tetenal
UK is still very much here and continues to be
a robust, stable and forward-looking company.’ Europe has been submitted to the insolvency
SAVE 35%
* Tetenal UK will also be attending the administrators in Germany. Tetenal began in
forthcoming Photography Show. Meanwhile a 1847 when Theodor Teichgräber started
management-buyout plan to salvage Tetenal selling chemicals for the wet-collodion process.
Visit amateurphotographersubs.co.uk/18AG or see p21

* when you pay by UK Direct Debit
For the latest news visit www.amateurphotographer.co.uk
6 16 February 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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Panasonic Lumix
S1/S1R
After teasing us with the S1
and S1R last year, the first
working samples have
arrived. Michael Topham
shares his first impressions
Build quality Shutter

The S1/S1R both employ Shutter speeds range
magnesium alloy die-cast from 60sec-1/8,000sec
front and rear panels with using the mechanical shutter
seals at every joint for to 60sec-1/16,000sec using
maximum durability and the electronic shutter.
robustness. At a glance
£2,199.99
Panasonic Lumix S1 (body only)
£3,399.99
Panasonic Lumix S1R (body only)
■ Wide diameter L-mount
■ Venus Imaging engine
■ Dual Image Stabilisation system
■ 4K 60p/50p video recording
■ Dual card slot (XQD and SD)
■ Available from 18 March 2019
High
Slow motion Resolution mode
movie When situations demand
2x slow motion at 4K/60fps is greater resolution, the S1R
available, plus there’s 6x can capture 187MP images.
slow motion in Full HD with The S1 can also shoot up to
frame rates up to 96MP in its high-res
180fps. mode.
ontinuous focus on both models. There’s

break last year was Leica, Panasonic and The main difference between the S1 and S1R also the opportunity to shoot a burst of 18MP
Sigma’s decision to come together and form lies directly behind the L-mount, with the S1R JPEGs at 30fps in the 6K Photo mode, while
the L-Mount Alliance for the production of boasting a 47.3-million-pixel sensor and the 4K Photo offers sequences at 30fps or 60fps,
full-frame mirrorless cameras and lenses. Lumix S1 offering a 24.2-million-pixel sensor. albeit at a lower 8MP resolution.
Despite getting hands-on with a detailed The ISO range on the S1R spans from ISO One of the key features on both models is
mock-up sample of the S1R last year, we’ve 100-25,600 (expandable to ISO 50- the 5-axis Dual IS II image stabiliser, which
been patiently waiting for Panasonic to release 51,200), with the Lumix S1’s ISO reaching a provides up to six stops of compensation to
more detailed information. During our annual maximum of ISO 51,200 (expandable to ISO counteract camera shake when shooting stills
visit to Panasonic’s Digital Imaging Seminar, 50-204,800). The sensors on both models or movies. It works just like the system in the
we were given the opportunity to use both pair up with a new Venus Engine processor, company’s Lumix G9 in the way it combines
models extensively and find out more about permitting continuous shooting speeds of up 2-axis stabilisation from the lens with 5-axis
the three matched lenses for the system. to 9fps in AFS (single-shot AF mode) or 6fps stabilisation in the camera and permits high-

AP’s Reviews Editor
Panasonic
Michael Topham tries out
the Lumix S1R for size
L-mount lenses
with the optional BGS1
battery grip attached
INITIALLY there will

be three lenses
available for
Panasonic’s
S-series cameras
based on the Leica
L-mount, these
being the Lumix S Pro
50mm f/1.4 (£2,299.99),
Lumix S Pro 70-200mm
f/4 OIS (£1,749.99) and A 70-200mm f/2.8 is due to
follow this 70-200mm f/4
Lumix S 24-105mm f/4
Macro OIS (1,299.99). 17 groups with nine
The Lumix S Pro 50mm aperture blades and has
resolution images to be taken by shifting mobile devices, plus there’s a new Lumix f/1.4, with its focal length one aspherical lens and
the sensor between consecutive shots. Sync app that’s been developed for considered ‘standard’ for three extra-low dispersion
Added to this, Panasonic has introduced seamless remote control of the S1 and the full-frame format, lenses to minimise
an IS Status Scope feature that displays S1R and immediate transfer to a phone features an optical chromatic aberrations and
a graphic interpretation of vibration. or tablet. construction made up of maximise sharpness. Like
Once again, Panasonic relies on its The S1 and S1R are the first models in 13 elements in 11 groups. the Lumix S Pro 50mm
formula of contrast detection and Depth the world to debut a 5.76-million-dot To counteract chromatic f/1.4, manual focus is
From Defocus (DFD) technology for OLED EVF. Other points of interest aberrations, two aspherical activated by snapping the
focusing. It also employs what’s called regarding the EVF are its maximum lenses and three extra-low manual focus ring forward.
‘advanced artificial intelligence 120fps refresh rate, minimum lag time dispersion lenses are used Last but not least is the
technology’ to detect the differences of 0.005sec and option to adjust the in its design and unlike kit lens – the Lumix S
between humans, cats, dogs and birds. magnification between 0.7x, 0.74x and many 50mm prime lenses 24-105mm f/4 macro
Panasonic cameras have gained an 0.78x. Just below the EVF, both cameras that have nine aperture OIS. This general-purpose
excellent reputation among leading boast a 3.2in, 2.1-million-dot LCD blades, it differs in that it standard zoom with its
videographers around the world. The touchscreen that flips out similarly to the has an 11-bladed iris in an 0.5x magnification and
Lumix S1, which is more likely to appeal type of three-way tilt screens we’ve seen attempt to produce the minimum focus distance of
to video shooters, allows video recording on Fujifilm X-series cameras. It’s also most attactive bokeh 30cm teams up with
up to 4K 60/50p 4:2:0 in 8-bit directly fully integrated with the camera’s menus. possible. An aperture ring S-series cameras to offer
to an SD or XQD card. In addition, 4:2:2 is also present, while up to six stops of image
colour sampling can be output through Build and handling switching to manual focus stabilisation. The lens
HDMI, and Panasonic will provide a In the hand the S1/S1R feel considerably requires the focus ring to features 16 elements in 13
software key to unlock the option to larger and heavier than the most recent be snapped forward. groups and incorporates
record 4K 60/50p 4:2:2 10-bit via full-frame mirrorless releases from Priced at £2,299, it works two aspherical lenses as
HDMI-output and 30p/25p/24p in Canon, Nikon and Sony. This is offset to out just £50 less than the well as two extra-low
4:2:2 10-bit internally later in the year. some extent by an excellent handgrip RF 50mm f/1.2L USM dispersion elements.
The S1 and S1R both feature two card that’s beautifully sculpted. Buttons and (£2,349.99) for the Among the ten lenses
slots, one of which accepts UHS-II SD dials are spread well apart, they even Canon EOS R system. due to be released by
cards, and the other XQD. Panasonic illuminate in the dark! Both models are As for the Lumix S Pro 2020 are a 24-70mm
has made it known that compatibility clearly designed to satisfy the very high 70-200mm f/4 OIS, this f/2.8, 70-200mm f/2.8
with CFexpress will follow too. Bluetooth expectations of professionals and serious telephoto zoom optic is and 16-35mm f/4. Two
and Wi-Fi connectivity options are enthusiasts, while being familiar to those fully compatible with teleconverters (1.4x and
available to pair and transmit images to who’ve used Lumix G cameras before. Panasonic’s 5-axis Dual IS 2.0x) will be coming too,
II system, offering up to six along with a super-tele
stops of image stabilisation. lens, two primes and a
First impressions Construction-wise, it macro lens. Focal lengths
combines 23 elements in are still to be announced.
THE standout feature that made me say the word ‘wow’ out loud when I used the
S1R for the first time is the EVF. It’s sensationally sharp, refreshes quickly and offers
a first-class viewing experience. I’d have no hesitation in saying it’s the best EVF I’ve The first three
ever used. Ergonomically, the S1R is rather nicely laid out and in many respects feels lenses for the
like a bigger, beefier Lumix G9. Autofocus seemed brisk and Eye AF was responsive S-series
when shooting a series of portraits. Furthermore, High Resolution mode impressed include the
too and appeared to work well when I attempted handheld shots without a tripod. Lumix S
My lasting impression from using the Lumix S1R for a few hours is that it’s one 24-105mm
f/4 Macro OIS
very capable camera indeed and there’s much to like. There’s appeal to the S-series
(£1,299) and
system, especially with the backing of Sigma lenses and Panasonic’s professional the Lumix S
support, but I sense the hardest job for Panasonic moving forward is going to be Pro 50mm
getting the Lumix S1/S1R into professionals’ hands and convincing them that this f/1.4
new system is superior to what most pros and serious enthusiasts are already using. (£2,299)
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 February 2019 9

The latest and best books and exhibitions

from the world of photography
Also out now
© ESTATE OF SHIRLEY BAKER/MARY EVANS PICTURE LIBRARY

BOOK
Dog Show 1961-1978
By Shirley Baker, Hoxton Mini Press, £14.95,
Anglia Square, 80 pages, hardback, ISBN 978-1910566404
Norwich MOST of us would rather
photograph a dog show than a
EXHIBITION human beauty pageant any day
– although you could argue there
Small Town Inertia

are somewhat disconcerting
similarities between the two.
Shirley Baker, who was known for her warm and
by Jim Mortram
unaffected street images of Salford and Manchester,
also spent some 17 years photographing the
O
Manchester Dog Show, capturing the essence of not
ne of the most important make for comfortable viewing, but that’s only the bulldogs, poodles and pekes who were
names in contemporary exactly why you should seek them out. primed to strut their stuff in the ring, but also the
documentary photography, Jim lives near Dereham, a small town in equally primped and preened owners.
Jim Mortram has long been Norfolk. Like thousands of other The images are imbued with the same sympathy
a pioneer for the disadvantaged, ignored, communities in this country, increasing and delight that characterises all of Baker’s work. It’s as
and neglected. Here at AP we’ve been numbers of people are finding it ever much a document of the fashions of the day as it is of
following his work for the best part of a more difficult to survive at a time of the dogs themselves, and, like all the books from the
decade, during which time the situation welfare cuts and failing health services. estimable Hoxton Mini Press, it’s worth adding to your
sadly doesn’t seem to be improving. Having been photographing those in photo-book library. +++++ Ailsa McWhinnie
Indeed, his pictures are a reminder of the community for several years, the
the daily struggles that millions of people work was turned into a book – also called
in the UK are currently having to endure. Small Town Inertia – crowdfunded in BOOK
The images in this exhibition don’t always super-quick time and published by
Bluecoat in 2017. Advanced Love
Typically, Jim’s subjects face physical By Ari Seth Cohen, Abrams, £22.99, 240
and mental problems with the added pages, hardback, ISBN 978-1419733390
pressure of an incredibly hard-to-navigate IF A PHOTOGRAPHER told you they
and seemingly unjust social security were working on a project about older
system. These factors contribute to couples and the longevity of their
isolation and loneliness on an relationships, you’d probably imagine a
unprecedented scale, but it is always with set of rather sentimental portraits shot
hope, dignity, strength and resilience that inside chintzy homes, possibly in black
Jim presents his incredible portraits. & white. Prejudiced? Probably.
This essential exhibition takes place at Patronising? No doubt. Inaccurate? Definitely – as the
Newcastle’s Side Gallery, a space that is images shot by Ari Seth Cohen for his book Advanced
dedicated to showing the best in humanist Love prove beyond doubt.
documentary photography – whether Meet faux-fur-clad Eva (68) and oh-so dapper Bill
from the North East of England or (74), who have been together for 42 years and whose
elsewhere. If you can get to the gallery to marriage survived the disapproval of Eva’s parents (Bill is
BOTH PICTURES © J A MORTRAM
see the show – and you should make African American). Then there are cover stars Britt
every effort to do so – you won’t be and Günther, whose advice (presumably in between
disappointed with the quality of roller-skating down the street) is to ‘rejoice in the
photography, but you will almost happiness of the other’. Photographed on the street in
definitely come away disappointed with glorious colour, and accompanied by stories and quotes,
Jim photographs those in his local community the state of the nation. Amy Davies these are couples who exude confidence and style, and
are a template for how many of us should hope to
Side Gallery, Newcastle. Free entry. Runs until 24 March 2019. www.amber-online.com/side-gallery spend our later years. +++++ Ailsa McWhinnie

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In next week’s issue

Viewpoint On sale Tuesday 19 February
Jon Bentley
© EDWARD GRAHAM / TRAVEL PHOTOGRAPHER OF THE YEAR

Everyone is aware of the music written about
cars and driving, but what about the link
between certain songs and photography?
A
t a popular level there’s
everything from Prince’s Little
Red Corvette to Madness
driving in their Morris Minor.
Delve deeper and there are bountifully rich
seams of material; Johnny Cash building his
Cadillac a piece at a time or Kraftwerk’s
celebration of the Autobahn. Whatever
your musical tastes, the tunes put you
behind the wheel, even when you’re not.
I’ve never thought photography and
music achieved the same magical synergy.
Travel
Not that I haven’t treasured some songs
on the subject. My personal favourite is
Jackson Browne’s Fountain of Sorrow. The
great songsmith, best known for his work Jackson Browne’s Late for the Sky
with the Eagles, insightfully describes the
process of taking a portrait and recording taking pictures of their mothers, and the
winners
a character in a moment. I bought the sisters of their brothers, just to ‘show that
Late for the Sky LP, on which it appears, they love one another’, or taking snaps
back in 1974 and the song often plays in of the summer ‘to prove that it really
my mind when I’m trying to capture a existed’. Ray also reminisces about
character with a camera. ‘pictures of things as they used to be’,
Another photo song I’ve long admired is sucking his thumb by an oak tree when Tips for shooting all kinds of
Paul Simon’s exercise in nostalgia, he was three before being overcome by
Kodachrome. Its touching exploration of the emotion and begging not to see the subjects, as AP speaks to the
how bright colours can evoke past joys picture any more.
feels even more relevant in the filtered The message in some songs about
winners of TPOTY 2018
age of Instagram. But maybe I’ve been photos can be very serious indeed. The
© MATT GOLOWCZYNSKI
ignoring photography songs for years Manic Street Preachers’ Kevin Carter is
without realising it. Once I started looking about a Pulitzer prize-winning
there were more than I’d thought. photographer who was traumatised by
Many are fairly simple in their approach; whether the atrocities he photographed
songs about people who no longer have a would have happened if he wasn’t there
real person, just their photo. Like The to record them. He took his own life in
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED
Cure’s Pictures of You in which singer Johannesburg at the age of 33.

Robert Smith is haunted by pictures of a Strange Fruit is perhaps one of the most
girl he’s lost. Or a photo as a substitute for powerful songs related to photography. It
a person as in The Who’s Pictures of Lily was first written as a poem by Abel
where a boy is given a photo of a girl to Meeropol and sung by Nina Simone and
help him get to sleep - read into that what Billie Holiday amongst others. It was
you will. It works, but he becomes inspired by a famous and chilling
distressed when he can’t meet the girl for photograph of a racist lynching that took
real because she died years ago. place in Indiana in 1930 taken by Nikon D750 long-term test
Others look a little deeper into the Lawrence Beitler. Matt Golowczynski on the Nikon D750
emotions photographs can elicit. Camera after working with it for four years
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
There may be fewer songs about

by Editors suggests people hide their photography than cars but they’re often a
sadness in photographs as they smile little, and sometimes a lot, more profound. Obsolete and discontinued
automatically. In People Take Pictures of What happened when Mike Crawford
Each Other, The Kinks’ Ray Davies looks Jon Bentley is a TV producer and presenter best known used outdated photo paper for a project?
at why people shoot pictures, fathers for Top Gear and Channel 5’s The Gadget Show
Zeiss Batis 40mm f/2 CF
Andy Westlake reviews Zeiss’s standard
Do you have something you’d like to get off your chest? Send us your thoughts in around prime for Sony full-frame mirrorless
500 words to the address on page 14 and win a year’s digital subscription to AP, worth £79.99

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LETTER OF THE WEEK of equipment that needed
Ivor Matanle will be greatly missed

Deputy Editor Geoff Harris to be transported to the
Technical Editor Andy Westlake
Reviews Editor Michael Topham AP photo studio to be
Features Editor Amy Davies photographed.
Features Editor Ailsa McWhinnie
Technique Editor Hollie Latham Hucker I remember him emailing
Production Editor Jacqueline Porter
Chief Sub Editor Jolene Menezes May I crave space to write a tribute to me once to ask if I could
Art Editor Sarah Foster the camera meister, Ivor Matanle, of supply a picture of a rare
Senior Designer Steph Tebboth
Studio Manager Andrew Sydenham whose death I just learned from Anne Rittreck camera. ‘No
Photo-Science Consultant Matanle. My first contact with Ivor was problem,’ I said, ‘what do
Professor Robert Newman
Senior contributor Roger Hicks through his Ivor and Anne Matanle you need?’ Back came the
Office Manager Hollie Bishop adverts in the classified pages of AP, reply, ‘A three-quarter view
Special thanks to The moderators of the
AP website: Andrew Robertson, lisadb, Nick back when the world was a far better facing left, a three-quarter
Roberts, The Fat Controller and kinder place. view facing right, a view
Advertising When I last spoke with him Ivor had from the top showing an
Commercial Manager Liz Reid
07949 179 200 difficulty speaking and told me that he image on the focusing
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Production Coordinator Chris Gozzett pen he valued. Though I never actually on and off, a close-up of
0203 148 2694 met Ivor in person, I got to ‘know’ him the shutter speed dial,
Marketing well through conversations on the another of the focusing
Head of Marketing Samantha Blakey
Publishing team phone and the exchange of letters, knob…’ He was such a
and his AP articles encouraged me to lovely man, that no one
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPL ES TO UK AND EU RES DENTS ONLY
Chief Executive Officer Marcus Rich

Group Managing Director Andrea Davies
Managing Director Gareth Beesley write for many journals myself, could ever refuse.
Editorial Director Simon Collis including for the Leica Historical John Wade
Printed by Walstead UK Limited
Distributed by Marketforce, 5 Churchill
Society, Club Rollei User magazine and Classic camera expert Ivor Matanle wrote
Place, London E14. Telephone 0203 787 9001 Icon Publications. countless in-depth articles for AP I am sure many readers will
Ivor once referred to me as ‘The share my sorrow at
Editorial Complaints We work hard to achieve the highest
standards of editorial content, and we are committed to Great Kitchen in the West’. Apposite, I firmly believe that his magisterial learning of the death this
complying with the Editors’ Code of Practice (www.ipso.co.uk/
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about our editorial content, you can email us at complaints@
ti media.com or write to Complaints Manager, TI Media Limited and shall be 85 in May. camera aficionados and future know I am one of many
Legal Department, 161 Marsh Wall, London E14 9AP. Please
provide details of the material you are complaining about Ivor shall be greatly missed by aficionados for many years to come. whose love of cameras and
and explain your complaint by reference to the Editors’ Code.
We will endeavour to acknowledge your complaint within 5 aficionados of his many AP articles, but Harry Kitchen photography was inspired
working days, and we aim to correct substantial errors as
by Ivor’s articles published
Win!
soon as possible.
All contributions to Amateur Photographer must be original,
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in AP; and his books on
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A Samsung 64GB EVO Plus microSDXC with SD cameras. For those who
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Tuesday preceding the cover date by TI Media Limited, 161 enthusiasm, wit, wisdom
Tributes to
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Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part him in person through the and humour. He leaves a
of this publication may be reproduced, stored in a retrieval
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of in a mutilated condition or in any authorised cover by way,
or by trade, or annexed to any publication or advertising Matanle has passed away. meetings around the
matter without first obtaining written permission from the
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Ivor inspired affection among members of the camera was informative, interesting by all who knew him
readers and colleagues alike collecting fraternity. I met and often amusing. – Nigel Atherton, Editor

© MICHAEL TOPHAM
Photoshop arrived in
Back in the day

1988. Along with
Lightroom and many other
editing applications
available today, it’s here to A wander through the AP archive. This
stay. Allison Ritchie
week we pay a visit to February 1976
Switching to
mirrorless
In your letter of the week
(AP, 5 January), on
whether mirrorless
systems are lighter or not,
the writer asked what other
Mark Gilbert refers to some of Michael Topham’s field tests photographers thought.
As a photographer who
Heritage railways check’ was my amber has taken that leap I think
I have just read Mike flashing warning light so I it depends on what you
Gosling’s letter in this decided not to go ahead. switch from and to. I first
week’s AP (19 January Something must have went from the Canon EOS
issue) about his interest in clicked with the seller 7D to the Fujifilm X-T1 and
heritage and heritage because later a revised was very pleased with both
railways. Other readers advert appeared declaring the weight and function of
may be interested to know a count of 18,000+ shots. the kit and the bag on trips
that there are specialist You certainly need to know out. I have now got rid of
photography charter your way around camera my Canon – I loved the
companies that specialise settings, as shutter counts camera but not the weight.
in these areas. Indeed, I are not usually part of the I upgraded to a Sony A9
remember reading articles set operating menu, but it and mainly use that. Its
by Michael Topham who is possible to check and function, image quality and
1976
attended events organised the information is definitely weight for me is just right. I
by TimeLine Events, who worth having. have some issues with my
offer a range of heritage Scott Fraser hands (I get a weak grip at
subjects. Another heritage times) but when I use my
railway specialist is 30742 Photoshop is A9 I can hold it for longer
here to stay
Charters. The events these than I could my Canon. My HOLD on to your hats, dear readers, we are back in
companies run are A9 lenses are also a step the unchartered territory of 1976. There may not be
specifically for Nigel Atherton pointed out up from my Canon lenses, dragons, but there was plenty of other fun stuff in the
photographers and involve that many iconic 20th- and give me better lens magazine, including a cover model straight out of
the positioning of subjects, century photos were quality. In some ‘DSLR Abigail’s Party and no cover lines at all. How can
such as trains, enactors heavily manipulated in the switch’ cases you may not mere words be allowed to sully such a stunning
and vehicles to enable darkroom (Inbox, 19 get rid of all the weight you hairstyle? Another highlight was ‘Notes for Novices’,
good photographs to be January). Yet no one back would like in all the lenses, written by R. H. Mason, who rocked the Michael Caine
taken. Mark Gilbert then criticised the practice but your bag is smaller and look, as seen on the spread below. We also love the
in the harsh manner can be lighter. Mine is both. manic-looking toddler, heavily vignetted hound
Shutter counts count directed at photographers A thing to think about (complete with an ASBO chain collar) and sultry
How right you are to point who use image editing that I have learnt: do you lovelies on this spread. The names of past contributors
out the value of a shutter software today. need to take as much kit? to AP are often a source of amusement too – take
count when considering Ansel Adams’s I got so confused about one ‘Ludwig Haskins,’ who wrote a piece called ‘Oh,
buying a used camera, as ‘Moonrise, Hernandez’ which lens I needed and for a King Canute!’ It’s Cockney rhyming slang for
mentioned in the excellent negative is a million miles was getting stuck changing boot, apparently. Would you Adam and Eve how good
Second-hand best buys removed from the final them over on my trips and AP was back in ’76?
article (AP, 5 January). master print that Adams missing chances. Now I
Much as I would be produced. It wasn’t take one, or two at most.
reluctant to buy a used car cheating. It was simply Finally, if the camera is
without an assurance on Adams’s astonishing comfortable to hold, easy
the mileage, I’ve learned it darkroom skills tied in with to operate and takes a
is just as important to have his extraordinary ability to great photo, does a few
some clear understanding previsualise an image. extra grams matter; surely
of a camera’s usage. A Photographers who use it is about kit performance
couple of years ago I was photo-editing software over the weight?
almost committed to a sale know that with a bit of skill In the future who knows
with one doubt. The seller and imagination an how far photography will
answered all other points otherwise duff image can have gone. I bet there will
satisfactorily but seemed be totally transformed with be a camera that we will
hesitant on shutter a few clicks of the mouse. say is too light and blows
numbers. An excuse of ‘too Cynics can carp all they over on a tripod!
difficult technically to like. But as Nigel said, Henley Hughes These pages were for the ‘novice snapshooter’, apparently

Technique HOME STUDIO SET-UPS
Lighten up
Take your photography to the next level with a
studio lighting set-up at home. James Paterson
shows how to get the best from your starter kit
KIT LIST Basic lights and accessories for a home studio set-up
▲
Monoblocks Umbrella
These are mains-powered Diffuses and spreads the light.
flash units. More powerful Either direct the flash through
than a speedlight, they also the umbrella, or angle it away
have modelling lights. Each and bounce light back off the
light comes with a stand, and umbrella. Useful for lighting
the fixtures on the front make interiors and portraits, but hard
it easy to fit light modifiers. to control the spread of light.

James Paterson
James is as skilled a photo editor as he is a
photographer. His work has appeared in
countless magazines and books, and in 2014,
he was appointed editor of Practical
Photoshop. Visit www.patersonphotos.com
W
hether you want to shoot portraits,
pets, products, food or macro,
a studio lighting kit will lend
your photos a level of clarity and
professionalism that is difficult to achieve in any
other way. It opens the door to complete control. If
you’re new to studio lighting, then get ready to fall
in love with photography all over again.
However, studio flash can initially seem slightly
daunting. There are so many decisions to make:
which exposure settings should I use? Where do I
position my lights? Which modifiers would be best?
And which flash power should I use? These are all
stumbling blocks that can be overcome with a little
know-how. Over the following pages we’ll shed
some light on the subject.
Monoblock or strobe?
The jargon around flashes can be a little confusing:
are they studio heads, monoblocks, monolights,
power packs or strobes? In general, a starter kit will
include two monoblocks (or ‘monolights’ for those
in the USA). These are individual, self-contained
flash units that plug into the mains. By contrast, a
power pack is a sort of control centre for running
multiple smaller lights, while ‘strobe’ is a catch-all
term for any type of flash. As well as the two
monoblocks, a starter kit will typically include two
stands, a sync cable/wireless trigger and light
modifiers like white umbrellas, silver umbrellas or
softboxes. These modifiers are key to succeeding
with flash. They let us diffuse and control the
spread of light for all kinds of looks.
If the kit doesn’t have a wireless trigger we’d
recommend getting one. Flash sync cables are
fiddly, they always seem to fall out of the camera at
the wrong moment, and they’re easy to trip over.
What’s more, many cameras won’t even have a sync
cable socket. Wireless triggers are cheap and make
things easier. One other piece of kit that comes in
very handy – and that many of us will have already
– is a reflector. Positioned opposite the flash,
we can use the reflector to bounce light back
ALL PICTURES © JAMES PATERSON
Sync cable/
▲
Softbox
▲
Softens and diffuses the wireless trigger

light, much like window Attach this to your
light. Creates attractive camera to trigger the
rectangular catchlights in flashes. All studio flash
the subject’s eyes. Similar units will have an optical slave.
to a white umbrella, but This means if you trigger one
easier to control the play flash, the others will detect it
of light and shade. and fire too. Starter kits typically include both an umbrella and softbox


into the shadows and reduce the Controlling the flash
contrast. As such, it can act almost A studio flash head will usually offer a few
like another separate light. simple controls. First, there’s the output
setting. This controls the strength of the
How much power do you need? light. Many monoblocks have a range
If you’re considering getting a starter kit, between 1.0 and 6.0. Each number
then the first decision is all about power. represents one stop of light, so the
The power of a flash head is measured in maximum output of 6.0 could equally be
watt-seconds (the maximum number of thought of as 1/1 power, while the
watts that can be output over 1 second). minimum output of 1.0 is effectively 1/32
Studio strobes typically start at around power (although some heads will go lower
100W for the cheaper models, and can go Most studio units will have modelling lights than this). Of course, the strength of this
up to 1200W for expensive, high-output maximum and minimum output will vary
heads. The right level of power for you will double the strength. There are other depending on the power of the unit and
depend on what you shoot – if you need to practical advantages too. Mains power whether a light modifier is fitted.
light a huge space or big group of people, means there’s no need for batteries, Among the other controls there’s usually
then 800W might be necessary, but for a recycling times are much quicker and a button that switches the recycling beep
home studio portrait set-up where you’ll light modifiers are easy to use. What’s on or off. This tells us when the heads are
mostly be shooting individuals or small more, studio units have helpful fully recycled and ready to fire (it usually
groups, then you’re unlikely to need more modelling lights. These are constant takes half a second or so). The other useful
than 300W strobes. lights that help us to visualise the play control is an optical slave mode. Enable this
Compared to a speedlight, even the of light and shade across our subject on our second light and it’ll fire upon
lowest power monoblocks will be at least before we take the shot. detecting the flash from the first.
THE VERSATILITY OF A SINGLE SOFTBOX
Lit from above Backlighting High-key

A single softbox can give us a wide variety of This time our softbox is positioned behind the A softbox can act as a backdrop for a simple
looks depending on the positioning and subject to the left, lighting the far side of the high-key look. The light will wrap around the
strength. Here it’s positioned directly above the face. Known as short lighting (as opposed to edges of the face, creating attractive edge light
face and angled downwards. This is sometimes ‘broad’ which lights the front side), this gives a along the cheeks. If the front of the face is too
called ‘butterfly lighting’, as the shadow cast low-key, moody look. The background is very dark, it can be lifted by opening the aperture
down from the nose looks a bit like a butterfly. dark because our flash is angled away from it. and bouncing light back in with a reflector.

10 tips for flash photography

1 Distance affects power catchlights in the subject’s eyes can indicate 7 Diffusion needs
Halving the distance between the flash and the positioning, quantity and type of light used. more power
subject will increase its strength by four times Any modifier placed between our light
– or two stops – in accordance with the 5 Bounce the flash source and the subject – like an umbrella
inverse square law. As well as using modifiers like umbrellas and or softbox – will weaken the output, so
softboxes, remember that you can also soften increase the power accordingly.
2 Distance and quality and diffuse the light by bouncing it off the
Changing the distance of the light also changes walls or ceiling. 8 Feather the light
its size in relation to the subject – the further Try feathering the light by angling it
away it is, the harder the quality of light. 6 Shutter speed and flash across the front of the subject rather than
Shutter speed has no bearing on the flash directly at them; this gives an attractive
3 Watch for fall-off exposure, only on the influence of the ambient ‘wrap-around’ quality.
The fall-off of a flash is the difference in light. If in doubt, stick to 1/200sec.
strength across the subject, and it will be more 10 Bring lights in close
pronounced if the light is in very close. 9 Recycle after Bringing the lights in close will make
lowering output them very large in relation to the subject
4 Look to the catchlights If you lower the output, hit the test button to and therefore produce softer, more
If you want to see how other portrait recycle the flash as it may still be primed for flattering light.
photographers have lit their photos, the the previous higher power setting.
In silhouette Side lighting Under lighting

A similar high-key look to the previous shot, Here the light hits one side of the face, Placing the softbox underneath the chin
but this time our softbox is pointed at the plunging the other into deep shadow. This is gives us ‘scary movie’ lighting. We’re used to
backdrop instead. If we like, we can open up sometimes called ‘split lighting’. Note how the seeing light coming from above, so when it’s
our aperture to lift the subject, or instead side-on light reveals much more texture in the directed from below it can look unnatural –
expose for the backdrop like this, so that they skin than the frontal light in the first shot, this holds true whether the subject is standing
come out almost in silhouette. resulting in a less-flattering portrait. up like this or lying down.


Why use studio lighting? combination of shutter speed, aperture One light or two?
The main reasons to use studio and ISO we want. If you’re just getting While it might be tempting to use both
lighting are quality and control. The started, then here’s a stock exposure monoblocks in a starter kit, if you’re new
power of the flash means we can shoot setting to begin with. In manual exposure to studio lighting then start with just one.
with a low ISO for maximum quality with mode choose a shutter speed of 1/200sec Get to grips with positioning, power and
minimal noise. The second reason is the (which is usually around the maximum exposure; and then when you’re
control that studio lighting offers. There’s flash sync speed for a DSLR), then set comfortable with one light progress to
control over the positioning of the lights – aperture f/8 and ISO 100. Turn on the using two. Whenever we use more than
we can place them above, below, in front, flash and take a few test shots. If the one flash, it can be a very helpful
behind – wherever we choose. Then there’s image comes out too bright or too dark exercise to ‘build’ the lighting by taking
the control we have over exposure. We then simply adjust the power of the light test shots of each light in isolation, with
dictate the exposure; we don’t have to let – either by moving it closer or further all the others off. This way, we can see
the lights dictate it for us. away, or by changing the output – until exactly how each affects the overall
As photographers we are used to you have a correct exposure. set-up, which makes it much easier to
adapting our exposure settings to suit You can also use a light meter to strike a harmonious balance between
the available light, so using studio lighting determine the right flash power, or them. Get to grips with this, and the
is a slight shift in mindset. We can, with simply judge it by assessing the histogram possibilities for beautifully controlled
a few exceptions, choose whatever on the camera’s LCD. lighting are endless.
Bare bulb
vs softbox
vs umbrella
A KEY reason to use studio lighting is the many options
we have to change the quality of the light using a variety
of modifiers. A starter kit will typically include a softbox
and umbrella, and we also have the option to fire the
flash bare. When fired bare, the light source is very small
and, like the midday sun in a cloudless sky, light from a
small source is very hard-edged. Note here (left) how it
creates deep shadows under the chin. By contrast, when
we modify the light with an umbrella or softbox we
increase the size of the source so the light is more
diffuse and the shadows become much softer. The
softbox is arguably the winner here, because the
shadows are soft but still nicely defined. It’s harder to
Light from a bare bulb
is small and hard-
control the spread of light with an umbrella, therefore it’s
edged, and often bounced off all the nearby walls and surfaces here and
Bare bulb unflattering filled in the shadows, resulting in less contrast.
You have less control

By increasing the light with an umbrella,
source size, the light which can result in
Softbox becomes more diffuse Umbrella flatter lighting

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QAP CODE: 18AG

DRONE PHOTOGRAPHY
Hone
your
drone
skills Don’t let the recent
furore put you off
drone photography.
A new book on the subject is inspiring
and full of ideas, as Geoff Harris reveals
D
rones have been in the variety of remote-controlled aircraft
news a lot recently, equipped with specialist cameras
but for all the wrong for a few years, small multi-rotor
reasons. The chaos drones with cameras have only
caused at Gatwick Airport by been commercially available to the
a suspected drone sighting in public for the past six years. This
December ruined a lot of travellers’ makes it all the more astonishing
festive holidays and won’t be that the standard of drone
forgotten quickly, and there is photography has made such great
justified outrage about drug dealers leaps in such a short time. For
using drones to distribute their example, there are now more than
illicit wares to prisoners. 1.5 million posts on Instagram
Despite all this bad publicity, it tagged with #drone. As the
is important to remember that the publishers of this new book observe,
vast majority of drone users in the ‘a revolution in photography is
© TOBIAS HÄGG
UK are conscientious and law- taking place above our heads’.

abiding. Drones are also a fantastic If you are curious about drone
tool for still photography and film photography but not sure what it
making, especially when it comes to involves, Masters of Drone Above: ‘Reine introduction, don’t mistake ease of
landscape work. A new book called Photography will provide lots of Sunrise’ by Tobias use for fly-and-click simplicity.
Masters of Drone Photography ideas and food for thought. There’s Hägg. ‘During ‘Successful drone photographers
celebrates some of the greatest certainly never been a better time to winter in the Arctic must master all the usual
you have the golden
achievements in this genre, so get into it. Folding drones take up a hour all day’ photographic techniques, and then
we’re going to preview of some of similar amount of space to a larger apply these to an aerial platform. If
Right: ‘Men are
its best bits. lens in your camera bag, so aerial from Mars’ by Tugo anything, drone photography
Drone photography is a relatively photography is a viable option for Cheng. From the demands an extra leap of the
new discipline. Although many many photographers. But as editor Discovering China imagination, as a top-level image is
enthusiasts have been using a Fergus Kennedy explains in the series of images rarely the result of a random flight.
© FERGUS KENNEDY
‘Brighton Pier’ by Fergus Kennedy. ‘This was taken at dusk on a cold winter’s day but I still had to ensure the pier was empty so I didn’t overfly anyone’

As with most other branches of

photography, it usually entails a
high degree of planning and
forethought, as well as persistence.
It certainly helps to be able to
imagine what the world might
look like from above, and how
different lighting conditions might
affect the shot.’
Getting started
If this book inspires you to get into
drone photography, what is a good
entry-level model? We don’t have
space here for a full group test, but
can make a few recommendations.
The DJI Mavic Pro (around £900)
is one of the most popular drones
and for good reason. It features a
quality camera capable of 4K video
and 12MP stills. Battery life is a
respectable 27 minutes, plus it
© TUGO CHENG
conveniently folds up for

carrying around. Half the
DRONE PHOTOGRAPHY
weight and price of the Mavic, factor to take into consideration is

the DJI Spark (£449) is a great the light. A high viewpoint can leave
choice for beginners. It has a 12MP the land looking rather flat, like the
stabilised camera and handy view from an aircraft window. As
front-obstacle avoidance, plus a always, the most interesting light is
return-to-home feature in case often at dawn or dusk when the
you’re worried about it getting lost. shadows are longer and the
Another good entry-level choice is directional light accentuates the
the Parrot Bebop 2 (about £300), a rise and fall of the landscape. It also
fun starter drone capable of 14MP helps to look for patterns, strong
stills and 1,080p video, with 20mins graphic shapes and contrasting
flight time and a maximum range of objects, as you can see from these
300m. It features a fisheye camera images from the book. Budget
that offers a wide view. drones, sometimes called ‘selfie
Regardless of what you buy, a new drones’, usually have fixed cameras,
drone will not automatically result but serious photography requires a
in stunning photographs. All the drone with a gimbal head. It will let
principles of good landscape you tilt the camera up or down
photography still apply. The biggest independently of the drone’s
© STACY GARLINGTON
Above: ‘Safe Haven’ by Stacy Garlington. Below: ‘Taj Mahal’ by Amos Chapple.
‘I didn’t see the rainbow when I was flying ‘A large monkey saw the drone and was
the drone, it was quite accidental’ freaking out, so I had to beat a retreat’
movement – essential for composing

a picture. Stabilisation is also
important, especially for video.
Ideas for better shots

When it comes to drone
photography technique, try to stay
relatively low. Even at a decent
altitude it can be difficult to convey
a dramatic sense of height in stills,
although this is less of a problem
with video. Sometimes it’s hard to
tell if the photo has been taken at
all. To help prevent this, don’t go too
high, and try to include larger
foreground objects so that the scene
recedes into the distance. Straight
down views can yield fantastic
results too. It often helps if the sun
is low, as the raking shadows can
© AMOS CHAPPLE
add extra depth to a line of trees or

a row of buildings. Some new drone
users can end up feeling a bit

DRONE PHOTOGRAPHY
Advice from the masters

Just some of the standout tips from
Masters of Drone Photography
Morning is the best time for me as the low
sunlight picks up the textures of the
landscape. You might also get lucky with
mist, and there are fewer people around
on the streets, so it’s much safer flying a
drone. Amos Chapple
First of all I check the batteries of the

remote-controller and the drone, to
make sure I have sufficient power for my
flight. I also inspect the rotors and the
temperature of the drone, and then look
over my planned flightpath to ensure it’s
clear of any high buildings or helicopter
routes. I always undertake low-altitude manoeuvres to
check the behaviour of the drone before I go higher.
Bachir Moukarzel
I like to compose my shots by eye, but do

rely heavily on the thirds grid to compose
my images. I try to do my own things with
regard to photography, but the Rule of
Thirds cannot be ignored in most
situations. David Hopley
I’ve seen quite a few drone flyers getting

overenthusiastic in the early days, flying
flat out or too far away, and it often ends
in a crash. You should have a keen
understanding of the weather conditions
and you’ll find it much easier to fly safely if
you position yourself as close as you can
to the drone – this gives you a much better understanding
‘Meander, Millington, East of the surroundings. Fergus Kennedy
Yorkshire’ by David Hopley.
‘I switched to a 45mm lens In the air, even a tiny bit of wind can
(90mm equivalent) so I could
© DAVID HOPLEY
affect the overall sharpness of an image,

capture the shot without
especially when I’m using lower shutter
having to fly too far away’
speeds. I generally use Tripod mode as
well, which improves drone stability by
deflated by the quality and drones; expand the use of applying more torque and power in
resolution of the stills and technology to detect and repel certain directions. And I always shoot in
footage compared to a dedicated drones at sites like airports and raw mode. Francesco Cattuto
DSLR or mirrorless camera. One prisons; and not surprisingly, to
solution is to merge a set of shots extend exclusion zones around As with conventional photography,
into a panorama, as drones are said airports. If you are worried the golden and blue hours provide
good at staying still and level. Check that your innocent drone the best light for creating the most
out intelligent tracking features, if photography will somehow land emotional impact in an image – and as
these are built into your drone, as you in trouble, don’t be. As a drone photographer you’re also trying
these lock on to objects and Aviation Minister Baroness Sugg to capture emotion. When you’re
landmarks, making drone operation recently stated, ‘For those who shooting over water you have to
easier for beginners. operate their drones responsibly remember that the angle of incidence equals the angle
So what about the law and drone and safely, we do not want to make of reflection, so move your drone around to make
photography? While there is it difficult to realise the sure you’re not getting any nasty reflections.
pressure on the government to potential of this technology.’ Stacy Garlington
tighten the legislation, it won’t want
to spoil the fun for the vast majority I try not to fit the whole world into my
of law-abiding users, or damage a Masters of Drone image – I like to focus on small things
fast-growing market that has Photography by Fergus instead of shooting an incredibly large
created many jobs in the UK. The Kennedy is published by scene where your eyes wander all over
main thrust of the proposed new Ammonite Press and is on the image. I lead the viewer’s eyes straight
laws will be to give the police extra sale now for £25. ISBN: to the subject I want to show them.
powers to land, seize and search 978-178-1453315. See www.ammonitepress.com. Tobias Hägg

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LOCATION GUIDE
Lofoten Islands,
Norway ‘Jagged mountains, pristine
beaches and dancing aurora
– what more do you want from
a location?’ asks Andy Farrer
THE ARCHIPELAGO of Lofoten in Norway is north of the
Arctic Circle in the county of Nordland. The dramatic
islands of Hinnøya, Austvågøy, Gimsøya, Vestvågøy,
Flakstadøya and Moskenesøya are linked by bridges.
These bridges are fantastic photo opportunities in
their own right.
Owing to the warm Gulf Stream, Lofoten has a much
milder climate than any other parts of the Arctic Circle.
Between late May and mid July you can experience the
midnight sun, while the northern lights can be viewed
from September through to mid April.
The dramatic peaks are truly breathtaking and
abundant. Literally at every turn you’ll be wowed by the
scenery. Whether it’s day or night, the mountains will
provide stunning backdrops. You will find numerous
beaches, such as Haukland and Flakstad, that are
pristine. As well as beaches there are lots of rugged
The Northern Lights can be viewed in this region from September through to mid-April granite shorelines, which often have layers of ice and
snow. The fishing villages such as Hamnøya and
Henningsvær are very picturesque where you’ll likely see
white-tailed sea eagles picking fish from the fjords and
circling above the mountains. The fish are dried on large
racks dotted around and about.
The weather here can change quickly, but you can
hardly fail to capture dramatic scenes. Even in calm, still
weather, the fjords look incredible, especially with
mirror-like reflections of the mountains. Remember to
note your favourite viewpoints during the day so you can
revisit them after dark to try to capture them with
dancing aurora overhead.
Andy Farrer
Andy won Landscape Photographer of the
Year in 2015. He is equally at home in the
Arctic Circle as in the Sahara or on his
home patch on the Jurassic Coast in
Dorset. See more of this work at www.
andyfarrer.co.uk, @andyfarrerphoto
White-tailed eagles can be seen in the fishing villages of Hamnøya and Henningsvær @lightandlandphotography
▲ ▲ ▲
KIT LIST Canon EOS 5DS/ Canon EF 16-35mm Arca Swiss P0 Ballhead
5D Mark IV f/2.8L III USM This is a lightweight, but strong, ball head that
I love my 50MP EOS 5DS, especially This lens is very versatile; I use primarily for travel
for shooting crisp, icy winter it’s the perfect choice for and astro photography.
scenes where the resolution wideangle landscapes while It’s very easy to get
is really pronounced. also being fast enough for locked into position and,
I switch to the 5D Mark IV for pin-sharp astrophotography. unlike geared heads, it
the aurora images at night, It also uses the standard allows the camera to be
as its ISO performance for 100mm Lee filter system, pointed directly upwards,
astrophotography is much so no extra sets of filters which is very useful for
better suited. are required. aurora scenes.

LOCATION GUIDE Technique
Shooting
advice
My favourite time of year
to visit is February and
March, with nice long
nights for chasing the
aurora and shorter days
where the golden hour
lasts most of the day. Being
at such high latitudes the
days are very short; in fact,
from 27 November to 15
January, the sun doesn’t
actually rise above the
horizon. Seeing the first
sunrise of the year in
mid-January is always a
great time to visit. The
all-day (albeit short days)
twilight is a joy for
photography.
Food and
lodging
Airbnb has become quite
popular now, but the
fisherman’s cabins
(rorbuer) are the nicest way
to enjoy your stay. The
cabins, usually on stilts,
have terrific views across
fjords with mountain
backdrops. If you’re near
larger towns there are
some nice restaurants, but
down on the Lofoten
Islands there are very few
places to go. So stock up at
supermarkets in the towns
and embrace the hotdogs
at the garages. Make sure
you have supplies for
Sundays, as you’ll find it
difficult to find anywhere
open at all.
As well as pristine
beaches, there are a
A word of
number of rugged warning
granite shorelines Lofoten has become much
busier in recent years, so
book accommodation in
There are plenty of dramatic
advance. If you’re planning
peaks, which provide to drive from Tromsø
stunning backdrops rather than fly in, consider
a night’s accommodation
en route, as it’s a long
drive, especially if it’s
snowing. You can fly
from Tromsø and rent
cars locally.

Photo Stories
Keeper
of the faith
Photographer Gali Tibbon tells Steve Fairclough
how she balances her assignments with personal
work that often covers religion and faith
G
ali Tibbon attended art school in to share what you’ve been through. You have
Jerusalem to study photography, to have one or two good friends that, after
but admits, ‘I mostly hated it when work, you can go and have a drink and a laugh
I was studying because it was more with, just as a way to let off steam… dark
art oriented. I would go out and take pictures. humour or whatever. Some people stay with it
ALL IMAGES © GALI TIBBON

Jerusalem is a very diverse place and it has a buried inside until it explodes, but I have many
mixture of Christians, Muslims, Palestinians… I other things in my life which balance me.’
would come back with pictures and people Her work documenting religion, and the
would ask, “Where is this?” I would tell them to ceremonies that surround it, led to a unique
just get out of their bubble and cross the street; opportunity in 2016. ‘It was the historical
stories are everywhere.’ restoration of the tomb of Jesus at the Church
With early influences such as Henri Cartier- of the Holy Sepulchre in Jerusalem. It was
Bresson, Josef Koudelka and Sebastião quite amazing, in the archaeological sense, that
Salgado, her drive was always towards someone just opened a tomb that had been
photojournalism, and as a first-year student, there for hundreds of years, and I had the
she had already begun shooting for the photo chance to be there. You go in at 7pm; they lock
agency ZOOM 77, which supplied images for the doors and nobody opens the doors until
Yedioth Ahronoth – Israel’s biggest national 5am. The whole experience was quite amazing
daily newspaper. – historically and photographically.’
Her career began in 1996 and since then Gali’s award-winning project from Lalibela,
her work has combined news coverage of Ethiopia – which is sometimes known as the
conflict with magazine assignments and her ‘Jerusalem of Africa’ – was shot in black &
personal projects, most of which cover the white. It documented the annual pilgrimage of
themes of religion and faith. Her photography up to 60,000 pilgrims to a tiny village with
has also brought her global recognition, churches carved out of rock. She explains,
including being named Travel Photographer of ‘One of the reasons I chose black & white is
the Year in the World Photography Awards because I felt like I was kind of time travelling
2013 for her work in Lalibela, Ethiopia. and that I was in a timeless place. The pictures
As well as working overseas, Gali has I took could have been taken 70 or 100 years
frequently documented the conflict in her before. It felt very biblical and very pure.’
native Israel. In fact, she was attending the She notes, ‘Photojournalism is like having a
Eddie Adams Workshop in the USA when the front-row seat at history, in a sense. What
Second Israeli-Palestinian Intifada began. Gali other people might see at home on TV, I’m
recalls, ‘It was 2000 and Jerusalem was [being standing there when it happens. A lot of people
blown] up and I thought, “What the f**k am I think that photojournalism is glamorous, but it’s
doing here [in the USA]?” It was quite an not. It also has an emotional price. At the end
overwhelming experience. I just wanted to go of the day photography is in your head; it’s in
back to work.’ your eyes and not just in equipment. It’s up to
Her conflict work has had some ramifications you what you do with the equipment. I know
for her. ‘When you go to conflict zones, or you that people see pictures from Israel, and they
live in a country that’s constantly in a conflict, know that it’s mine without seeing my
you have to have the right people around you byline, so that’s a great thing to achieve.’
Gali Tibbon is an award-winning photojournalist based in Jerusalem. Her work has been exhibited at many major photography
festivals in Europe, and she has been the subject of two documentary films. To find out more go to www.galitibbon.com.
30
Pilgrims gather around the

cross-shaped church of
Bete Giyorgis (St George),
Lalibela, Ethiopia, as a
dove flies over
GALI’S KIT
Gali explains, ‘I’m quite

minimalistic. What’s usually
enough for me is a Canon EOS
5D Mark IV and a good
24-70mm f/2.8 lens. I like the
24-70mm Mark II because it’s
as good as the prime lenses.
I find that the less gear I have
the more comfortable I am, and
also the people I’m approaching
feel much more comfortable.
I also have the EOS M5 but I’m
not that accustomed to the
electronic viewfinder. I use it
when I need to be more discreet
and also the flip-open screen at
crazy angles allows you to get
other stuff. If I have a certain
shoot, the M5 with a wide lens
might be perfect, so I’ll just
take it along.’ Gali also has a
Left: A Catholic pilgrim 70-200mm lens ‘when I go to
re-enacts the Passion do more newsy work’ and a
of Jesus Christ as Israeli 16-35mm with a couple of
border policemen flashguns for portraits.
guard the procession
during Good Friday Below left: Several hundreds
2004 along the Way of of Ultra Orthodox Jewish
the Cross (aka the Via men protest in Jerusalem
Dolorosa) in Jerusalem against the selling of bread
during the Jewish holy day of
Passover on 22 April 2008
Right: Dressed in
kimonos, members of Below: Greek Orthodox
the Christian Japanese Patriarch of Jerusalem,
movement the Makuya Theophilos III, swings
pray at Judaism’s incense during mass at the
holiest site the St James chapel in the
Western Wall in compound of the Church
Jerusalem’s Old City of the Holy Sepulchre
Technique PHOTOSHOP ELEMENTS

James Paterson
James is as skilled a photo editor as he is a photographer.
His work has appeared in countless magazines and books,
and in 2014, he was appointed editor of Practical
Photoshop magazine. To see more of his work visit
www.patersonphotos.com.
Cosmetic
surgery
ALL PICTURES © JAMES PATERSON
Revitalise old prints by using
these simple Photoshop
techniques, says James Paterson
F
ew Photoshop tasks are as rewarding as
restoring an old photo. There’s something
deeply satisfying about breathing new life into
damaged prints, so that they can be cherished
for years to come. Whether you’re restoring snaps from
your own family album or as a favour for someone else,
it leaves you with a glow as warm as the gorgeous sepia
tones in these treasured old mementos.
For users of Photoshop Elements, there are a host of
powerful restoration tools on offer. Retouching tools
like the Healing brushes and Clone tool are ideal for
fixing marks and scratches, and the tonal commands
make it easy to enhance and sharpen faded old details.
Even heavy-duty restoration work such as repairing
ripped prints is possible with simple layer and masking
skills. Over the next few pages we’ll explore a few
typical problems and how to fix them.
Miraculous restorations the broken pieces,

Even very badly damaged prints can be restored. shifting them back into place
As long as enough detail remains, it doesn’t matter like a jigsaw. When all the pieces are lined up,
if that detail is in several pieces. We begin by finish off by retouching the seams using the Spot
selecting each individual piece with the Quick Healing Brush and Clone tool. To do so, make a
Selection tool, then copy each to a new layer (Cmd/ new layer and set both tools to ‘Sample All Layers’
Ctrl+J). Once done, the Move tool and Transform so that they sample from the combined details;
command (Cmd/Ctrl+T) can be used to reposition then paint to fill in the gaps.
32
AFTER
Master the Healing and Clone tools

The Clone Stamp tool and Healing brushes are the go-to
tools for much restoration work – or indeed all kinds of
retouching tasks. There are two healing tools to choose
from: the Spot Healing Brush and Healing brush. The
Spot Healing Brush is usually the one to start with. It
works by automatically sampling from the surrounding
image in order to fix the area being painted. As such, it’s
brilliant for removing the little spots, marks, dirt,
scratches and wrinkles that inevitably appear in old
prints. Simply paint over them and let the tool do the
work (for long scratches, shift-click between two points
to paint a straight line).
As with all automated tools the Spot Healing Brush can
occasionally go wrong, but this is when you can switch to
either the Clone tool or Healing Brush to tidy up. Both of
these other tools require you to Alt-click to sample a
source – usually a clean area nearby. The Clone tool
simply copies pixels from the source area to the painted
area. It’s often most effective when used at a low
opacity, as this allows you to gradually smooth out rough
areas (to set a brush opacity quickly hit 1 for 10%, 2 for
20% and so on).
All these tools can be set to ‘Sample All Layers’. This is
handy, as it means we can create a new empty layer
above our original image then retouch on this layer,
thereby preserving the original image on the layer below
if we ever need to go back to it.
The Spot Healing

Brush is ideal for
BEFORE
removing little
scratches and
marks quickly
Technique PHOTOSHOP ELEMENTS
Tips for digitising Get the hand-

your prints painted look
The first task is to transform your Why not add colour to old
old prints into ones and zeros. If photos to give them a
the photo is in a frame then take hand-painted treatment? The
care removing it, as the emulsion technique is very easy. Simply
may stick to the glass and come go to the Layers panel and
away when it’s pulled out. It’s best make a new empty layer, then
to use a flatbed scanner to digitise change the Blend Mode to
the print – set the scanning Color. The Color Blend Mode
resolution to 300 pixels per inch or allows you to apply the colour
more. If you can’t use a scanner while still keeping the details
then a camera will do the job. The visible from below. Next grab
key thing is to light the print evenly the Brush tool, choose a
with two lamps (you can use either colour and begin painting.
flashes or constant lighting) on Once done, make other layers
either side of the print. It can be for different colours. Often the
helpful to stick the print to a wall, colour can initially look too
as it makes it easier to position the strong, but it’s easy enough to
lights on either side, each angled at tone it down by lowering the
45°. As for camera settings, it’s layer opacity. And if it doesn’t
best to use ISO 100 for maximum look like the right shade, you
image quality, and set a mid-range can always tweak the colour
aperture like f/5.6 or f/8, as this is afterwards by adjusting the
typically the sweet spot where Hue (hit Cmd/Ctrl+U for the
most lenses are at their sharpest. Hue/Saturation command).
Use the ‘Restore Old

Photos’ Guided Edit
The Guided workspace in Elements
offers a wide range of techniques,
each laid out like a tutorial with all the
tools you’ll need at hand. Found
under ‘Special Edits’, the dedicated
‘Restore Old Photos’ guided edit is a
great place to start, especially if
you’re a beginner. It guides you
through cropping and retouching the
print, then gives you the option to
apply the Dust and Scratches filter
and sharpening, as well as auto tonal
fixes or a black & white conversion. It
doesn’t give you the same control as
doing things manually in the Expert
Mode, but it’s quick and easy.
FIVE COMMANDS TO SPEED UP YOUR RESTORATION
1 Auto-haze removal 2 Remove a colour cast 3 Dust and Scratches filter

This automatically boosts washed-out blacks For colour prints go to Enhance>Adjust Color Found in Filter>Noise, this applies an
and enhances detail. Go to Enhance>Auto >Remove Color Cast then click on a point that automatic fix across the image to remove small
Haze Removal to apply. should be neutral, like the headscarf here. dust spots and can halve your retouching time.

Get creative
Instead of doing a straightforward
restoration, why not use old photos as
material for creative artwork? There’s
something about the authenticity of vintage
prints that makes them ripe material for a
surreal makeover like this. You can create all
kinds of wonderful collage effects using
selections, layer and masks. Here (below) –
after removing the facial features – we’ve
duplicated our original layer several times,
making each one slightly smaller, then used
a layer mask to hide the central portion of
the face, revealing the smaller head on
the layer below.
Replace missing details

If part of a photo is missing or badly damaged so as to be unrecognisable, you might be able to
mirror the details from elsewhere to fix the problem. To do this, make a loose selection of the
area you want to copy using the Lasso tool, then hit Cmd/Ctrl+J to copy it to a new layer and
Cmd/Ctrl+T to transform. Right-click and choose Flip Horizontal to flip it and drag it into position
to fill in the missing details. Once done, we usually need to soften the edges of the piece so that it
blends in with everything else. To do this, we add a layer mask, grab the Brush tool and – using a
soft-edged brush tip – paint with black around the edges for a smoother transition.
4 Content-Aware Fill 5 Unsharp Mask

This fills in missing areas. Select the problem Use Enhance>Unsharp Mask to sharpen soft
area with the Lasso tool then go to Edit>Fill details. Adjusting the Threshold will exclude
Selection and choose Use: Content-Aware. grain from the effects of the sharpening.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 February 2019

Awards 2019
PHOTOGRAPHY is not about what gear you have, they
say, but try telling that to somebody whose slow-focusing
lens or noisy, clunky old DSLR has caused them to miss a
once-in-a-lifetime shot. Nobody wants to be stuck with
second-rate gear. As a weekly magazine, AP tests more
camera bodies, lenses and accessories than any other UK
publisher, and our testing team is the toughest and most
ruthlessly independent of any in the industry. So a
recommended award from AP’s testers really means
something, which is why so many big makers proudly
display our stamp of approval on their packaging.
While you can argue that few really bad cameras or
lenses are released these days, as a buyer you
obviously want to get the best buy you possibly can.
Why buy something good when you can get something
great for not much more money? So, read on to
discover our top cameras, lenses and accessories of the
past 12 months. Also featured here are the winners of our
Good Service Awards, as well as some particularly
noteworthy photographers who deserve our applause.
Great photography, after all, is what AP is all about...
Exceptional Achievement in Photography
Marilyn Stafford
HOW MANY photographers can say they started their
career taking the portrait of one of the 20th century’s
most iconic figures? The recipient of our Exceptional
Achievement in Photography Award did just that,
capturing none other than Albert Einstein in his home in
1948. Never setting out to be a photographer, she
received her ‘training’ for that particular photo shoot in
the back of the car on the way to Einstein’s house –
Marilyn Stafford was born there’s nothing like being thrown in at the deep end.
in the USA in 1925 and It’s not surprising that her very first portrait continues
now lives in the UK. to be of interest all these years later, but she would go on
Having worked as a to so much more. Born in Cleveland, Ohio, Marilyn has
photojournalist and spent the vast majority of her life living and working in
fashion photographer in
Europe. She first visited the continent accompanying a
Europe, her internationally
published work spans friend whose husband had cheated on her and had
1948-1980 and she has forced the guilty party to pay up for the transatlantic
photographed prominent jaunt. Had it not been for this trip, the rest of Marilyn’s
historical figures, refugees impressive career might never have got started.
and tribal peoples. Visit That career went on to span four decades, during
www.marilynstafford which Marilyn Stafford was well ahead of her time,
photography.com carving out a successful career in a world almost
completely dominated by male photographers. Working
Sponsored by in fashion photography in Paris in the 1950s, she
pioneered a type of shot style that had never been seen
before – images of women wearing ready-to-wear
clothes on the streets of the city, rather than stiff and
formal studio portraits.
Marilyn’s
documentary
photography work
started on the
streets of Paris
ALL PICTURES © MARILYN STAFFORD
Remarkably humble and self-effacing, Marilyn would

probably tell you that this was down to a lack of desire to
learn how elaborate lighting set-ups worked, but
whatever the reason, the results were striking for their
realism in an era that was moving from the uppity world
of haute couture. It’s easy to see how this shooting style
was a launching point for her early work with children in
the slums of Paris, the start of her documentary career.
Counting luminaries such as Robert Capa and Henri
Marilyn’s first photograph was this image of Albert Einstein
‘She was working in Fleet Street

when you could count her female
contemporaries on one hand’
Lina. Here, she found herself working in Fleet Street at
a time when you could count the number of female
contemporaries on one hand. Although times have
certainly changed immensely since then, there’s still
plenty of work to be done – which is where Marilyn’s
next project comes in.
Now living on the South Coast, she stopped taking
photos herself ‘when it went digital’, she says, but
Marilyn’s involvement in the craft is far from over – in
fact her role is arguably even more important than ever.
Passionate advocate
Unsurprisingly, she is a passionate advocate for women
in photography, and as such she set up the Marilyn
Stafford FotoReportage Award in 2017. In association
with FotoDocument, it is a social enterprise which
highlights positive social or environmental initiatives. At
inception, the award was generously self-funded by
Marilyn, with the aim to award a small amount of money
to a female photographer. More than 60 entrants from
all over the world applied for the prize, leading to extra
sponsorship from Olympus for the 2018 prize – as well
as an exhibition of the winners and runners-up.
It is a great honour to present this AP award to Marilyn,
who should be recognised and rewarded for both her
own fantastic career spanning several decades at a tricky
time, and her devotion to helping to make sure that we
don’t get complacent about the role of female
Cartier-Bresson among her friends, her life would A new ready-to-wear photographers in today’s society. A woman with
continue to be a series of twists, turns and lucky chances. style of clothing had hundreds of fascinating stories, Marilyn is a fearless
In Paris, she married and travelled to Tunisia to never really been advocate for photography, despite being 93, and she is a
photograph Algerian refugees (something which she did photographed in-situ thoroughly deserving recipient of the Exceptional
before, a style which
while six months pregnant, no less). The resulting Marilyn pioneered Achievement in Photography award.
photographs were sent to The Observer by Cartier- If you would like to know more about Marilyn’s life,
Bresson, and would become her first front-page feature. her extensive body of work, or how you can apply for
Some years later, following the separation from her the FotoReportage photography award, visit www.
husband, Marilyn moved to London with her daughter, marilynstaffordphotography.com/foto-reportage-award.

Power of Photography Award
Adam Ferguson AP’S POWER of Photography Award is awarded in

recognition of the power that photography has to move us
and challenge our preconceptions. The winner is an
Australian-born photojournalist who first gained
recognition in 2009 for his work in Afghanistan. Since
then he has worked internationally, with a focus on conflict
and civilians caught up in it, contributing to The New York
Times, Time magazine and National Geographic, amongst
others. This award is for his work on a story for The New
York Times that won First Prize in the People (Stories)
Adam Ferguson grew up in category at last year’s World Press Photo Contest.
Australia but now lives in Adam was working on assignment in Nigeria when he
Brooklyn, USA. He sees heard about a young woman who had been deployed by
himself as a storyteller, militant Islamist group Boko Haram as a suicide bomber
specialising in conflict and
geopolitical issues. He
but had escaped. Since 2014, Boko Haram has
contributes to various abducted more than 2,000 women and girls, many of
publications including The whom have been strapped with explosives and ordered
New York Times, Time and to blow themselves up in crowded areas. A small number
National Geographic managed to escape and find help.
‘I wanted the pictures to celebrate the girls’ resilience,’
he explained, ‘and accentuate their bravery and beauty,
but the challenge was how to tell this story when, for
their own safety, I couldn’t show their faces.’
ALL PICTURES © ADAM FERGUSON
Sponsored by Adam brought over a journalist from The New York

Times and she interviewed the girls while Adam
photographed them. ‘The girls were mostly around 18 or
19, and had been kidnapped when they were around
13,’ explained Adam. ‘Some were turned into war brides,
© LILY BUNGAY
Lily’s projects show her talent for capturing real-life stories
Rising Star Award

Lily Bungay
CELEBRATING young and talented photographers
establishing themselves in the industry, the Rising Star
award is now in its second year. In an era where it’s more
difficult than ever to make a successful living from
photography, there are still an astonishing number of
extraordinary photographers that we come across on an
almost daily basis.
This year, our Rising Star award goes to Lily Bungay.
Thanks to a former career working in marketing for a
camera manufacturer, Lily was already well known to us
at AP, but since deciding to pursue a career in image-
making more recently, her work has continually
impressed and resonated.
She has recently completed a masters degree in
Adam wanted to some saw their entire families being killed.’ Photojournalism and Documentary Photography, with
celebrate the bravery of Adam photographed 18 girls in two days, working in a the work from her recent degree show ‘Ikaria’ being
the girls who managed series of safe houses and using the surroundings that featured in AP’s 5 January 2019 issue, as well as in
to escape from Boko were there. The lighting was deceptively simple. ‘I other notable outlets, such as the BBC. Her passion for
Haram. ‘All these girls
had been through a brought a full set of strobes and light modifiers to capturing real-life situations with warmth and depth is
very intense level of Nigeria,’ he told AP, ‘but to save time I ended up just particularly evident in her work, with her projects telling a
indoctrination at a very using one of my flash heads with the modelling light on, story in a way which appears effortless but would surely
impressionable age,’ and my ISO set to 3200.’ be out of reach for lesser photographers.
he said. Despite the limitations that Adam was working under, As well as her fascinating personal projects, it comes
this set of images shows the power of a simple idea as no surprise that Lily is quickly making a name for
carried out with skill, sensitivity and clear stylistic vision. herself in the commercial world – it’s clear that her
unique storytelling style crosses over into both areas of
her life, helping to create shots that are empathetic and
encourage second, third or even fourth glances. She also
shoots weddings with her business partner Martin
Eberlen, where again, it’s her personable style mixed with
the ability to perfectly capture candid moments of
emotion that makes her portfolio stand out.
Unusually for a young photographer, she works in both
digital and analogue formats – we can’t wait to see what
else she comes up with in the coming years.
Lily Bungay is a
documentary and
portrait photographer,
and freelance content
producer based in
London. For more
information, see
lilybungay.com

Adrian Clarke has

had a long and
successful career
with Fujifilm
Good Service
Awards
THE RETAIL industry is going through a torrid time
at the moment, with one in three retailers in the
FTSE 100 reporting profit warnings last year, and
predictions that 10,000 shops will go out of
business on the UK high street in 2019.
In hobbyist markets like photography, good
specialist retailers that offer great service from
knowledgeable staff play a vital part in helping
keep our hobby alive, and at AP we try to support
them as best we can. 2019 Awards
One of the ways that we do this is through the CameraWorld
Good Service Awards. Voted for by you, the Clifton Cameras
reader – their customers – a Good Service Award Dale Photographic
logo is a signpost to existing and potential Ffordes Photographic
customers saying ‘This is a business that offers a Jessops
high quality of customer service.’ London Camera Exchange
But we only give this vote of approval to retailers Mr Cad
whose customers vote for them in sufficient Park Cameras
numbers. This year ten Good Service Awards have SRB Photographic
been given to UK retailers. We also give a single Wex Photo Video
Platinum award for the retailer who received the
most votes of confidence from their customers.
For the third year in a row this award has been Platinum Award
won by Grays of Westminster. Grays of Westminster
Chris Cheesman
Memorial Award
Adrian Clarke
THE CHRIS CHEESMAN Memorial Award was inaugurated
in 2017 in memory of AP’s former News Editor, who died
in 2016. It is given to someone in recognition of their
outstanding contribution to the UK photo industry.
This year’s recipient, Adrian Clarke, is the MD of Fujifilm
UK. He joined the photo business in the mid 1980s after
graduating from Cambridge University and spending a
summer engaged as a political canvasser in the USA. His
first role at Fuji Photo Film UK Ltd was as a marketing
executive working on the company’s motion-picture films,
professional video tape and photographic paper. When
Fujifilm launched the first minilab, he began the process of
populating the market with 1-hour photo outlets and the
beginning of high street film processing. During the 1990s
he completed an MBA and worked in many other parts of
the business including Graphic Arts and Recording Media.
Adrian led Fujifilm’s entry into the
digital camera business with the
launch of the DS-7, and since then
has steadily risen to become
managing director of Fujifilm’s
European Electronic Imaging
business, with a stint along the
way as vice president of
Photo Imaging in Europe.
Once again Grays of

Former AP News Westminster received the
Editor Chris most votes of confidence
Cheesman, who from its customers
died in 2016

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Accessory of the Year

Gitzo Advent
PREMIUM manufacturer, Gitzo, is best known for its
high-end tripods, but more recently we’ve seen the
brand introduce backpacks into its range. The
Adventury 30L is smaller than the Gitzo Adventury
45L, but remains a sizeable backpack with ample
capacity and an impressive depth to accommodate
pro-spec DSLRs and mirrorless cameras with a
70-200mm lens attached and a second body plus
up to four lenses.
What we love about this bag is how well thought
through it is. Outdoorsy types with who it’ll be most
popular will find it comfortable to carry, and its
expandable roll top offers the perfect place to store a
jacket, food, drink, or other non-camera-related
items. Along with two sizeable pockets either
side, you get multi-link straps to secure a large
tripod, freeing up both of your hands for long
hikes. You also get two straps at the bottom
that can be used to carry a small two-man tent,
plus there is a pair of padded compartments on
the side to safely carry a tablet and laptop
AWARD measuring no larger than 23x2x37cm.
WINNER For outdoor photographers with lots of kit, this is an
2019 SO
RY excellent backpack option, which most importantly,
E S
C feels comfortable to wear when fully loaded and offers
AC
first-class protection for your expensive kit on the
Accessory of the Year move. It’s thoroughly deserving of one of the three
Accessory of the Year awards we handed out this year.
Benro GD3WH ‘What we love about this bag

is how well thought out it is...
Geared Head an excellent backpack option’
GEARED heads are the perfect choice for any

Why we like it photographic application that demands really precise
● Precise control of camera camera adjustment, such as macro or architecture. In
positioning its first offering of the type, Benro has come up with an
● High-quality Mg-alloy excellent design that for many photographers offers the
construction ideal compromise between size, sturdiness and price.
The GD3WH uses a conventional layout with three
● Relatively small and large control knobs, one for each axis of movement.
lightweight Rotating any one of them drives the camera directly
● Uses standard Arca Swiss in the corresponding direction, allowing highly
quick release accurate composition setting. For quick and rough
● Three bubble levels to set repositioning, the gearing can be disengaged using
camera straight the adjacent star-shaped controls, which spring firmly
back into place when released.
With sturdy magnesium alloy construction, this
head is both lighter and more compact than its direct
competitors. Another big advantage is that its quick
release uses Arca Swiss-pattern dovetail plates,
which are now a de facto standard. The screw-type
clamp is especially well designed and makes
attaching the camera unusually quick.
This may be Benro’s first attempt at a
geared head, but it’s an excellent design
that gets pretty much everything right.
Camera adjustment is smooth and precise,
and it’s portable enough to carry with you on
location. Quite simply, it’s the new leader of its class.
ury 30L
Why we like it Nominees
● Fits carry-on luggage
requirements of ■ Benro GD3WH Geared
most airlines Head
■ Eizo ColorEdge CS2730
● It’s water repellent ■ Gitzo Adventury 30L
and offers an additional ■ Hahnel ProCube 2
rain cover ■ H&Y Quick Release
● Comfortable when Magnetic Filter Frame
fully laden ■ Hoya Ultra-Pro Circular
● Offers good interior Polarising filter
customisation ■ Loupedeck+
● Features adjustable ■ Lowepro PhotoStream AWARD
waist and sternum RL 150 WINNER
straps ■ Manfrotto 190 Go! MS 2019 RY
S SO
Carbon MT190GOC4 CE
AC
■ Vanguard ALTA RISE 48
Accessory of the Year

Hahnel ProCube 2
ALMOST invariably, cameras are only supplied
with the means to charge a single battery, meaning Why we like it
it’s not easy to replenish two at the end of a shoot. ● Interchangeable holders for
For this, you need a dual charger such as the Hahnel different batteries
ProCube 2. It’s an update to the original ProCube, ● Informative LCD status
with a similar sturdy metal body shell and screen
interchangeable plates that each accept a pair of
batteries. But it gains a few neat updates; the ● Versatile, with AA battery
battery holders now simply clip in place, without the charging and USB output
need to plug-in a fiddly connector wire, and the ● Works from mains power
LCD display shows how much charge has been fed and in-car
to each battery. ● Sturdy metal construction
Versions are available for Canon, Nikon, Olympus,
Sony, and Fujifilm/Panasonic, each coming with
several battery plates to cover a wide range of
cameras from each brand. You also get a plate for
charging four AA batteries, which fixes magnetically
onto the top of the unit; however this means it
can’t be used when you have Li-ion batteries
installed. In addition, a high-power 2.4A
USB output will charge
phones or tablets once
the camera batteries
are full.
This is a supremely
well-made and robust-
AWARD feeling piece of kit, and is a
WINNER particularly good choice if you use
2019 SO
RY
multiple cameras from the same brand.
S
CE
AC
‘This is a supremely
well-made and robust-
feeling piece of kit’
e 0330 333 1113 I www.amateurphotographer.co.uk I 16 February 2019 45
Software of the Year

Serif Affinity Photo AWARD
PHOTOSHOP has a reputation for being the best image- WINNER
Why we like it editing application in the world, but there are plenty of 2019
FT
WA
RE
● Excellent power, scope alternatives that are just as good or better SO

and range of tools for the in their own way, and Affinity Photo is one
price (£49) of them. Like Photoshop, it doesn’t have its
● Good for creative own image browsing or cataloging area,
professionals as well but it offers some excellent tools for fettling
as photographers and fine-tuning your images.
The develop module reveals great
● Doesn’t require you to sign depth, colour and detail in raw files with
up to a subscription plan a handy split-screen to compare your
● Supports lookup table adjusted image with the original.
(LUT) adjustment Everyday adjustments are available as
● Produces very natural- adjustment layers and provided that you
looking HDR images save your image in the Affinity Photo file
format, it’s possible to return and tweak
the settings you applied previously. You
Nominees can also create Live Filter layers with
effects displayed live on your image as
■ Lutify.me Professional you make adjustments.
3D LUTs package Affinity Photo is a full-on professional photo editing
■ Mastin Labs Portra application that makes no concession at all to its price
Pushed Pack point. You get a strong, fast and highly capable rival to
■ Serif Affinity Photo Photoshop – and one that doesn’t need a regular
subscription payment.
Innovation of the Year
Canon Speedlite 470EX-AI

THIS AP award highlights the most innovative products to
arrive in the market over the last 12 months and this Why we like it
year Canon has made it onto the nominees list with two ● Motorised head operates
products. After much deliberation, the award went to the very smoothly
Canon Speedlite 470EX-AI – a product quite like no other ● Easy to set up and use
we’ve seen before.
Though you might think it’s difficult to reinvent the wheel of ● Can be switched to manual
how a flashgun works, that’s exactly what Canon has achieved and used like a normal flash
here. It’s equipped the 470EX-AI with an Auto Intelligent (AI) ● Covers a standard range of
function, which is designed to work out the optimum position of 24-105mm
the flash head before automatically manoeuvring it to create ● Supports ultra wideangle
softer, more flattering illumination. In full-auto mode, the unit lenses as wide as 14mm
requires a test flash to be taken to calculate the optimum angle
for natural illumination before the motorised head moves into AWARD
its optimal position ready to shoot. Alternatively, it can be set to WINNER
semi-auto mode for flash-savvy users who’d prefer to set the
2019 AT
IO
N
V
NO
angle of the flash themselves. The clever thing about this mode IN
is that the flash registers the position as manually set by the
photographer using the Angle/Set button and readjusts based Nominees
on the orientation of the camera – very robotic indeed!
If you’re a Canon user who wants to get away from the
trial-and-error approach to getting great results from using
■ Canon Speedlite
bounce flash, or simply want a user-friendly Speedlite that
470EX-AI
won’t faze you, the 470EX-AI is a tempting option and
■ Laowa 24mm F14 2x
gives us an insight into the direction flashguns might be
Macro Probe
heading in the future.
■ Canon EOS R system
46
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Prime Lens of the Year

Sony FE 24mm F1.4 GM
Why we like it THIS fast wideangle prime for Sony’s full-frame
mirrorless system sets new standards in its class. As a
point light sources at the corner of the frame, making it
highly suitable for astrophotography. Nano-AR coating
● Absolutely superb member of the firm’s premium G Master range, it suppresses flare and ghosting, while fluorine
optical quality offers stunning optical quality, combining coating shrugs off water and grease from
● Smaller and lighter than spectacular resolution across the the front element.
DSLR equivalents entire image with attractive Sony’s latest high-power
rendition of defocused direct-drive supersonic motor
● Built-in aperture ring backgrounds. As a bonus, it’s (DDSSM) system offers fast and
● Silent, decisive autofocus also substantially smaller and silent autofocus that’s also
● Dust and moisture-resistant lighter than its equivalents for unerringly accurate, even with
construction full-frame DSLRs. off-centre subjects at large
The newly developed optical aperture settings. Manual
formula employs 13 elements in focus is similarly well behaved
10 groups, includi thanks to the Linear Response
Nominees extreme aspheric MF system, which offers a
elements along very intuitive feel similar to
■ Panasonic Leica DG with three crafted using a traditional manual-focus
Elmarit 200mm f/2.8 from extra-low lens. Overall, this is without doubt
Power OIS dispersion (ED). AWARD the best fast wideangle prime
WINNER
■ Samyang AF 24mm F2.8 This delivers
2019 NS
we’ve tested.
FE stunning sharpnes E LE
IM
PR
■ Sigma 105mm F1.4 DG even at f/1.4,
HSM Art coupled with minim ‘This fast wideangle
■ Sony FE 24mm F1.4 GM distortion and chromatic prime sets new
■ Zeiss Loxia 2.4/25 aberration. In addition, the lens
suffers from barely any coma flare of standards in its class’
Zoom Lens of the Year Why we like it

● Offers attractive saving
Sigma 24-70mm F2.8 over close rivals

● Highly effective image
stabilisation provides four
DG OS HSM Art
stops benefit
● Fast, silent and accurate
autofocus
● Strong and robust build
FOR USERS of full-frame DSLR and mirrorless cameras quality
requiring a versatile zoom that performs as well in low
light as it does creating a shallow depth of field wide- ● Creates attractive images
open, a pro-spec 24-70mm f/2.8 is definitely the way to when used wide open
go. Sigma’s 24-70mm f/2.8 presents a very attractive
saving over its Canon, Nikon and Sony rivals and puts up
a strong fight against them in terms of optical
performance. To maximise its appeal, it’s optimised
for use with sensors boasting a resolution of up to Nominees
50 million pixels.
Effective optical stabilisation helps to keep subjects ■ Nikon AF-S NIKKOR
sharp and images free of handshake, with the option 180-400mm f/4E TC1.4
of opening the lens to f/2.8 being particularly useful in FL ED VR
low-light scenarios and when you’d like to emphasise ■ Sigma 14-24mm F2.8 DG
a subject from a busy background and create pleasing HSM Art
bokeh in out-of-focus areas. With a robust build quality ■ Sigma 24-70mm F2.8 DG
as well as fast and quiet autofocus, it’s a lens that’ll OS HSM Art
provide first-class service over many years.
AWARD ■ Sigma 60-600mm
All things considered, this is a superb optic. While it F4.5-6.3 DG OS HSM
might not be a particularly lightweight option, full-frame
WINNER
2019 LE
NS
Sports
users after one of the finest and most affordable f/2.8 OM ■ Tamron 100-400mm
standard zooms available won’t have any regrets adding ZO
F/4.5-6.3 Di VC USD
this optic to their collection.

Why we like it Compact Camera of the Year

● Really useful 24-200mm
equivalent zoom range
● Very good image quality
● Remarkably fast autofocus
Sony RX100 VI AWARD
WINNER
2019 C AME
RA
and continuous shooting WITH THIS latest iteration of its ground- PA

CT
M
● High-quality pop-up CO
breaking pocket camera, Sony has made
electronic viewfinder perhaps its most significant change to
● Tilting screen allows flexible date. In place of the 24-70mm
compositional options equivalent zoom used by the previous
three generations, it’s added a
considerably longer 24-200mm
equivalent optic, while retaining almost
the same body size. With impressive
image quality across the entire zoom
range, this makes for an excellent
compact camera that’s capable of
shooting a wide range of subjects.
The class-leading spec sheet includes
24 frames-per-second continuous
shooting complete with exposure and
focus adjustment between frames, a
315-point hybrid autofocus system
Nominees including on-chip phase detection, and 4K
video recording. Another key design feature
■ Panasonic Lumix is the clever electronic viewfinder that pops up
DC-LX100 II out of the top plate and retracts when not in use. This features are all somehow crammed into a body that will
■ Panasonic Lumix facilitates the double-hinged LCD screen design, which fit into a shirt pocket. For those who can afford the
DC-TZ200 can rotate 90° down for overhead shooting, or 180° £1,149 asking price, and are prepared to put up with its
■ Sony RX100 VI forwards for selfies. handling foibles, the Sony RX100 VI might just be the
What’s particularly impressive, though, is how these perfect pocket travel camera.
Smartphone Camera of the Year Why we like it

● Triple camera including
Huawei Mate 20 Pro ultra-wideangle lens

● Fully featured camera app
includes full manual control
● DNG raw recording from all
HUAWEI has been producing some spectacular three cameras
smartphones over the past few years, with innovative
● Excellent battery life and
camera technology that’s co-engineered with
rapid charging
Leica. With this latest model, it has taken the AWARD ● Attractive, water-resistant
already-excellent camera used by its P20 Pro WINNER E design
and added a 16mm equivalent lens, 2019 HO
TP A
N
R
alongside 27mm and 80mm camera AR ME
SM CA
modules. This makes for a unique device
that brings a whole new perspective to
smartphone photography, allowing
you to switch from ultra-wideangle
‘A new perspective
to short telephoto simply by tapping to smartphone
a button.
Huawei’s camera app is both photography’
impressively well-featured and
intuitive to use. Alongside mode, which gives full manual control and
the basic point-and-shoot the ability to record DNG raw files.
Photo mode, you get an The device is based around a lovely 6.39in
Aperture mode for OLED HDR screen that’s gently curved towards
shallow depth-of-field the edges, with a fingerprint reader embedded
effects, a Night mode underneath. Its huge 4200mAh battery charges Nominees
that allows handheld quickly and is easily capable of lasting a day of
exposures up to eight seconds, intensive use. Last but not least, IP68 water- ■ Google Pixel 3 XL
and a Portrait mode including various resistance means it should survive an accidental ■ Huawei Mate 20 Pro
relighting and bokeh-simulation effects. Enthusiast soaking. For serious photographers, there’s nothing ■ Huawei P20 Pro
photographers should particularly appreciate the Pro else quite like it.
subscribe 0330 333 1113 I www.amateurph her.co.uk I 16 February 2019 49

Entry-level Camera of the Year

Canon EOS M50
Why we like it WITH this premium entry-level model, Canon is finally
offering buyers a genuine choice between DSLR and
The EOS M50 is built around a 24MP APS-C sensor
that uses Canon’s Dual Pixel CMOS technology to
● Compact size and light mirrorless. It employs an SLR-like design with a built-in provide fast, accurate phase-detection autofocus
weight central electronic viewfinder and fully articulated across most of the image area. It’s capable of shooting
● Reliable metering and auto touchscreen, while offering a similar degree of external at up to 10 frames per second, or 7.4fps with focus
white balance control to the ultra-compact EOS 200D DSLR. But adjustment between shots. Well-implemented
beneath its unassuming exterior lies a camera that’s Bluetooth and Wi-Fi connectivity makes it easy to share
● Quick and accurate
easy to use and takes great pictures. your favourite images or control the camera remotely
autofocus using your smartphone.
● Easy-to-use interface that Despite its small size, the EOS M50 handles well and
gives extensive control provides a decent level of external control,
● Fully articulated complemented by an excellent touchscreen
touchscreen LCD interface. Most importantly, it’s capable of
producing consistently fine images, with attractive
colours and well-judged exposure.
Overall this is a very likeable little camera
that manages to be simple and
approachable for novices,
while also offering a full
degree of manual
Nominees control for enthusiasts.
AWARD It’s a great option both
■ Canon EOS M50 WINNER L for beginners, and for
■ Fujifilm X-T100 2019 VE
-LE A
Canon DSLR owners
RY ER
■ Olympus PEN E-PL9 T
EN CAM
tempted by the
advantages of mirrorless.
Professional Camera of the Year Why we like it

Fujifilm GFX 50R ● Superlative image quality
with stunning detail
● Excellent design places key
controls at your fingertips
WITH the GFX 50R, Fujifilm has come up ● Intuitive dial-led operation
with a Goldilocks formula for medium- gives a fluid shooting
format digital. It’s placed a 51.4MP experience
CMOS sensor that’s 70% larger than ● Excellent viewfinder and
full frame into a relatively compact screen enables precise
body that’s just as easy to carry around composition
as a high-end DSLR. What’s more,
● Robust, weather-resistant
it’s not stratospherically more
construction
expensive either.
In terms of design, the GFX 50R uses a
rangefinder-style body with a corner-
mounted viewfinder. It’s built around
traditional analogue shutter speed and
exposure compensation dials on the
top-plate, alongside aperture rings on the AWARD
lenses. With further key controls placed at WINNER AL
your fingertips, including an electronic dial 2019 SIO
N
FES ERA
for ISO and an AF-selector joystick, it’s an O M
PR CA
absolute pleasure to use. Thanks to its dust and
weather-resistant construction, it can readily be taken
out of the studio and shot on location in tough format sensor brings addictively high image quality, Nominees
conditions, too. combining exceptional detail and phenomenal
The large, high-resolution electronic viewfinder is dynamic range with Fujifilm’s peerless colour ■ Fujifilm X-H1
joined by a tilting rear screen that facilitates shooting at reproduction. For those able to fully exploit its ■ Nikon Z 7
awkward angles, with both giving an accurate preview of strengths, the GFX 50R is a truly phenomenal ■ Fujifilm GFX 50R
how your shots will come out. Crucially, the medium- photographic tool.

Why we like it
● Robust and hard-wearing
body
● Excellent handling
● Sensational EVF at its
price point
● Responsive autofocus
system
● Promising selection of
Z-series lenses
Nominees
The Z 6 provides Nikon users

■ Fujifilm X-T3
with an easy transition from ■ Nikon Z 6
DSLR to mirrorless ■ Sony Alpha 7 III
Enthusiast Camera of the Year

and Product of the Year
AWARD
Nikon Z 6 WINNER T
2019 IA
US A
S
TH ER
EN CAM
AWARD
WINNER
2019 CT R
DU E AO Y
PR THE
O F
THE NIKON Z 6 was the real standout F-mount lenses has successfully been
camera of 2018, impressing all of us on overcome by creating the FTZ mount
the AP team. It picked up a 5-star Gold adapter. New users to the camera will be
Impressive image quality from the 24.5MP full-frame sensor Award when we reviewed it, which it has bowled over by the excellent viewing
now followed-up by winning the Enthusiast experience of the large electronic
Camera of the Year Award as well as the viewfinder, as well as the quality of the
highly coveted Product of the Year award. images it delivers. Despite being smaller
Sister to the high-resolution Z 7, the Z 6 and lighter than equivalent DSLRs, it has
is a remarkably versatile full-frame wonderful handling characteristics that
mirrorless camera that provides what so make it feel every bit like a thoroughbred
many Nikon users looking to make the Nikon to use.
transition from DSLR to mirrorless have Overall the Z 6 is an astonishingly
been waiting for. It shares the same body impressive camera for the money and is
design and uses the same large-diameter, the full-frame camera to go for if you
short back-focus lens mount as the Z 7, don’t require the Nikon Z 7’s super
but differs in that it’s more of a general high-resolution output. Nikon has entered
purpose model, incorporating a lower the high-end mirrorless market with quite
resolution 24.5MP full-frame BSI CMOS a statement and to produce a camera of
sensor, 273-point phase detection AF such high quality as the Z 6 at its first
system and fast 12fps burst shooting. attempt further highlights the firm’s
The hurdle of allowing existing Nikon commitment to challenging in the
The Z 6 has excellent handling characteristics owners to make good use of their full-frame market at the highest level.

THE EISA PHOTOGRAPHY

MAESTRO CONTEST 2019
1ST PRIZE
This Year’s Theme: h1500 & EISA Maestro Trophy
Power 2ND PRIZE

h1000 & EISA Maestro Trophy
3RD PRIZE
h750 & EISA Maestro Trophy
STOCK.ADOBE.COM/VISDIA
HOW TO ENTER UK DEADLINE: 1 MAY 2019 INTERNATIONAL JUDGING: JUNE 2019

Provide 5-8 photographs on the AP has teamed up with Photocrowd The winning entries from each of
theme of ‘Power’. All entries must to host the contest. To enter, go to the 16 participating EISA countries
be in digital format (from a digital www.photocrowd.com/maestrouk. will then be judged together at the
camera or scanned film originals). The top three will be chosen by Association’s general meeting in
the AP team and the results will be June 2019. The final results of the
inners will also be published in a June issue of AP. The International Maestro contest will
All National Maestro w
at the end of June
published on Facebook winner will win a print subscription be revealed at the EISA Awards Gala
oice competition.
for the EISA Public’s Ch to AP and go forward to the Inter- on 6 September 2019.
Prize for the winner: 81
000.
national round of the contest.
Results will be published in the September or October issues of all 16 EISA photo magazines/websites.
All three winners will be invited to Berlin at the official EISA Awards ceremony on 6 September
For further details, terms and conditions visit www.eisa.eu/maestro

Tech Talk
ofessor Newman on…
Camera and Subscribe to
imbal systems
Designed to help produce smoother handheld footage,
Amateur
Photographer
gimbals still operate as third-party devices for just
A
mateur Photographer
is primarily about stills
‘gimbals’ designed to help produce
smoother handheld footage.
be to connect together the
systems of the camera and gimbal,
£24.99*
photography, which My knowledge of these gimbals and use the motor in the lens to
means that sometimes was limited to those that I’d seen do what it was designed to do? But
technological advances from the video producers using. Mostly this doesn’t happen, even for this saving 35%
moving-picture side of the they were mechanical affairs, accessory, which Nikon has
image-making business pass us by. essentially a weight with a spring chosen to include within its own
Recently, I found myself and a damper, which slowed down kit. Another item in the kit, the Saturday 6 January 2018
Leica CL rangefinder style

TESTED Why this gorgeous
investigating gimbals, because I was and damped any hand movement. Atomos Ninja V monitor/recorder camera is Leica’s best mirrorl
ess yet
in need of an remote mechanism In a few years they have evolved has included some integration m
oney sa
vi
12-page
usive
ng offers
BUYING
for aiming a camera. In the past into something completely between the two systems. Nikon PORTRAIT SPECIAL
Passionate about photography since 188 GUIDE
xcl
597
One face
E cameras
& lenses
such equipment was called a different, with all three axes has collaborated with Atomos to
‘motorised pan-tilt head’, and these motorised, internal gyroscopes furnish a new interface that allows 50 ways
Fresh approaches for
are still available, though I would and acceleration sensors and a the recorder to collect and record creative portraits
APOY’s top
guess of limited use to most still processor controlling them. They 10-bit raw video (that means ‘raw’ portraits
Which people shots
did well, and why?
photographers. As well as these are even equipped with remote in the same sense as a still raw). Top-notch
Tokina
Superb fast 20mm
devices, my search uncovered a controls. In effect, they are fully Unfortunately, this is rare. The prime tested
range of devices generically called duplicating the action of image digital photographic world does
‘gimbals’, designed for video stabilisation in the camera, though not seem to deal in standardised Collodion
creativity
production. The advent of DSLR on a larger and slower scale. interfaces that allow efficient A modern twist on
a classic technique
The perfect small camera bag Lovely new Billingham ticks the boxes
video, and the consequent interworking between different
availability of very high quality video Filmmaker’s kit pieces of gear. The basic standards
production at much lower cost than However, these gimbals are still such as EXIF soon degrade into
before, led to the production of third-party devices. So far as manufacturer-specific ‘Maker
I know, no camera manufacturer Notes’ which according to the Never miss an issue
includes a gimbal in its own-brand, EXIF standard is ‘a tag for with delivery
system-specific accessories. manufacturers of EXIF writers to direct to your door
Recently, Nikon has record any desired information’ –
announced a that is, there is no commonality Peace of mind with
‘Filmmaker’s kit’ for its between manufacturers. For our money back
new Z 6 mirrorless translating data to and from guarantee if you
camera. Included in this kit cameras, and for remote- change your mind
is a gimbal, a MOZA Air 2 controlling them, there is
3-axis motorised rig, which supposedly the standardised
appears to be a particularly ‘Picture Transfer Protocol’ – but Access to exclusive
powerful example of the species. offers, giveaways
unfortunately few camera
and prizes with
Priced in the mid-£500 range, it manufacturers seem to adhere to
subscriber Rewards
includes many intelligent modes it, and it has not been updated
for keeping track of a moving since 2008, and so cannot begin
subject, including follow-focus and to cater for the functionality of
follow-zoom modes. These modern cameras.
require a follow-focus accessory, Which all in all, is a pity. Modern
which connects to the appropriate cameras’ AF systems are Subscribe online at
lens ring (focus and zoom) and remarkably good at tracking magazinesdirect.com/18AG
allows motorised movement. subjects, if they could be coupled
All of which began a train of directly to a gimbal, we could have
A modern thought. When attached to an AF a system that not only tracked and
video gimbal DSLR, the follow focus is kept the subject in focus 0330 333 1113
Quote code: 18AG
is a complex duplicating the function of the automatically, but also kept it in Lines open Monday – Saturday, 8am-6pm (UK time)
electro- autofocus mechanism within the frame. I can imagine that being a
mechanical
lens. Would not a better solution real boon for action photography. *Pay just £24.99 by Direct Debit every 3 months,
system with the price guaranteed for the first 12 months
and we will notify you in advance of any price
changes. Offer closes 30th September 2019.
Terms and conditions apply. For full details please
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of visit www.magazinesdirect.com/terms
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer

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KůǇŵƉƵƐ 45mm f1.2 Pro.................................................................................................. £1049 WĞŶƚĂǆ 100mm f2.8 Macro ..£477 &ƵũŝĮůŵ 35mm f2 R WR XF........................................................................ £369
KůǇŵƉƵƐ 7-14mm f2.8 Pro............................................................................................... £929 WĞŶƚĂǆ 15-30mm f2.8 .......... £1449 &ƵũŝĮůŵ 80mm f2.8 XF LM OIS WR........................................................... £1149
KůǇŵƉƵƐ 12-40mm f2.8 Pro............................................................................................. £759 WĞŶƚĂǆ 16-85mm f3.5-5.6 .... £499 &ƵũŝĮůŵ 10 24mm f4 R OIS XF................................................................... £829
KůǇŵƉƵƐ 12-100mm f4 Pro.............................................................................................. £1699 WĞŶƚĂǆ 28-105mm f3.5-5.6 ..£477 &ƵũŝĮůŵ 16 55mm f2.8 LM WR................................................................. £899
KůǇŵƉƵƐ 14-150mm f4-5.6.............................................................................................. £469 WĞŶƚĂǆ 55-300mm f4.5-6.3 ..£389 &ƵũŝĮůŵ 55 200mm f3.5 4.8 R LM OIS XF ................................................ £626
Stores Find your nearest store at wex.co.uk/stores Phone

Norwich Birmingham Belfast Bristol
Unit B, Frenbury Estate Unit 2, 100 Hagley Road Unit 2, Boucher Plaza Montpelier Central Station Road
NR6 5DP.
Tel: 01603 481933
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London Edinburgh Manchester Glasgow Call us Mon-Fri 8am-7pm,
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Tel: 02073 801144 Tel: 01315 539979 Tel: 01612 744455 Tel: 01612 744455
• 30-Day Returns Policy† • Part-Exchange Available • Used items come with a 12-month warranty††
Pursue perfection – Capture the future with the new

The new EOS 5D Mk IV full-frame mirrorless EOS R
From the darkest shadow to the brightest Canon joins the full-frame
highlight, a 30-megapixel CMOS sensor ŵŝƌƌŽƌůĞƐƐ ƉĂƌƚǇ ǁŝƚŚ ƚŚĞ K^ Z
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never seen before. and video.
K^ ϱ DĂƌŬ /s Body £2799
EOS R Body £2349
EOS R + 24-105mm £3269
RF 50mm f1.2 L USM £2349
30.4 7.0 &Ƶůů &ƌĂŵĞ
RF 28-70mm f2 L USM £3049 30.3 780 4K30P
megapixels fps CMOS sensor megapixels fps movie mode
K^ ϱ DĂƌŬ /s Body £2799 EOS R Body From £2349
EOS 77D EOS 7D Mark II EOS 6D Mark II EOS 1D X Mark II
26.2
megapixels
24.2 20.2 6.5 fps 20.2
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& Ƶůů&ƌĂŵĞ ϭϬ'ϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
CMOS sensor movie mode CMOS sensor CMOS sensor
EOS 77D From £699 EOS 7D Mark II Body £1349 EOS 6D Mark II from £1499 EOS 1D X Mark II Body £4999
EOS 77D + 18-55mm £799 EOS 7D Mark II Body £1349 EOS 6D Mark II Body £1499 EOS 1D X Mark II Body £4999
EOS 77D + 18-135mm £1045 EOS 6D Mark II + 24-105mm £1849
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• 10cm Min Height
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• 170cm Max Height
• 9cm Min Height
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• 150cm Max Height
• 21cm Closed Length
• 1Kg Max Load
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with 12 months warranty* ^ĞƌŝĞƐ ϱ ϰ^ y> ...................................... £999 MT055XPRO3.................................... £129 ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ<ŝƚϭ< .............£29.95
^ĞƌŝĞƐ ϱ ϰ^ > ........................................ £819 MT055CXPRO3 Carbon Fibre ............. £289 Available in Twist and Lever 'ŽƌŝůůĂƉŽĚ<ŝƚϯ< .............£67
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£399 £519 £269 £699 £569 £259 £479 £659 £249 £619 £134 £279 £399 £249
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on orders over £50 (based on a 4-day delivery service).
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our charges are £4.99**. Saturday deliveries are charged
at a rate of £7.95**. Sunday deliveries are charged at a
sŝĞǁĮŶĚĞƌ 6m Background FlashBender2 Wall ZĞŇĞĐƚŽƌ rate £8.95**.;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ ƚŽ E/ Žƌ
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&ůĞǆddϱ£199 £246 £160 £54 £169.99 £37.95 System £94.99 £61.99 From £33.99 £28.99 Chat operates between 9.30am-6pm Mon-Fri and may
not be available during peak periods. †Subject to goods
Kī ĂŵĞƌĂ being returned as new and in the original packaging.
ŇĂƐŚ ŽƌĚ Where returns are accepted in other instances, they may
From £38 be subject to a restocking charge. ††Applies to products
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
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ϱϬĐŵ £27 for spares only). Wex Photo Video is a trading name of
Collapsible ϳϱĐŵ £44 ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
Ice Light 2 Umbrella Flash Kit ǌǇďŽǆ ^ƉĞĞĚ ǌǇďŽǆ ,ŽƚƐŚŽĞ ǌǇĂůĂŶĐĞ'ƌĞǇ Background dƌŝ&ůŝƉ <ŝƚƐ Urban Collapsible ϱĐŵ £69 dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ! ĂŶĚ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ
£519 £109 Lite 2 £54 From £129 White £24.95 Support £145 From £79 £174 ϭϮϬĐŵ £84 £29.95 ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲ!ϳϲ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ
2019.*CASHBACKS ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
with the manufacturer. Please refer to our website for
details.
Online Phone
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Lenses
EF S 17 55mm f2.8 IS USM ........................... £779
EF S 18 200mm f3.5 5.6 IS............................ £479
CANON LENSES EF S 55 250mm f4 5.6 IS STM ...................... £299
TS E 24mm f3.5L II ........................................ £1799 TAMRON LENSES - with 5 Year Manufacturer SIGMA LENSES -with 3 Year Manufacturer
EF 35mm f1.4L II USM................................... £1629 Warranty
EF 35mm f2 IS USM....................................... £519 TS E 50mm f2.8L Macro................................ £2199 Warranty
20mm f1.4 DG HSM Art .................................£699
EF 40mm f2.8 STM........................................ £199 TS-E 135mm f4 L Macro ................................ £2199 85mm f1.8 SP Di VC USD ...............................£749
24mm f1.4 DG HSM .......................................£649
EF 50mm f1.2L USM...................................... £1239 16 300mm f3.5 6.3 Di II VC PZD Macro.........£499
18 200mm f3.5 6.3 Di II VC............................£199 30mm f1.4 DC HSM .......................................£359
EF 50mm f1.4 USM ....................................... £349 35mm f1.4 DG HSM .......................................£649
EF 50mm f1.8 STM........................................ £119 18 400mm f3.5 6.3 Di II VC HLD....................£649
24 70mm f2.8 Di VC USD G2 .........................£1199 50mm f1.4 DG HSM Art . ..............................£569
EF 85mm f1.2L II USM.................................. £1849 85mm f1.4 Art DG HSM .................................£999
EF 85mm f1.4L IS USM.................................. £1379 70 200mm f2.8 Di VC USD G2 .......................£1289
70 210mm f4 Di VC USD................................£599 105mm f2.8 APO EX DG OS HSM Macro .......£359
EF 85mm f1.8 USM ....................................... £389 8 16mm f4.5 5.6 DC HSM..............................£599
EF 100mm f2.8 USM Macro.......................... £519 NIKON LENSES 70 300mm f4 5.6 SP Di VC USD.....................£329
10 20mm f3.5 EX DC HSM .............................£329
EF 100mm f2.8L Macro IS USM .................... £849 20mm f1.8 G AF S ED.................................... £729 100 400mm f4.5 6.3 Di VC USD.....................£749
17 70mm f2.8 4.0 DC OS HSM ......................£349
EF 135mm f2 L USM...................................... £959 24mm f1.4 G AF S ED.................................... £2179 150 600mm f5 6.3 SP Di VC USD...................£799
18 35mm f1.8 DC HSM .. ...............................£642
EF 300mm f4 L IS USM.................................. £1269 35mm f1.8 G ED AF S.................................... £489 150-600mm f5-6.3 VC USD G2 ......................£1129
18 250mm f3.5 6.3 DC Macro OS HSM.........£349
EF 500mm f4 L IS II USM............................... £8299 35mm f1.8 S Lens.......................................... £849 18 300mm f3.6 6.3 C DC Macro OS HSM......£369
EF 11 24mm f4L USM ................................... £2789 50mm f1.4 G AF S ......................................... £429 24 70mm f2.8 DG OS HSM ............................£1199
EF 16 35mm f2.8L III USM ............................ £1844 50mm f1.8S L ................................................ £599 24 105mm f4 DG OS HSM .............................£599
EF 16 35mm f4L IS USM ............................... £949 60mm f2.8 G AF S ED.................................... £579 50 100mm f1.8 DC HSM Art .........................£949
EF 17 40mm f4 L USM .................................. £693 85mm f1.8 G AF S ......................................... £469 SONY E-MOUNT LENSES
70 200mm f2.8 EX DG OS HSM .....................£899
EF 24 70mm f2.8L IS USM II.......................... £1729 105mm f2.8 G AF S VR IF ED Micro .............. £849 FE 24mm f1.4 G Master .................................£1449
100 400mm f5 6.3 DG OS HSM.....................£699
EF 24 70mm f4L IS USM ............................... £789 300mm f4E AF S PF ED VR ............................ £1709 FE 28mm f2 ....................................................£399
120 300mm f2.8 OS.......................................£2699
EF 24 105mm f3.5 5.6 IS STM ...................... £414 500mm f5.6E PF ED VR AF S......................... £3699 FE 50mm f1.8 .................................................£179
150 600mm f5 6.3 C DG OS HSM..................£789
EF 24 105mm f4L IS II USM........................... £999 8 15mm f3.5 4.5E ED Fisheye....................... £1229 FE 85mm f1.4 G Master .................................£1649
150-600mm f5.0-6.3 S DG OS HSM ...............£1329
EF 28 300mm f3.5 5.6 L IS USM ................... £2289 10 24mm f3.5 4.5 G AF S DX ........................ £799 FE 85mm f1.8 .................................................£599
EF 70 200mm f2.8 L IS III USM...................... £2099 16 80mm f2.8 4E ED AF S DX VR.................. £989 FE 100mm f2.8 G Master...............................£1499
EF 70 200mm f4 L IS II USM.......................... £1299 18 200mm f3.5 5.6 G AF S DX VR II.............. £429 FE 12 24mm f4 G ...........................................£1449
EF 70 300mm f4 5.6 L IS USM ...................... £1199 18 300mm f3.5 5.6 ED AF S VR DX................£989 FE 16 35mm f2.8 G Master............................£2199
EF 70 300mm f4 5.6 IS II USM...................... £464 24 70mm f2.8 G ED AF S................................£1709 FE 24 70mm f2.8 G Master............................£1829
EF 100 400mm f4.5 5.6L IS USM II ............... £1999 24 70mm f2.8E AF S ED VR............................£2099 FE 24 70mm f4 ZA OSS Carl Zeiss T* ............. £749
EF S 35mm f2.8 Macro IS STM ..................... £369 24 120mm f4 G AF S ED VR ...........................£1049 FE 70 200mm f2.8 G Master..........................£2399
EF S 60mm f2.8 USM Macro......................... £439 28 300mm f3.5 5.6 G ED AF S VR..................£939 FE 70 300mm f4.5 5.6 G OSS......................... £1079
EF S 10 18mm f4.5 5.6 IS STM ..................... £239 70 200mm f2.8E AF S FL ED VR .....................£2549 FE 100-400mm f4.5-5.6 OSS G Master ..........£2449
EF S 10 22mm f3.5 4.5 USM ........................ £529 70 300mm f4.5 6.3 G ED DX AF P VR ............£329
EF-S 15-85mm f3.5-5.6 IS USM ..................... £679 200-500mm f5.6E AF-S ED VR .......................£1315
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 ....£374
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, Canvas/Leather: Khaki, Black
manoeuvring • 7” tablet where a DSLR with FibreNyte/Leather: Khaki,
in busy airports
and crowded
24-70mm f2.8 lens Sage, Black. Datacolor Spyder Intuos Pro Professional
attached Digital .............................£119 5 Pro.................£119 Pen and Touch Tablet
streets. Anvil: Small...............................£149
Pro Runner: Flipside: Messenger S..................... £84 Anvil Slim.................£119 i1 Display Pro Small................... £179
Large...............................£179 ColorMunki......£178 Medium ............. £299
W ϯϱϬ t //.................... £174 ϯϬϬ t // ........................ £109 Messenger M ................... £99 Anvil Super ..............£134 Pro Original ................... £189
WϰϱϬ t //.................... £189 ϰϬϬ t // ........................ £129 ĂĐŬƉĂĐŬ .......................... £129 Anvil Pro ..................£126 Hadley One.................... £249 Smile ..................£90 Large................... £439
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
PowerShot SX620 HS................................... £179
4.2x 4.2x 5.0x PowerShot SX730 HS................................... £299
ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ
PowerShot SX740 HS................................... £349
1080p 1080p 1080p PowerShot G9 X II........................................ £379
movie mode movie mode movie mode
PowerShot G5 X PowerShot G1 X III ...................................... £1089
PowerShot G7 X Mark II PowerShot G1 X Mark II Premium Kit
£599 PowerShot G3 X........................................... £779
£529 £649
Black or Lumix FZ1000 ........................................... £528

Silver Lumix FZ2000 ........................................... £879
24.3 Lumix TZ90 ............................................... £319
megapixels
20.1 20.1 Lumix TZ100 ............................................. £490
1080 17 megapixels megapixels
movie mode megapixel
&ƵũŝĮůŵyϭϬϬ& Lumix LX100 II Lumix TZ200 Lumix DMC-LX15
£1199 £849 £629 £429
Theta V Digital Theta SC Digital

16
New Spherical Camera Spherical Camera - White
4K megapixels 4K movie mode and ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ ' ŝŶƚĞƌŶĂů
movie mode
ϯϲϬΣ ƐƟůůƐ ƐƚŽƌĂŐĞ ůŝƚŚŝƵŵ ŝŽŶ ďĂƩĞƌǇ
Stylus TG-5 Ricoh WG-60 iOS and Android supported 16
£349 £230 ..................................... £179
megapixels Coolpix W300
............................. £349 £344
Available in black and red
New
16 18.2
megapixels megapixels
125x 30.0x 20.1 20.1

Ž
ƉƟĐĂůǌŽŽŵ ŽƉƟĐĂůǌŽŽŵ megapixels megapixels
Coolpix P1000 Cyber-Shot HX90V Cyber-Shot RX10 Mark IV Cyber-Shot RX100 Mark VI
£999 £299 £1799 £1149 DJI Mavic 2 from £1099
FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.
VISIT OUR WEBSITE - UPDATED DAILY
www.parkcameras.com/ap
OR PHONE US 7 DAYS A WEEK
01444 23 70 60
Experts in photography Unbeatable stock availability Competitive low pricing UK stock
30.4
MEGA
7 fps
3.2” 4K
PIXELS
FULL FRAME NEW!
No matter what you’re shooting, be assured NO COMPROMISE
of uncompromising image quality and a
S1R S1
thoroughly professional performance. 47.3 24.2
12 months 0% finance available. MEGA
PIXELS
MEGA
PIXELS 9 fps
3.2” IS 4K
See in store or online to learn more. In stock from £2,799.00
The new LUMIX S Series Full-Frame
Mirrorless cameras are finally
Canon EOS 80D Canon EOS 6D Mark II Canon EOS R here. Industry leading quality and
performance designed to capture
24.2 26.2 30.3 the creative vision of professional
MEGA MEGA MEGA photographers.
PIXELS 7 FPS PIXELS 6.5 FPS PIXELS 8 FPS
Body only +18-55 IS STM Body only Add a BG-E21 Body only Add a LP-E6N S1R Body only £3,399.00 S1 Body only £2,199.00
grip for only battery for
£979.00 £1,099.00 £1,499.00 £195.00 £2,349.00 only £74.99
Add a Canon BG-E14 Add a Canon LP-E6N Add the RF 35mm f/1.8 IS Benefit from up to £600 trade-in bonus & FREE Lumix Pro Platinum
Battery Grip for £179.00 spare battery for £74.99 STM Macro lens for only £449 support membership worth £179 when pre-ordering! Offer ends 31.03.2019
Prices updated DAILY! Visit us in store, online at LUMIX S 50mm LUMIX S 24-105mm LUMIX S 70-200mm
CANON LENSES parkcameras.com or call us on 01444 23 70 60
f/1.4 (Certified by LEICA) f/4 Macro O.I.S f/4 O.I.S (Certified by LEICA)
24mm f/1.4L Mk II USM.................£1,419.00 16-35mm f/4.0L IS USM .................... £949.00
24mm f/2.8 IS USM................................ £519.00 17-40mm f/4.0L USM........................... £709.00
35mm f/2.8 Macro IS STM............... £369.00 18-135mm f/3.5-5.6 IS USM.......... £429.00
50mm f/1.2 L USM ..............................£1,239.00 24-70mm f/2.8L II USM ..................£1,729.00
50mm f/1.4 USM....................................... £339.00 24-70mm f/4.0L IS USM .................... £789.00 £2,299.00 £1,299.00 £1,749.00
50mm f/1.8 STM........................................ £119.00 24-105mm f/4L IS II USM................. £949.00 £200 trade in bonus available! 24 months 0% finance £200 trade in bonus available!
See website to learn more available see website See website to learn more
100mm f/2.8 USM Macro................. £519.00 28-300mm f/3.5-5.6L IS .................£2,289.00
100mm f/2.8L Macro IS...................... £849.00 55-250mm f/4-5.6 IS STM................ £299.00
135mm f/2.0L USM ................................ £959.00 70-200mm f/2.8L IS II USM........£1,599.00
26.1
180mm f/3.5L USM ............................£1,269.00 70-200mm f/2.8L IS III USM.......£2,149.00 MEGA 3.0” 4K
11 fps
200mm f/2.0L IS USM......................£5,439.00 70-200mm f/4.0L IS USM................. £999.00 PIXELS
300mm f/2.8L USM IS II.................£5,599.00 70-200mm f/4.0L IS II USM........£1,299.00 The X-T3 provides you with superb image
8-15mm f/4L Fisheye USM..........£1,149.00 70-300mm f/4.0-5.6 IS II USM..... £464.00 quality & an enhanced ability to track a
10-18mm IS STM ...................................... £239.00 70-300mm f/4.0-5.6L IS USM...£1,229.00 moving subject with AF performance
10-22mm f/3.5-4.5 .................................. £529.00 100-400mm L IS USM II ................£1,999.00 improvement & blackout-free burst shoot
11-24mm f/4L USM............................£2,789.00 1.4x III Extender......................................... £409.00 FREE VF-XT3 BATTERY GRIP WORTH £299!
16-35mm f/2.8L III USM.................£2,049.00 2.0x III Extender......................................... £399.00 See in store or online for full details. Offer ends 31.03.19 from £1,349.00
20.4 Fujfilm X-PRO2 Fujfilm X H1 Claim up to

IS
3.0” 4K
£530
MEGA
PIXELS 15 fps
NEW! 24.3 24.3
Get ready to experience the newest OM
MEGA
PIXELS
MEGA
PIXELS
4K cashback
in professional photography. This is the Body only Graphite Body only X-H1+ Grip on selected
E-M1X – an all new category of OM-D fo
the demanding professional. Expected late Feb. ‘19 £1,299.00 £1,799.00 £1,199.00 £1,299.00 FUJIFILM Lenses.
Add a Fujifilm NP-126s Add a Fujifilm VPB Battery See in store or online
£200 trade-in bonus! See in store or online to learn more. £2,799.00 battery for only £49.99 grip for only £319.00 to learn more.
Ends 31.03.19
Olym Olym Olympus E-M5 Mk II 51.4 15

MEGA FILM 3.2” 1080p
PIXELS MODES
16.1 16.1 16.1
MEGA MEGA MEGA IS Introducing the rangefinder style model to
PIXELS 8 FPS PIXELS 8 FPS PIXELS
the Fujifilm GFX medium format digital
Body only +14-42 EZ Body only +14-42 EZ Body only +12-40mm mirrorless system! This camera will be ideal
£429 .00
£529 .00
£529 .00
£579 .00
£799 .00
£1,229.00 for street and documentary photography.
Add an Olympus BLS-50 Spread the cost with our Add an Olympus BLN-1 £270 TRADE-IN BONUS AVAILABLE!
battery for only £49.99 finance options. See web. battery for only £49.00 See website for lastest stock availability Body only £3,999.00
Sigma 85mm Sigma 24-70mm Sigma 70-200mm Manfrotto Befree Manfrotto 055 Manfrotto XPro
f/1.4 DG HSM | Art f/2.8 DG OS HSM | Art f/2.8 DG OS HSM | S Advanced 4-section Carbo 4-section Mono
Carbon Fibre Fibre Tripod with Fluid Head
Travel Twist FLUIDTECH bas
MKBFRTC4-BH MT055CXPRO3 MVMXPRO500
Our price Available in Our Price Available in Now in stock! Available in Our Price See website Our Price See website AP Special! Normally £149
Canon, Nikon Canon, or Canon, Nikon for even more for more 055 *Offer ends
.00 .00 .00
£899 or Sony fit £1,199 Nikon fits £1,349 or Sigma fit £198 .00 Tripods! £249 .00 Tripods! £135 .00*
28.02.2019
Add a Sigma 86mm WR UV Add a Sigma 82mm WR UV Add a Sigma 82mm WR UV Visit us in store to try this For a range of heads, Visit us in store or call 01444
Filter for only £99.99 Filter for only £54.95 Filter for only £54.95 tripod out for yourself! visit www.parkcameras.com 23 70 60 for this offer!
Tamron 18-400mm Tamron 100-400mm Joby GorillaPod 5K Lowepro Photo Lowepro Flipside
f/3.5-6.3 Di II VC HLD f/4 5-6 3 Di VC USD Suitable for Classic BP 300 AW 400 AW II
DSLRs & CSC Backpack Backpack
In stock! Available In stock! Available In stock! Available in Our Price See website from See website Our Price See website
in Canon, in Canon, Canon, Nikon for more Joby for more for more
.00 .00 .00
£649 or Nikon fits £749 or Nikon fits £1,129 or Sony fit £138.00 Tripods! £84.95 Lowepro bags! £129.00 Lowepro bags!
Add a Hoya 72mm NX-10 UV Add a Hoya 67mm NX-10 UV Add a Kenko 95mm Ideal to hold your DSLR or Visit us in store to try this Visit us in store to try this
Filter for only £32.95 Filter for only £28.95 UV Filter for only £99.00 Mirrorless camera! backpack out for yourself! backpack out for yourself!
All prices include VAT @ 20%. See website for our opening times for both our London and Burgess Hill stores.
Keep up-to-date with all the latest new
All products are UK stock. E&OE. *Please mention “Amateur Photographer” for this special price.
Prices correct at time of going to press; Prices subject to change; check website for latest prices. products and news with Park Cameras!
Limited edition prints of iconic images.

Hand printed and framed to order,
from £59 unframed or £89 framed.
www.soniceditions.com/amateurphotographer
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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
camera and equipment?
If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
theft is always present. Accidents can also happen, whether its your fault or someone else’s – dropping
a lens or knocking over a tripod are easy but can be expensive mistakes to make.
As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
have the potential to damage your kit in the pursuit of the perfect shot.
Amateur Photographer Insurance Services can be there to help protect against the things that
threaten your photography:
Theft Accidental Worldwide

(excludes from a vehicle,
unless option added
Damge cover
to policy) (excludes wear and tear) (20 days during any one
period of insurance – options
available to extend cover)
To take a closer look or for a quote visit

www.amateurphotographerinsurance.co.uk
or call 0345 450 7203
Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services
Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Lloyd’s Broker. Registered in England
under No. 00338645 Registered office: Rossington’s Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW.
TI Media Limited is an Appointed Representative of Thistle Insurance Services Limited.
TPD0769 1 0718
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To advertise here, call Bradley Turner: 01252 555374 Email: bradley.turner@ti-media.com
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Light Tents

Legends
of photography Hassau chieftains in
grandiosely, they divided up
the globe between them,
Chad demonstrate
their superb though Capa (who seems to
horsemanship in have been the originator of the
an image by Rodger cooperative) reserved the right
from 1941 to roam freely. David Seymour
(‘Chim’) took Europe; Bill
Vandivert, the USA; Cartier-
Bresson, India and the Far
East; and Rodger, Africa and
the Middle East. A Hungarian,
a Pole, an American, a
Frenchman and an
Englishman walk into a picture
agency they’ve just founded...
Discovering photography
Rodger originally taught
himself photography so that
he could illustrate his travel
writing, but as it turned out,
he wasn’t all that good as a
writer. Photography was
another matter and by about
1936 he was a staff
photographer on the BBC’s
The Listener magazine,
photographing guest speakers
for the wireless. In 1936, the
BBC launched the world’s first
high-definition television
service, but with the outbreak
of war, Rodger’s job
disappeared, leaving him
unemployed.
© GEORGE RODGER / MAGNUM PHOTOS
Photography was however a

reserved occupation (i.e.
photographers were not
automatically subject to
conscription) and so he was
able to start working for the
Black Star agency – also
subsequently the liberation founded in 1936 – and this
George of much of Europe including

Paris. He was also one of
the first photographers into
Belsen; which leads directly to
rapidly turned into a contract
with Life magazine (1936 yet
again), with which Black Star
had a very close relationship;
Rodger his African photography. hence his subsequent career as

© TIME LIFE / GETTY
By his own account, he a war correspondent.

realised that something had It is hard to say whether he
gone badly wrong when he had a particular photographic
found himself searching style, because his pictures vary
A photographer frequently found in for the best compositions
when photographing stacks
enormously. There are
dramatic group action shots
the theatre of war who had empathy of emaciated corpses in
concentration camps. He
such as the one seen here;
groups or crowds where one
and understanding of his subjects, decided to go to Africa and
photograph people who
person stands out; and
individuals, sometimes very
says Roger Hicks had been unaffected, or poignant. Often we feel a
A
only slightly or tangentially strange sense of familiarity
sk most post-war African work. He affected, by the carnage he had even if their circumstances are
photographers what worked in more theatres of war witnessed, experienced and unbelievably different from our
they know about than most, beginning with the photographed. own: an air raid warden in the
George Rodger Blitz in London. Thereafter, Blitz, perhaps, or a Nuba
(1908-1995) and they’ll tell you under the auspices of Life Founding Magnum tribesman half a century and
that he was one of the founders magazine, he covered conflict Shortly aftewards, in the more ago. This, in truth, was
of Magnum. After that, they in West Africa and Burma, the spring of 1947, he was one of his style: enormous sympathy
are most likely to recall either Italian landings, the D-Day the five founding members of with, and understanding
his war photographs or his landings in Normandy, and Magnum. Somewhat of, his subjects.

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Saturday 16 February 2019

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