Saturday 13 November 2021

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TESTED digital medium format camera yet

Britain’s best
Passionate about photography since 1884

landscapes
Tips for success from the
2021 winners of Landscape
Photographer of the Year
Marsel
van Oosten
Adding context to
your wildlife shots

Joe McNally
Field notes from one of the
world’s top photographers
94.3£

KELSEYmedia

Shooting film Dr Kelly-Ann Bobb on why film photography is worth the cost
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 Banca do Antfer
Telegram: https://t.me/bancadoantfer
Issuhub: https://issuhub.com/user/book/1712

It never ceases to amaze me that

despite the fact that we live on
quite a small island, the
Y L L A N C M E OJ © / R E W E S E M A J © S E R U T C I P R E V O C
7days
public this achievement is all the more remarkable.
If I wore a hat I would raise it to the many talented
landscape photographers of the British Isles. Instead

Landscape Photographer of the I present our annual selection of favourites from

Year competition continues, after
14 years, to surprise and impress
us with astonishingly good images that we don’t
feel like we have seen many times before. When
you factor in how much of the UK is developed
and how much private land is out of bounds to the
among the winners. Do check out the LPOTY
website to see the rest though. Also this week we
talk to Joe McNally, who has taken more than a
few pretty amazing pictures himself, and we test
Fujifilm’s stunning new medium format camera.
It’s a game-changer! Nigel Atherton, Editor

This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
cover image
SOMETHING TO SAY? Write to us at ap.ed@kelsey.co.uk with your letters, opinion columns (max 500 words) or article suggestions.
PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to ap.ed@kelsey.co.uk.
JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
‘Golden Rocks’ by James facebook.com/ flickr.com/groups/
Ewer, Highly Commended amateurphotographer.co.uk amateur.photographer.magazine amateurphotographer @AP_Magazine @ap_magazine

This weekin 1980

in the Classic View section
of this year’s LPOTY. See
our feature on page 12

In this issue TREASURES FROM THE HULTON ARCHIVE

3 7 days
6 Enter the AP
ChristmasCover
competition
12 The beauty
ofBritain
18 Inbox
20 Addingcontext
tosubjects
26 The realdeal
32 Chemical
connections
38 Fujifilm
GFX50S II
44 Filmstars
48 Accessories
49 Techtalk
53 BuyingGuide:
Cameras
66 Final analysis
Diana Spencer byCentral Press
Press interest in the late Diana, Princess of Wales months before the couple announced their
started right from the beginning of her relationship engagement in February 1981. How the rest of the
with Prince Charles. Here she is, aged just 19, story played out is of course extremely well-known,
pictured leaving her flat in Coleherne Court in Earl’s with many attributing her death to the role the
SUBSCRIBE Court. It was taken in November 1980, just a few paparazzi played in their pursuit of her.
AND SAVE!
See page 24 for details
The Getty Images HultonArchive is one of the world’s great cultural resources. Tracing its origins tothe foundingof the London Stereoscopic
Company in 1854, today it housesover 80mil ion imagesspanning the birthof photography to the digital age. Explore it at www.gettyimages.com.
 AP pic ture
Our favourite photos posted by readers
on our social media channels this week

of the week
The Dark Web
by Martin Donald Smith
Canon EOS R5, Sigma 135mm Art f/1.8,
1/2500sec at f/1.8, ISO 640
‘I was out on a foggy morning in some local woodland
and my eye was drawn to a young beech tree and the
dew and light of this delicate web,’ says Martin, an
amateur landscape and outdoor photographer based
near Falkirk, Scotland. ‘I used a tripod to help with
framing and deliberately opened up the lens and
increased the ISO slightly so that I could use selective
focus to direct the viewer’s eye towards the heart of the
web and freeze the action, as there was a slight
breeze.’ Find Martin on Instagram @martindonaldsmith
or Twitter @martindonaldsm1.

#appicoftheweek
Win!
Each week we choose our favourite picture on Facebook,
Y R E V I L ED R O F S Y A D 82 O T P U W O L L A E S A E L P *

Instagram, Flickr or Twitter using #appicoftheweek. PermaJet

proudly supports the online picture of the week winner, who will
receive a top-quality print of their image on the finest PermaJet
paper*. It is important to bring images to life outside the digital
sphere, so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.
4
Golden Valley
by Natalie Wright
Panasonic Lumix S5, Panasonic
20-60mm f/3.5-5.6 at 45mm,
1/320sec at f/11, ISO 200
Natalie says, ‘I captured this image at the
end of a long hike in the Lake District
quite by chance. Tiring towards the Great
Gable summit, I had to turn back. I was
greeted by the most amazing light
bursting through the clouds when I got
back to Windy Gap, looking down
Ennerdale valley. My camera was
handheld and I underexposed the
shadows to keep the detail in the clouds.
What made it more challenging was the
swarms of flying ants and mosquitoes all
around me!’ Find Natalie on Instagram
@nataliesphotojournal and Facebook
www.facebook.com/NatsPhotographyUK.

Want to see your pictures here? Share them with our Flickr,
Instagram, Twitter, or Facebook communities using the
hashtag #appicoftheweek. Or email your best shot to us at
ap.ed@kelsey.co.uk. See page 3 for how to find us.
5
 Be a Christmas
cover star
Would you like to see one of your images in print,
on the cover of the world’s number one weekly
photography magazine? If so, read on…
Tips for
cover success
Don’t crop in too tightly
THE HOLIDAY season is have something on file, Leave space for the magazine
almost upon us, which
means it’s time for Stir-up
great; if not try to shoot
something specifically for
HOW TO ENTER ‘furniture’ – masthead, coverlines
and any graphic devices that we use
Sunday, sentimental TV the competition. The competition is open to to describe what’s in the issue. Busy
adverts, and the Amateur Don’t forget that to everyone, whether amateur or images that have lots of detail are
Photographer Christmas succeed as a cover photo, professional. There are two generally unsuitable as they make
cover contest. Here is a images will need space at the ways to enter: superimposed text tricky to read.
once-in-a-lifetime top for the AP masthead,
opportunity to have your plus plenty of space for the 1 Post them on your Instagram Shoot portrait-format
work featured on the front coverlines. (See right for our or Twitter feed, and be sure to pictures
cover of the world’s number insider tips for success). use the hashtag #apxmascover. While it’s not unheard of for us to
one weekly photography We’ll contact you for the use a section of a landscape-format
magazine over Christmas! The prize high-res file if your picture is image, your chances are improved
You are free to interpret The overall winner (as shortlisted. by shooting in the upright format.
the theme in any way you judged by the AP team) will
choose: naturally we are see their picture grace the 2 Email your images to us at Make eye contact
happy to see shots of cover of the bumper AP ap.ed@kelsey.co.uk. Emailed If you’re submitting a portrait,
baubles, trees and lights, but Christmas Special issue (18 images should be in the JPEG ensure good eye contact, with the
we also want pictures that December 2021). They will format and be a minimum of subject looking directly into the lens.
show the creative potential also receive a cash prize of 2,000 pixels wide along the Make sure the eyes are pin-sharp.
of the season in general, so £100, and a one-year longest side.
feel free to submit winter subscription to AP. Provide plenty of options
landscapes, indoor portraits, A selection of commended Try various angles and subject
frosty flora and fauna etc.  entries will be published For full terms and conditions, visit placements, with the main focal
If you think you already inside the magazine. amateurphotographer.co.uk. point to the left, the right and centre,
to give the art editor lots of options
The closing date for entries is midnight on Friday 26 November 2021 for where to put the coverlines.
6 www.amateurphotographer.co.uk
 Photography and videography can change us.
They change the way we feel.
Our understanding.
They change our hearts and minds.
They change the rules.
Testing the limits of our comfort zones.
Changing the way others see the world.
See themselves.
Together let’s change the way we do things.
Change the narrative.
Change the bigger picture.
Open up opportunity.
Give more people a voice.
Put camera kit in more hands.
Create a more sustainable future.
A future with more people included in it.
Here’s to the stories to come.
MPB

Change gear.
mpb.com Buy. Sell. Trade. Create. Rated ‘Excellent’ 4.9/5 based on 14,000+ reviews

Adobe launches free
Lightroom Academy
AS WELL as updating Lightroom and
Photoshop (see right), Adobe has
announced the new Lightroom Academy.
The new service is ‘dedicated to sharing
photographic knowledge that informs,
inspires and supports photographers with
a wide level of experience, equipment, time
and resources’, says Adobe, and it’s free to
use, with no sign-up or Creative Cloud
membership required. As well as sharing
best practice and useful tips, each module
sets some simple homework, aka ‘On Your
Own Activity,’ with details of the gear
needed and the time it should take. For the
range of currently available modules, see
lightroom.adobe.com/academy.
Stereo ga-ga
QUEEN guitarist and stereo
photography obsessive Brian May is
launching a book called Stereoscopy: The
Dawn of 3-D, featuring a selection of
photos depicting Victorian life. Some come
from Brian’s archive (one of the largest
collections in the world) and include a
previously unpublished stereo image of
Charles Dickens. The book is written by
Denis Pellerin, with Brian editing and
publishing it through his London
Stereoscopic Company. ‘It’s actually the
most important book we have ever
produced because it chronicles the birth
and first steps of what we now call 3-D,’
said Brian. It’s available from 10 November
for £60 from shop.londonstereo.com.
8 www.amateurphotographer.co.uk
OM System 20mm f/1.4
Pro prime lens unveiled
OM DIGITAL Solutions has announced array of seals arranged around the barrel. A
that it will no longer be using the fluorine coating on the front element repels
Olympus name on its cameras and lenses, water and fingerprints.
and revealed the first product under its new In terms of design, the 20mm F1.4 is
OM System brand. The M.Zuiko Digital ED
20mm F1.4 Pro is a large-aperture
simplified compared to its more expensive
f/1.2 Pro siblings, lacking either
standard prime that
should be suitable for
shooting a wide range
of subjects, while
an L-Fn button on the
barrel or a push-pull
manual focus clutch.
This helps it to remain
promising premium compact and lightweight
optics and build quality. at 247g and 61.7mm
Of the 11 elements in length, while
used in its optical accepting 58mm filters.
design, no fewer than The OM System
eight are either 20mm F1.4 Pro is due
constructed from to go on sale at the end
special glass or use of November for £649.
aspherical profiles, in
order to minimise
optical aberrations. It’s The OM System
dust-, splash- and 20mm f/1.4 is
freeze-proof to the IPX1 compact and
standard, thanks to an lightweight
The Lightroom
updates include
more precise
masking
Lightroom and Photoshop updates
ADOBE has announced a range of ‘mask all objects’ in a layer, and new Neural
updates for Lightroom and Photoshop, filters based on Sensei AI machine learning,
both desktop and mobile. using one click or adjustment sliders. The
Lightroom additions include more precise new Harmonization filter, for example, helps
selection and masking, eight additional you to blend two images with matching colour.
premium preset packs, crop overlays Also announced is a new Photoshop on the
including Golden Ratio and Golden Spiral, and Web (beta) app that lets you edit and view
‘Community Remix’ – enabling you to share your work in a web browser.
your edits with other Lightroom users and Meanwhile, Photoshop on iPad updates
invite them to try alternative approaches. include the ability to process raw files from an
Photoshop updates include a one-click iPhone 12 Pro and 13 Pro (ProRAW).
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LEE reveals ‘Elements’
circular filters
LEE FILTERS has announced LEE
Elements, a range of circular filters
for photographers and videographers.
Available in 67mm, 72mm, 77mm and
82mm, the Elements range comprises
five filter types: Little Stopper (offering 6
stops of light reduction), Big Stopper (10
stops of light reduction), CPL (circular
polariser) and two densities of VND
(variable ND, providing 2-5 or 6-9 stops of
light reduction). The filters all feature a
robust black anodized aluminium frame.
‘For the first time, LEE’s renowned
Stopper filters for long-exposure
photography are available in a circular
Police apology aer photographer arrest
PHOTOGRAPHER Andy Aitchison has
received an apology and damages
from Kent Police after he was unlawfully
arrested and detained for taking pictures
of protesters demonstrating against
conditions at Napier Barracks asylum
camp on 28 January this year. Despite
showing his press card, Andy was
arrested at home in Folkestone some
seven hours after he took the photos;
it’s believed the police saw his picture
credit on Kent Live, a local news site.
‘I apologise unreservedly to Mr
Aitchison for his unlawful arrest, false
imprisonment and breach of his human
rights,’ said the Kent Police chief
constable, Alan Pughsley. ‘I recognise
the fundamental importance of free
speech and the independence of
journalists; I accept that they should
www.amateurphotographer.co.uk
The new circular
filters all feature
an anodized
aluminium frame
N E L L I KS YD NA ©
format,’ said the company. ‘The Little
Stopper and Big Stopper also feature
stackable housings, allowing them to be
combined. For further flexibility, the CPL
and VND filters – which feature
increased front rings to ensure optimal
edge-crop performance – can be stacked
in front of a Stopper.’
The filters have a knurled finish for
better all-weather grip, and the front and
rear sections of the rotating CPL and
VND can be identified by touch. The
range is available from LEE Filters
dealers and www.leefiltersdirect.com
with prices starting from £162.
Photographer Andy Aitchison
not be at risk of arrest and of having
their equipment seized when acting
lawfully in reporting matters of public
interest.’ Andy described the arrest as
‘incredibly worrying’.
Books
The latest and best books from
the world of photography
Remembering African
Wild Dogs
£45, Remembering Wildlife Ltd, hardback,
144 pages, ISBN: 9781999643355
The latest in the series of
Remembering Wildlife fundraising
books opts for a species that many
admit they’ve never heard of, but it
has an important message. African
wild dogs need our help if their
survival is to continue. There are only around 6,600
left in the wild; once ranging through Sub-Saharan
Africa, their numbers have dwindled dramatically in
recent years, disappearing completely from some
countries. Ahead of the book’s launch – funded by a
Kickstarter campaign – Remembering Wildlife has
donated $25,000 USD from the book to a historic
project which translocates wild dogs to national
parks and wildlife reserves. Many leading wildlife
photographers feature in the book, including Marsel
van Oosten, Jonathan & Angela Scott, Frans Lanting,
and Will Burrard-Lucas – so if you’re unfamiliar with
the subject now’s the perfect time to discover more.
Celebrating the Seasons
by Amanda Owen
£20, Macmillan, hardback, 256 pages,
ISBN: 9781529056853
With over 200 photos which showcase
the beautiful – yet sometimes bleak
– landscape that the Yorkshire
Shepherdess (aka Amanda Owen) calls
home, this book is ideal for anyone
with a penchant for British landscapes.
Amanda and her family live at Ravenseat, a 17th
century stone farmhouse in the North Yorkshire
Dales. Set over 2,000 acres of valleys, moors and
meadows, the farm includes 850 sheep, 40 cows,
50 chickens, and horses, ponies and dogs. The
images were taken on her smartphone, a testament
to the power of the camera you always have with you.
The book includes recipes and stories about life on
the farm, so it’s also an entertaining and useful read.
11
 The beauty
Technique LPOTY 21
of Britain
Winners and finalists of Landscape Photographer
of the Year share their top tips for award-winning
N
landscapes with Hollie Latham Hucker
ow in its 14th year, Landscape
Photographer of the Year once more
showcases and celebrates the richly
diverse landscape of the UK. From
dramatic storms and raging seas to the quieter
joys of misty woodlands and close-ups of nature’s
fascinating details, the winning photographs in this
year’s competition not only display the talent of
their creators but also inspire visitors to explore and
discover the wonders of Britain’s countryside.
With a beautiful shot, ‘Morning at Countryside’,
taken in West Sussex, Mara Leite scoops the
prestigious title of Overall Winner and receives the
£10,000 top prize in this year’s competition. Charlie
Waite, the awards founder says, ‘With the glorious
ring lighting and a splash of golden light at the top,
there is a sense of security and protection as much as
secrecy that emerges from this delicate photograph
where we are beckoned to go forward.’
The Young Landscape Photographer of the Year
title goes to Evie Easterbrook for her image ‘Joining
the Queue’ taken in Southwold Harbour. Charlie
Waite says, ‘The humour in this photograph is
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / K O O R B R E T S A E E I V E ©
12
wonderfully conveyed and seems reminiscent of an
earlier time, perhaps the fifties, and embraces a piece
of classic Britain.’
This year there were seven categories and special
awards: Classic View, Your View, Urban Life, Black
and White, The Network Rail Award for Lines in the
Landscape, The Sunday Times Magazine Award for
Historic Britain and the Light and Land Award for
Landscapes at Night, as well as Young LPOTY.
An exhibition of shortlisted and winning entries
will premiere at London Bridge on 15 November
and run until 9 January 2022. A tour of the UK will
follow. To see all the winners and awarded entries
from this year’s Landscape Photographer of the Year
competition, visit www.lpoty.co.uk.
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / E T I E L A R A M ©
Sony DSC-HX400V, 24-210mm,
1/2000sec at f/6.3, ISO 800
Evie Easterbrook
Joining theQueue
Overall Youth Winner
‘I took this photograph at Southwold harbour in
Suffolk. I was surprised to see the gulls forming such
an orderly queue!’
EVIE’S TOP TIPS
1 Always have your camera nearby. You can
never be certain when something interesting will
come into view or for how long the subject matter
will be at its best.
www.amateurphotographer.co.uk

2 Be patient. It is always worth taking the
time to ensure you have the right
composition. Small adjustments in angles,
composition or lighting can make a big
difference.
3 You don’t have to be an expert. Although
there is always more to learn, limited
technical knowledge need not hold you back
– just enjoy your photography and don’t worry
about making mistakes.
www.amateurphotographer.co.uk
Mara Leite
Morning at Countryside
Overall Winner
www.maraleitephotography.com, www.facebook.com/maralphoto,
Instagram @maralphoto, Twitter @TheMNVL
‘Mill Lane is a famous footpath in
Halnaker, West Sussex. I was looking
for a different composition when I
decided to turn the other way and saw
this beautiful sight. I love the gate in
the background and how the morning
light is hitting the leaves and softly
entering the tunnel.’
Canon EOS 5D Mark III, 70-300mm,
1/60sec at f/10, ISO 800
MARA’S TOP TIPS
1 Have an idea of the time of day/
year you want to photograph your
subject and monitor the weather. I
found social media a good tool for
tracking the progression of autumn.
2
Light is important; if you want to
master exposure, learn how to
read your camera’s histogram.
3 Don’t overdo it in post-processing.
Make subtle changes that add
drama and simultaneously reflect your
photography style and other work.
13
 Technique LPOTY 21
Fujifilm X-T30, 10-24mm,
Philip George 1/140sec at f/7.1, ISO 160
Chesterton Windmill
Winner, Classic View
Flickr @PhilipGeorge
‘I was returning from Birmingham to
Southampton and decided to take a detour
to Chesterton Windmill as the skies looked
good. I have been there quite a few times
before in the hope of getting a good sky.
This was taken quite late in the afternoon.
There were quite a few people at the
windmill, so I tried to find an angle to
eliminate the people from the pictures.
I finally found a low viewpoint in the barley
field, with just a hint of a leading line to
the windmill. I used a polarising filter to
deepen the blue skies and bring out the
wonderful clouds.’
PHILIP’S TOP TIPS
1 Visit a location frequently and spend
time looking at it from different
angles. You don’t always want the same
image as everyone else.
2
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / E G R O E G P I L I H P ©

Get out and about and find locations

for yourself. Make a point of visiting
with the intention of taking a photograph.
3 I love to look for the right sky
overhead. Sunrise, or sunset, from
dawn to dusk, there is plenty of
changeable weather that makes the
British Isles such a great place to take
photographs.

Canon EOS 5DS, 85mm, 1/125sec at f/7.1, ISO 200

R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / K O O R B E L D D I M S E L I M ©

14 www.amateurphotographer.co.uk

Miles Middlebrook
Daybreak beside the River
Brathay
Winner, Black and White
www.buildingpanoramics.com, 500px @Miles Middlebrook
‘I was staying at one of my favourite places,
Skelwith Bridge which is situated beside the
rather beautiful River Brathay. Thanks to my
dog for getting me up early one morning, we
were greeted by a magical scene as the first
light caught the river, lifting mist from the
surface and hanging among the trees.’
MILES’S TOP TIPS
1 Visualise the kind of images you want
to capture and then work towards
making that happen.
2
I avoid the use of wideangle lenses
because often in my case I find the
main focal point of the image can be too
small and insignificant in the frame.
3
Have someone whose judgement you
trust to critique your shots in order to
get the most out of your photography. In
my case I have my brother, Mark, with
whom I share Building Panoramics.
www.amateurphotographer.co.uk
Fuji X-T3, 35mm, 1/250sec at f/1.4, ISO 160
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / A R A R R A C O S A M M O T ©
Tommaso Carrara TOMMASO’S TOP TIPS
Piccadilly Circus
Runner up, Urban View
www.gettons.org, Instagram @gettons
Pre-visualise the composition and
look for an appropriate background.
This is normally the less dynamic part
1
of the image and is unlikely to change.
‘The silhouette of a man smoking a
cigarette catches my attention as a Once you’re happy with the
background, think about all those
double-decker cuts through the road with elements
the advertising boards on the back. This and whetherthat could add to the frame
2
trilogy made of human, adverts and they are static or not.
transportation is, to me, amongst the Once all those elements come
essence of this city.’ together take multiple shots, as you
never know what might happen next.
James Whitesmith Sony A7R II, 24-105mm, 1/10sec at f/11, ISO 100
Malham Zig Zag
Highly Commended, Your View
www.jameswhitesmith.co.uk, Instagram @james.whitesmith
‘Traditional dry stone walls zig zag across the
fields beneath Malham Lings in the Yorkshire
Dales, as the rising sun begins to light the
scene. I arrived on location well before
sunrise and the entire valley was filled with
thick fog, but as the minutes ticked by it
began to shift and retreat. This particular
scene caught my eye and fortunately the
swirling mist revealed the copse at the
decisive moment with the first direct light
washing over the landscape.
JAMES’S TOP TIPS
1
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / H T I M S E T I H W S E M A J ©
When you arrive at a location don’t just
make a beeline for the obvious subject
and composition. Take time to explore and
experiment with different focal lengths and
camera position.
2 Sometimes a scene can be transformed
in an instant, particularly in changeable
weather or mist. Keep tweaking your
composition as the light changes.
15
 Technique LPOTY 21
Jason Hudson
Braithwaite
Commended,
Landscapes at Night
Twitter @Edenphotograph1, Instagram @ jasonhudson142
‘A pre-dawn climb up Grisdale Pike in
the Lake District was the setting for this
shot. I noticed the light trails through
the mist and thought it would make a
compelling image.’
JASON’S TOP TIPS
1 If you want dramatic photos go out
in dramatic weather but keep an
eye out for storm warnings. Make
sure both you and your camera are
protected from the elements.
2 If you see nice light make a note
of the time and location. The
likelihood is that conditions may
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / N O S D U H N O S A J ©

repeat over the following days. Head

out and search for compositions and
you may get the shot you are after.
3 Observe the weather and try to
predict changes in the rain and
light. It is possible to anticipate
rainbow positions in advance of them
appearing so start looking for Sony A7R III, 24-70mm
compositions before they appear.
Fuji X-T2, 18-55mm, 1/240sec at f/8, ISO 400 Arthur Homewood
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / D O O W E M O H R U H T R A © Christmas Eve at
Saunton
Winner, Black and
White Youth
Instagram @rt_hwd
‘The fog is my favourite condition
to shoot in due to the potential for
minimalistic compositions and the
way the background appears to go
on indefinitely. On Christmas Eve
2018 my family and I went to
Saunton Sands for a walk but
when we arrived the foggy
conditions were unlike anything
that I had seen before on the
beach. I moved toward the
coastline and after a short time
these children came running up to
play in the shallow water. They
made for perfect subjects as they
were extremely energetic, running
on excitement for the following day.’
ARTHUR’S TOP TIPS
1 Revisit the same locations to
get familiar with the
conditions that work best.
2 Don’t be afraid to shoot
candid photos of people
despite it being a landscape;
they give a great sense of scale.
16 www.amateurphotographer.co.uk
 R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / F L A C D E M Y H TA K ©
Hasselblad L1D-20c, 28mm, 1/100sec at f/2.8, ISO 100
Kathy Medcalf
Convoy
Commended, Lines in the Landscape
www.fineart-landscapes.co.uk, Instagram @fineartlandscapes
‘Aerial view of coal trains in a train yard. I spotted this
location on Google Earth and decided to do some
research into it. I visited on a day when the rail was
closed and I hoped the trains would be in the yard. The
light and time of day played a big part too as I didn’t
want shadow to overwhelm the main focus.’
KATHY’S TOP TIPS
Tomasz Rojek
Dunnottar Castle
Commended, Historic
1 Always research the area that you are planning on
photographing. Use Google Earth to find good
viewpoints and beautiful areas of interest.
Britain
Facebook/Instagram @tomaszrojekphotography
www.tomaszrojek.pl
2 Light is an important factor when it comes to
shooting your subject. Shooting at ‘golden hour’
gives you dramatic contrast with shadows that help
to bring out detail.
3
‘The photo was taken during my trip
to Scotland in May 2019. This is Look for unique perspectives. Be creative and
Dunnottar Castle during the sunrise. experiment with different viewpoints.
The man in the upper right corner Landscape Photographer of the Year
shows the scale of the landscape.’ Collection 14 is published on 28
TOMASZ’S TOP TIPS October by Ilex. Hardback. £26.

1 Landscape photography
involves a lot of planning. You Canon EOS 5D Mark IV, 12-24mm,
R A E Y E H T FO R E H P A R G O T O H P E P A C S D N A L / K E J O R Z S A M O T ©

should have a clear idea of where 1/40sec at f/13, ISO 100

you are going, and at what time of
the day you will be able to capture
the best light.
2 The best light for landscape
photography is usually during
sunset and sunrise and about
one hour after. Make sure you
arrive early to find your shooting
spot, set up your camera and
compose your scene.
3 Be patient and persistent. You
will come back from many
trips without interesting photos
but this should not discourage
you from further expeditions.
www.amateurphotographer.co.uk
 Inbox
YOUR LETTERS

Amateur Photographer
Email ap.ed@kelsey.co.uk I am more creative, I’m
Editorial more able to take risks,
Group Editor
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That’s without going into
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I refer to Andy Westlake’s response to Olympus Four-Thirds-to-MFT adapter.
the letter on tilt and shift lenses for Obviously there is no electronic
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Leica alternative
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FlTheatterm
lays‘Flat lay’ so starting as a novice
photographer back in my
dilettante like me it was
never really going to
interest in photography,
although I’m still an avid
reader of AP for
Lines open Monday-Friday, 10am-4pm
Email ads@kelseyclassifieds.co.uk photography is now being early 20s meant film; happen. inspirational ideas. I
Kelsey Classifieds, Kelsey Media,
The Granary, Downs Court, Yalding Hill,
used, but the wording there was no alternative. Fast forward to 2020 started with a Nikon D80
Yalding, Maidstone, Kent ME18 6AL seems so clumsy and I proudly bought my first and my first mirrorless many moons ago,
Distribution in Great Britain basic. Almost childish. SLR camera, a Yashica camera. I’ve finally shed progressing to full frame,
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and the Republic Of Ireland everywhere I never intended to be hoard film exposures, and I found the weight of my
Newspread. Telephone +353 23 886 3850 now. Before they get anything other than a my photography has really gear too much. With time
Printed by William Gibbons accepted universally as a hobbyist, so I was never developed, because I can on my hands and looking
Kelsey Media 2021 © all rights reserved. Kelsey Media
is a tradingname of Kelsey Publishing Ltd. Reproduction technical term, can we not likely to shoot reel after take more photos and for inspiration, I started to
in whole or in part is forbidden except with permission in
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find a better, more artistic, reel, and as a result my review them immediately. read articles on long
submittedfor consideration by the editor must be the technical or pleasing learning curve was rather
original work of the author and not previously published.
Where photographs are included, which are not the description? shallow and very long. I
property of the contributor,permission to reproduce them Richard Bond plugged away for years
FiI’mlmalways
vs diginterested
ital in with a couple of different
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www.kelsey.co.uk of view. I’m over 60 now, dedication – and for a
18 www.amateurphotographer.co.uk

Richard Lear’s long-exposure seascape taken in Weymouth
shutter speeds and what
appears to be termed fine
art/minimalistic
photography. Last month I
upgraded back up to a full
frame (mirrorless) camera
and purchased 6/10 stop
ND filters. I was away in
Weymouth for the
weekend and tried it. This
image above was taken at
ISO 50 at two minutes.
Although I have never
used any editing suites,
I recently downloaded the
free Lightroom app which
I am still on a learning
curve with. Hopefully, we’ll
soon be able to explore
new places and horizons
again. Richard Lear
Chari tyshops
As an amateur
photographer and a
long-standing charity shop
volunteer I would be
interested to know where
Mr X (name and address
withheld) heard that
volunteers often steal the
high-value donated items
for themselves. (Inbox, 18
September) It is true that
a large proportion of
donated items are
discarded due to being
unsuitable, filthy, worn-out,
badly damaged or
completely broken but I
can assure him that here
at Oxfam, items that are
of high value are either
placed in a glass cabinet
www.amateurphotographer.co.uk
to protect against
shoplifters, sold via our
online shop or if very
valuable, sent for auction.
This may be the reason
why, as he mentions ‘it is
now rare, as a shopper, to
find a treasure among the
junk’ and not that it has
already been ‘snaffled up’.
At Oxfam, if a volunteer
is interested in buying an
item, the item is priced by
the manager, if not already
priced, using online prices
and the item is then  time freely and if we want
bought and the sale is
recorded in the Staff
Sales Book.
I would add that if you
suspect that a shop has
dishonest staff, like Mr X’s
thieving friend of a friend,
you should notify the
charity concerned. I’m
sure that most people
realise that the vast
majority of charity shop
volunteers are there
because they want to help
to raise money for good
causes and not to make
money for themselves
through thieving.
But if you prefer to sell
the item yourself online
and donate the proceeds
to a charity and are a
taxpayer, remember, you
can use the government’s
Gift Aid scheme to
increase the value of the
donation to the charity by
25%. Martyn Pearce
YOUR LETTERS
In next week’s issue
Accessory
SPECIAL Your Christmas gi
guide starts here :
We pick out 50 top
Upset accessories,fromjust £7
We were very upset by a
letter published in AP on
R E K L A W YMEREJ ©
18 September under the
headline ‘Charity Thieves’.
We have worked in our
local Oxfam charity shop
for more than ten years
and have never seen any
of the behaviour that your
writer claims his ‘friend of
a friend’ told him about.
As volunteers, which all
but one of the workers in
the shop are, we give our
to buy an item which has
been donated we pay what
Pros’ top five
Top pros from various genres each
any customer would pay. reveal their five must-have accessories
We feel that you should
not have published this Bargain buys
Readers and pros share their favourite
claim based on hearsay
evidence. All charities
have suffered in the Covid
inexpensive photo gadgets
pandemic and by calling SEGAMI Y T T EG/DNALTUP LEAHCIM ©
our honesty into question
you are only making it
harder for charity shops to
raise funds for their many
good causes.
Fiona and Eric Huckvale
Although it is beyond
dispute that there are
pockets of dishonesty in
E G N A H C OT T C E J B U S E B Y A M E U S S I S ’ K E E W T X EN R O F T N E T N O C
every field of human
activity we’re sure that the
vast majority of those Michael Putland
Tribute to the late great Michael
people who give up their Putland, a music photography legend
time to volunteer in
charity shops would not
dream of behaving in this
way. Apologies for any
offence caused.
On sale every Tuesday
19
 Marsel van Oosten
Marsel van Oosten was born in The Netherlands and
worked as an art director for 15 years. He switched
careers to become a photographer and has since won
Wildlife Photographer of the Year and Travel
Photographer of the Year. He’s a regular contributor to
National Geographic and runs nature photography tours
around the world. Visit www.squiver.com.

Adding context
to subjects
Marsel van Oosten explains how the main subject of The beauty and the beast,
Botswana. Oxpeckers are
your pictures can be put in context, even if they’re not after the ticks on their
hosts so, originally, they

W
the biggest creatures in the frame were thought to be an
example of mutualism –
interaction between
individuals of different
hen you think species that results in
about wildlife positive effects for each.
photographers, However, evidence
and the gear suggests oxpeckers are
they use, you immediately actually parasites
think of huge telephoto lenses. Nikon D810, 600mm f/4 lens, 1/1250sec
As much as they’d want to, at f/5.6, ISO 320
wildlife photographers usually
can’t photograph their subjects reduce everything to a blur. Yet
with a wideangle lens because that almost inevitably happens
the wildlife would run away when you’re using long
if they tried… or you could telephoto lenses – the longer
die trying. When you’re the lens, the more shallow your
photographing an elephant depth of field. This is also why
seal, a rhino or a polar bear, I don’t photograph birds
you might get away with a much… most of the time the
short lens and still get the main habitat is reduced to a few
subject at a recognisable size in branches and leaves, and the
the frame. But, especially with backgrounds tend to be a
smaller subjects, you need a lot smooth blur. From a purely
more focal length to get them artistic point of view, this
to show up at a decent size in doesn’t excite me much.
the image. When I photograph small
This is one of the reasons why subjects, like birds, I’m always
I prefer to photograph large
mammals – they enable me to The tower, Botswana. This
use shorter lenses and that giraffe was annoyed by the
means I can include a fair red-billed oxpeckers that were
amount of the habitat. My harassing it. Every now and then
favourite wildlife images are it would violently shake its head,
so-called ‘animalscapes’, so the which made the birds fly off, only
to return a few seconds later
habitat is very important to me Nikon D850, 180-400mm f/4 lens, 1/400sec at
and I don’t always want to f/5.6, ISO 200
20 www.amateurphotographer.co.uk
looking for ways to include as
much of the habitat as possible
and, ideally, in a not-so-obvious
way. These two images both
show oxpeckers in their natural
habitat and you could argue
whether the oxpeckers are
actually the main subject – after
all, they are much smaller than
the other subjects.
The image with the Cape
buffalo started as a buffalo
image when I stumbled across it
in the Okavango Delta in
Botswana. It was covered in
drying mud and I was
captivated by the
monochromatic feel and by the
wonderful texture. I started
shooting relatively wide, then
kept framing it tighter and
tighter until I only had the
head inside the frame. It was
pretty cool, but something was
missing. I started thinking
www.amateurphotographer.co.uk
about alternatives and then
noticed the oxpeckers hopping
from buffalo to buffalo. That’s
when I previsualised an image
where the buffalo would not be
the main subject, but a
monochromatic background
for the bird.
When analysing my frame
I realised that, in order to
eliminate distracting highlights
and really use the buffalo as a
‘wallpaper’, I needed to go even
tighter and get rid of everything
that wasn’t a buffalo. That gave
me a very nice frame in which
the buffalo’s horn was the
perfect perch for an oxpecker.
From then on, it was just a
matter of patience and waiting
for it to materialise. When it
did, I shot many images to
capture the different poses of
the bird. In one of the frames
the eyes of the buffalo were
closed, and that turned out to
be perfect. Our eyes are always
drawn to other eyes, so when
there are eyes in your photo
people can’t resist looking at
them. In this case I thought
that would just be a distraction.
These buffalo are always
followed by oxpeckers, who are
after the ticks on the buffalo so
usually are around. But also
there’s usually quite a few
buffalo, so they might not
always be on the buffalo that
you’re photographing. The
name ‘oxpecker’ already implies
that it’s not rare to see one on a
buffalo. But you have to try to
come up with an idea of how
you’re going to photograph
this. For example, am I going to
leave enough space so that I can
see background, that I see trees
or sky in the background, or am
I going to go close? And, if I go
close, how close and where do
I want the bird? For me, this
was just the perfect spot in the
image for the bird to be.
The other image could be
about the oxpeckers or it could
be about the giraffe. I like to
think it’s about the oxpeckers
and the giraffe is just a massive
perch. It was shot at sunrise.
Usually, in Africa, the sunrises
can be very colourful but the
colour doesn’t last long. In the
afternoons you get a bit more
colour because by that time it’s
much warmer, there’s more haze
and more dust in the air. Again,
the oxpeckers are resting on this
giraffe to check constantly for
ticks. The moment I have two
images next to each other that
both feature oxpeckers then,
suddenly, the oxpeckers
become the subject.
As told to Steve Fairclough
21
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
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equipment for readers of
Amateur Photographer

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 real
JOE MCNALLY
The
deal
Steve Fairclough speaks to Joe McNally
about his fascinating life as a working
F
photographer and his latest book
or over 40 years Joe
McNally has been a
photographer in a career
that has seen him work
for The New York Daily News, ABC
Television, LIFE, National Geographic
and many other publications. He is
internationally known as one of the
world’s most proficient exponents of
lighting scenes with flashguns and
has twice been in Amazon’s Top 10
bestsellers list for his books.
Talking of books, his latest
publication is the tome The Real
Deal: Field Notes from the Life of a
Working Photographer – it’s a potent
mix of anecdotes, technical advice
and self-deprecating humour, that’s
both great to look at pictorially and
very easy to read. His career in
publishing began as a copy boy at
The New York Daily News, often being
sent out in a radio car to grab film
bags from photographers in different
parts of New York City or at Yankees’
baseball games, but he soon began
getting pictures in the paper and
became a freelance photographer.
McNally recalls, ‘I went from the
Daily News, freelanced for a couple
of years, and then took a job at ABC
Television. That introduced me to
the world of colour and shooting
Kodachrome under pressure. As I
worked my way into ABC, and got to
know a few people who were in the
magazine world, I came to the
attention of Discover magazine.
I started shooting pictures for them
without a credit because I wasn’t
allowed to shoot for anybody else
as I was full-time [ABC] staff, but,
26
when I could swing something for
them, I would do it.
‘That led to a relationship where
I was asked to become part of the
Discover team that went to
photograph the first launch of the
American Space Shuttle program.
Back in the day, day rates for
freelance magazine shooters were
$250 and they wanted me to go on
assignment for the launch and the
landing, which meant I would
probably make about 12 day rates,
which was huge money. I looked at
my staff pay cheque and I walked in
to see my boss, who I got along with
fine, and I quit.’
With the money from the Space
Shuttle assignment McNally bought
a plane ticket to Northern Ireland.
He explains, ‘Bobby Sands was on a
hunger strike and he died. I was on
the streets of Belfast and I got
“picked up” by Newsweek and Bunte
magazine. I had to swing through
London on my way home and ABC
reached out to me as a freelancer
and said, “Can you photograph
[news anchor] Peter Jennings?” I
went in to photograph Jennings and
literally five minutes later the Pope
was shot. Jennings looked at me and
said, “Do you want to come to
Rome?” and they put him on a
private plane. Jennings took me to
Rome and checked me into the
Cavalieri Hilton on an ABC credit
card. I had 50 bucks in my pocket
and a burnt up credit card.’
McNally adds, ‘Then I was put
back on assignment for
Newsweek and Bunte just for
www.amateurphotographer.co.uk
 Cuba Dance,
Streets of Havana.
Part of an assignment
from Nikon to produce
stirring dance visuals
and a small film about
memory and dance
www.amateurphotographer.co.uk 27
JOE MCNALLY
being in Rome. Back in the day,
you got what were called
“guarantees” for magazines – they
wouldn’t pay you every day but if
you were going to Northern Ireland
to spend a week up there they’d give
you $1,000, that kind of thing.
I came home from that trip from
going to cover the Space Shuttle to
Northern Ireland to Rome and,
all of a sudden, I had a magazine
career rolling.’
Luck and circumstance
That story is a perfect illustration of
when luck can play a part in a
photographer’s career. McNally
notes, ‘Luck intersects with a
photographer’s career in odd ways
on a relatively continuous basis and
that can be good and bad luck. I
always tell young photographers,
“Do you think your average banker
or accountant goes to work in the
morning worried about what the
light’s going to be like at four o’clock
in the afternoon?” No, they don’t.
We worry about all that stuff. We
worry about if the subject’s going to
be cooperative. Will it be raining?
How do I make this happen? This is
because you are often dropped into
circumstances in which you have no
control over many of the elements
that combine to make a shoot.’
He muses, ‘A lot of photographers
now are really driven by numbers –
how many pixels, how big or small a
camera is, if it doesn’t have two card
slots, am I going to outrun the
28
buffer? Digital technology is
wonderful but I think that there’s a
certain element of being a
photographer now that’s a bit of
being a slave to that technology
and, in certain instances, it’s driving
the train when it should be the
other way around. Exactly how
much do you expect this camera to
do for you? This is still a human art
and craft, and it’s about
relationships, it’s about sweat, blood
and tears and it’s enabled by very
fast-paced technology.’
Despite that ever-advancing digital
technology, McNally likes to avoid
complexity when possible. He
reveals, ‘I do keep things simple. I’m
a huge fan of the English
photographer Don McCullin – he’s
such a significant photographer and
we have corresponded a bit on
Instagram. One of his very well-
known quotes is, “I only use a
camera like I use a toothbrush – it
gets the job done.” I’m a bit in that
school. At the end of the day, as
fancy as the cameras are, you’ve got
f-stops, shutter speeds and light and
how all that intersects.’
McNally admits, ‘I do access the
camera technology when I’m
shooting a high-speed frame rate
using high-speed sync to coordinate
flashes. I use the maximum abilities
of a camera to produce a quality file.
But I can get into what I call “super
fancy” and access things like doing
multiple exposures with
multiple flashes – that stuff can The largest Above: Lead plane Below: Rich Kane
gathering of of a three-plane drives Ladder 4 NYFD
jazz musicians formation, lit with truck through Times
ever, LIFE Nikon flashes Square, New York
magazine
www.amateurphotographer.co.uk
 JOE MCNALLY

Joe McNally’s top tips

Based on his career, Joe shares the
advice he would give to aspiring,
youngphotographers
1 Make powerful proposals
I think to survive as a photographer nowadays
you have to read a lot and you also have to be
able to write well because assignments don’t
drop from trees any more. You have to convince
people to give you money to go and shoot pictures.
You have to make proposals that are coherent,
powerful and intriguing.

2 Be informed
You have to be able to mix with a client on an
intelligent basis and be social and be informed. So,
I think there’s a big background of just being an
informed human being that is a really essential
component of this.

3 Put emotion in images

I’ve met photographers who come at this from
an engineering perspective and they can knock out
a picture, and make that camera sing and dance,
but what is often lacking in that kind of mindset is
emotion... emotional involvement.

4 Do your research
Research relates directly to your ability to be
successful, even if it’s a small job. Knowing that
someone’s got three children, or that somebody
does triathlons, convinces them that you’ve done
your homework and you’re not just checking a box.
For instance, you don’t want to shoot India during
the monsoon season, unless you’re doing a story on
Kim Phuc, the water and its effects. Plan really carefully because
‘Napalm Girl’, 25 budgets just don’t exist the way they did, so you
years later with have to spend the money wisely and research
her then baby, enables that.

5 Have a clear vision

Thomas. Shot in
Canada for LIFE
Put yourself in the shoes of the reader. If you
have an assignment to photograph a little town in
autumn, you have to realise you’re serving a reader
who’ll probably never visit it. You have to show them
what it looks and feels like. Give them a big picture,
then come down to a shop owner and then down to
the stuff that the town is known for… pumpkins or
whatever. You have to drill through things and the
only way to do that is to have a clear vision of what
you’re going to be doing.

6 Convey the experience

I always tell young photographers that it’s
really cool to fly backseat in an F/A-18, a T38 or an
F-16 – I’ve done a lot of flying in military aircraft
– but, at the same time, you have to realise that
your job is to convey that very visceral experience
back to the reader.

www.amateurphotographer.co.uk 29
JOE MCNALLY

get a little bit complicated and

the camera is a huge assist. If
you’re a certain age and were
brought up with certain cameras it
was kind of like you [hold up a light
meter] and make a guess. Now the
camera enables that guesswork to be
much more precise.’
Working with light
In his new book McNally debates
about the differences between the
quantity and the quality of light, so
I ask him to expand. He explains,
‘I shot events at the Olympics at ISO
8000 and got really good quality,
which was unheard of not long ago.
You get this school of thought that
pushes back at you about the use of
flash, like, “I’ve got higher ISO, why
would I use flash?” But ISO relates to
one thing only – the quantity of
light – but that has nothing to do
with the quality of light.
‘If you want to express yourself,
and if you view light as your
language, photographically, then
you want to craft your message… at
least sometimes. You want to be able
to use light effectively, even if you’re
an available-light shooter. You have
to be able to identify good light and thing started to turn I had a whole and I made the transition relatively
when you can leave the strobes in bunch of DSLRs. I had three D5s, easily. It’s amazing to me that a Z 7II
the trunk of the car and just work three D850s and a couple of D500s is so small but you’ve got 45.7
with available light. You may assess – it sounds like a lot of cameras but million pixels – it has technology
the situation and say, “This isn’t it’s not when you’ve grown up like like crazy.’
compatible with what I need. I have I have photographically.’ But technology can only get you
to create the environment with He adds, ‘At the Tokyo Olympics so far when you’re taking a picture.
light.” That’s the difference – the I shot nothing but D6 because that’s McNally reveals, ‘I’ve always felt it’s
light has to match the subject.’ the kind of job you need a flagship not about the pixels or which lens
In fact, all of McNally’s skills when
Joe McNally is an camera for. Nikon is beating the you use; it’s about the emotion the
lighting and shooting with flash are internationally drum about the Z9, which they picture conveys. To get a picture
self-taught. ‘I never assisted anybody,
acclaimed identify as a flagship camera, and I published in National Geographic I’d
so everything I know about using photographer whose hope it’s going to be a great camera have to fire on at least three
flash has been trial and error. I had career has included because that’s a necessary step. cylinders – it’d have to be pictorially
no choice. When I took the job at assignments in nearly Mirrorless technology is very good successful, it’d have to be
ABC my boss just looked at me and
said, “We light things and we use 70 countries. He has Shot on
Kodachrome,” and then he walked shot numerous cover assignment for
off. I had never really shot under stories for magazines Sports Illustrated,
those conditions before, so I had to including LIFE, National Rio de Janeiro,
learn. I bought myself a set of Geographic and Sports 2016 Olympics
flashes, 800 Watt per second packs, Illustrated. His
but it was foreign to me as to how toadvertising and
make this work. I had a lot of commercial clients
disasters but that’s part and parcel of
include FedEx, Nikon,
being a photographer.’ Adidas and Epson. He
Cameras and using them won the first Alfred
Despite being a long-time devotee of Eisenstaedt Award for
Journalistic Impact for a
Nikon SLRs, McNally’s camera
choices have changed. ‘I’ve made LIFEcoverage titled The
the leap into mirrorless so now Panorama of War, and
mostly I’ll take the Z 6II and the Z he conducts workshops
7II. Then I have D850s – that’s my around the world.
last DSLR. When the mirrorless www.joemcnally.com.
30 www.amateurphotographer.co.uk

informationally successful and it scenes and how to use flash. But he
would also be emotionally reveals, ‘I didn’t want to do that
successful. You seek the emotional again. I wanted to flavour this book
involvement or commitment of the with the anecdotal, which, in itself,
reader. You need to push their is instructional. It was a little bit
buttons, make them think and also complicated because I lay no claim
give them information all at once to being a professional writer. Things
– that‘s not an easy thing to do.’ bubble up in my head and then I
kind of reverse engineer it. I’ll
Allowing mistakes remember that shot was kind of cool
Most of McNally’s previous books – and then I’ll rummage and find
such as The Moment It Clicks, The Hot photographs that are fuel to keep
Shoe Diaries and Sketching Light writing about a certain topic.’
– were largely instructional with He adds, ‘It’s not completely
advice on topics such as how to light instructional because it’s not a “how
Top of the Empire
State Building. For a
National Geographic
story called The
Power of Light
www.amateurphotographer.co.uk
JOE MCNALLY
Rwanda, after the to” book. I hope this goes beyond
genocide. Refugee the photo market and is interesting
camp in Goma, in to people just as a window into an
the Congo, just interesting life. I’m very aware a lot
over the Rwandan of people buy a photo book and
border. A want it to be a “super highway” to a
panoramic film
shot for a LIFE goal…. I want to know how to pose
story called The people better, so I’m going to buy
Panorama of War this book on posing. This book isn’t
that. It’s not a “super highway”, it’s a
country road and there are lots of
stops and diversions along the way.
It’s about a life in photography and
what you learn. That learning occurs
both in terms of the world of
cameras and just the world.’
McNally sums up, ‘Good
photography is never formulaic; it’s
not an assembly line. Everything has
some sort of scratches, scars,
differences, happenstance or
mistakes. Some of the better pictures
I’ve made over the years are flat
The book The Real Deal: out flawed or where I fully
Field Notes From the acknowledge that I could and should
have done better. Hopefully this
Life of a Working book has a flavour where mistakes
Photographerby Joe are allowable and ego is deflated. I’ve
McNally is published by made a whole career out of doing
Rocky Nook (ISBN
978-1-68198-801-6) whatever seemed to be the next best
thing to do. I joke with my studio
with an RRP of manager and always tell her that my
$50/£TBC. Find out operative philosophy for being a
more at www. photographer is “the Lord looks
rockynook.com. after a fool”.’
31
Portrait of Jabari and
Cleopatra. This was
taken on Fuji Provia
100F slide film, using
the Bronica ETRS
Chemical
DEDICATED FOLLOWERS OF FILM

connections
Science, art and culture combine to make
film photography a great passion for
Dr Kelly-Ann Bobb, and it has brought a
‘Then I experienced loss. In 2018
my mom got ill and passed away.
My loss broke that vision I had
carried, and for a moment I was able
to see other things. In seeing other
new balance and connectedness to her things I realised that while I love
surgery I need more balance. In my

I
life, she tells Damien Demolder work as a doctor I see lots of people,
young and old, who are just going
about their lives when I tell them
f Kelly-Ann Bobb wasn’t so good grades at school and to find a that what they have is terminal. It
nice it would be easy for me profession that pays a good salary, reminds me we don’t know how
to find her quite annoying. and through that we can live ‘well’. long we are going to be here. The
Not only is her photography That’s something I believed in Covid outbreak has reinforced that,
exceptional, and not only does she wholeheartedly when I was growing and helped to bring me a new
have almost as many cameras as I up, and I held on tightly to that perspective on the importance of
do, but she has managed to achieve philosophy for a very long time, but being present and connected to
both of these feats in just two years. it’s a philosophy that doesn’t people in a very real way – and
Some of us have taken a lifetime to necessary bring us comfort or experiencing life in a very real way.
get to where we find ourselves right happiness. I’m not saying that The turning point for my
now in our photographic careers, I wasn’t happy, but there came a photography though came through
while others, like Kelly-Ann, speed time I realised my friends had that loss, because I’m not sure I
along at 100mph and seem to arrive stopped asking me to do things would have continued it with such
at the same place in a matter of because I would always be too busy fervour otherwise.
minutes. Kelly-Ann has an incredible or too tired. I was too focused on my ‘Photography has taught me
drive and masses of energy; as well professional goals. to bring balance and has been
as, it seems, an insatiable thirst for
knowledge and experience. And she
doesn’t hang around thinking about
it – she actually gets on and does it.
A surgeon from Port of Spain in
Trinidad and Tobago, she mixes a
hectic medical schedule of
consultations and operations with a
new-found passion for shooting,
developing and printing film in all
its forms and formats. I joked that
she spends her working life looking
at the insides of people, and her
leisure time looking at their outsides.
She laughed politely. But spending
time with the outsides of people
while connecting with their insides
is the consequence of a turning
point in Kelly-Ann’s life, and has
helped her find a balance that she
says was missing before.
Loss and found Friend and fellow
‘Before exploring photography photographer
I didn’t have a balance in my life. Jabari, shot for an
I was very focused on my profession editorial project on
and ignored many other aspects of Fuji Provia 100F in
my life. Society teaches us to get the Mamiya RB67
33
DEDICATED FOLLOWERS OF FILM
cathartic and healing. It helped
me bridge the mourning and
healing process, and it gave me a
deeper understanding for the
expression of my art through
photography. Importantly though,
it also brought back a deep love and
connection between me and other
people. While I still ensure that
certain things are accomplished
throughout my day, I’m not now
completely taken up by work.
Finding the balance is hard though
sometimes, and these days I have
to be careful not to be consumed
by photography – although we are
now doing this interview at 4am
Trinidad time, so maybe I’m not
doing so well!’
Brussels sprouts
‘I grew up always taking photos. We
always had cameras and were always
playing around taking pictures. I was
about 11 when I saw a science
programme on TV on darkroom
printing and developing film. I have
always been a science geek so it
intrigued me – it was all science and
chemicals, and I asked permission to
have a darkroom. I got a “no”
because “Chemicals are toxic, you’re
34
‘Pouring chemicals on sensitised paper and the image
appearing is like a dance. It also gives me so much control’
Above left: too young, blah, blah, blah.”
Fashion shoot ‘When I finished medical school I
with Shalisha. went to Belgium for a few months to
Fujifilm Pro 400H study advanced laparoscopic surgery,
in the Pentax 67 and while there found an antique
Above right: market in Brussels that sells beautiful
Another fashion old film cameras. I only bought one
shoot with camera, but it piqued my interest in
Shalisha. This film photography. When I got back
time on the home I started to look at second-
Mamiya RB67 and hand cameras online and I started
with Kodak Portra collecting film cameras. I also began
400 that I to learn from the kindness of others
developed myself
who share their experiences of
shooting and processing film via
YouTube and sites like www.
largeformatphotography.info.
‘I love all aspects of film
photography – it’s so tactile. I wished
I could paint, but with photography
I can “paint” in the darkroom: I can
make cyanotype prints, platinum
prints, salt prints. I can recreate my
images in so many different ways.
‘I have been actively looking for
collaborations. I’ve been working
with other Caribbean photographers
and have recently begun to shoot
fashion. I had my first fashion
editorial published in a Canadian
online magazine, and have just
completed another editorial project
that I will submit to a magazine in
Europe. My photography is an
expression of myself and my identity
– which is complex. I think I have a
good idea of who I am, but the
process of life, with its experiences,
helps to build a greater
understanding of myself – and that
grows and changes as I learn more.
I haven’t always had a decent idea of
who I am but photography is
helping me to find out more.
‘We are socialised to define
ourselves as “something”, which can
give us a myopic view of who we are.
I’ve never been one sort of thing or
have liked only one sort of thing.
I’ve always been academic but have
always explored other aspects of
myself. I’m inclined towards portrait
photography, but wouldn’t look at
myself as a portrait photographer
www.amateurphotographer.co.uk
because I love landscapes, still life
and travel – and the beauty of the
Earth. It’s hard to define myself as
one kind of photographer. I would
say I am an “analogue”
photographer – that’s concrete.’
Why film?
‘Shooting film allows me to slow
down. When I shot digitally I’d take
thousands of pictures. Shooting film
allows me to think harder about my
composition, and to concentrate on
apertures and shutter speeds – to
think about the science of
photography. It also allows me a
www.amateurphotographer.co.uk
Above: Trinidadian plethora of opportunities to explore
broadcaster darkroom printing and alternative
Ardene Sirjoo, at processes. I’m working on salt
Fondes Amandes printing and am trying gum
Spring, St Ann’s, dichromate printing – but am
Trinidad. Shot on finding that hard. I don’t think
Yashica Mat-124G
with Portra 400 analogue is better than digital, but
I like my film images much more,
for sure – there seems to be more
depth to them. It’s more tactile.
‘Making colour prints will be
intrinsic to my practice, but as I’m
still learning it isn’t yet. At the
moment I print using inkjets, but
eventually I want to produce
platinum prints. If I can get there it
will be a beautiful thing, but if I can’t
it won’t be the end-all of my
practice. I’m attracted to the science
of darkroom work – pouring
chemicals on sensitised paper and
the image appearing is like a dance.
It also gives me so much control.
‘There’s a level of trust too: trusting
my tools, trusting what the image
will look like if I use Ilford Delta
3200, what the image will look like if
I use Kodak Portra 400 – and trusting
that the image will come out exactly
the way I expect it to because
I worked on understanding the
process. It doesn’t always turn
35
FOLLOWERS OF FILM

out the way I expect, of course.

I am a perfectionist, sometimes
to an unhealthy degree, but
photography has allowed me to
accept so many things. Sometimes
an image isn’t what I expected, but
the imperfections can be so beautiful
they make the image what it should
always have been. I have to embrace
that imperfection.
‘I don’t think I will ever stick to
one type of film – that isn’t my
personality. It’s good to have a
couple of cameras on a shoot – not
six – and to know what
characteristics each will give me.
I like to use expired film too, for the
unpredictability, and I like Ilford
Delta 3200 for the size of the grain
– in some types of images I welcome
that. And if I want the picture to be
clean I love slide film, as it has no
grain and it looks so sharp. Kodak
Ektar 100 renders our melanated skin
really well, and it makes colour pop.
‘There’s a level of exploration
still, so I use all sorts of film –
including Polaroid. I’m inherently
a researcher and quite a geek, so I
have a good memory for which film
does what, and I actively read about
film and look into which films are
available. I put in quite a lot of
work to understand the science, and
I also like to read about other
people’s experiences.
‘Film photography is expensive,
but it is worth the extra money. I try
to be economical with my process,
and I try to have discipline. I really
like Polaroid, but have to resist as you’ll only take a couple of pictures
you can pay $200 for a box, for it all of each pose.’
to come out blank. I also understand
my gear so I know that my cameras I’m not a hoarder
are functioning the way they should. ‘I will sound like a little hoarder, but
I buy expired film too, and I buy in actually I’m a collector of fine
bulk to make savings. I usually go to things. I have about 85 cameras. My
New York to buy my film, and have favourite is a very beat-up Mamiya
two film fridges – I recently emptied C330 that’s missing its name plate.
two drawers in my kitchen fridge for I love the lenses and always have the
more as I got a delivery from Japan. camera with me. I also have Mamiya
My biggest economy though is being RZ and RB67 kits, as well as the
intentional with the image. I don’t 645M. They all have beautiful lenses.
shoot a whole roll with the person in I love my Pentax 67 too, but not
the same positon. I have just started more than the Mamiyas, but I do
bracketing as that makes sense, and like to use the 67 lenses on a Pentax
I’ve started using the 645 cameras 645 body – which I prefer to the
more because I get more shots per Pentax 67. I love the German design
roll. When shooting a professional and the aesthetic of my Exakta
model with film you have to tell cameras as well, and again the lenses
them not to be shifting, shifting, render a beautiful image.
shifting too much or too quickly, as ‘I have a few wooden large format
I won’t be shooting 50 frames of cameras from Japan, as my next
everything. You have to get them to adventure is wet-plate collodion. The
slow down, and understand that chemicals have just arrived in the
36 www.amateurphotographer.co.uk

country and should be cleared
customs on Wednesday. I want to
start with 5x7in portraits of the older
members of my family. I have a
Rittreck large format camera that’s
very modular. I have 4x5 and 5x7
backs for it, and I’m trying to get a
10x8 back. That’s my favourite large
format camera for taking out of the
house as it’s portable. I have a Toyo
large format camera too but it’s huge
and heavy so I use that in the studio.
‘Once a month I take out all my
cameras and fire the shutters fast and
slow, so they stay in good condition.
It takes a while, I have so many.
Believe it or not, I haven’t bought a
new camera every week since
starting photography. I’ve not bought
a new camera for over a month!’
Approach
‘Since I started this process my focus kellyannbobb_
has been to connect other people to photography and www. ‘I have a photographer friend
my culture and experiences as a
www.amateurphotographer.co.uk
Above: Fashion, on
diasporic Afro-Caribbean person. All
the Mamiya RB67 photographers reflect their life
with Fuji Pro 400H
experiences, and I want to share my
Above left: experience of the Caribbean reality.
In Trinidad and Tobago we are a
Portrait of Jabari
taken on expired complex society. We are mixed up,
we are descendants of enslaved
Fuji NPS film that
I developed, withpersons, descendants of indentured
the Mamiya 645 labourers the Indo-Trinidadians. We
are a post-colonial society that only
Left: Self-portrait
with my Toyo 5x4 got its independence in 1962, and in
view camera. Shotso being we are a very young
with Fuji FP- country. We are still freeing ourselves
100B45 black & from some post-colonial upbringings
– we’ve only just got our own exams
white instant film
in schools to replace the British
A-Level system. My goal is to share
all of that. I hope that as people
experience my pictures they see the
To find out more see beauty in the complexity of a
Caribbean society that is constantly
www.instagram.com/ redefining itself and understanding
itself on new levels.
kellyannbobb.com. called Jabari [the one with all the
FOLLOWERS OF FILM
hats] who I have photographed a lot.
He is very strong. He’s a strong male
and his body is very well built. He
also has very strong Afro-Caribbean
features. I like to bring a level of
softness to the pictures I take of
him. The black male body isn’t
always thought of as being beautiful,
or soft, or delicate, so I like to
portray it that way – in a way that
isn’t usually expressed. You can see
his strength, but his body language
expresses a level of softness. Most
of the pictures I take of him are part
of fashion editorials, but really they
are portraits.
‘Before I take a portrait I have to
build a rapport with the person I am
photographing; it’s the same kind of
rapport that I have learnt to build as
a doctor. I always spend some time
doing that, so I can get comfortable
with that person and they can get
comfortable with me. It’s just having
a conversation and finding
something in common that we can
talk about or laugh about. In
medicine we do this; we are trained
in how to break bad news and in
understanding how to initiate a
conversion with a patient. We are
taught to figure out the person to
know whether the patient will need
a family member with them when
they get bad news or if they are the
sort of person who wouldn’t want
anyone else there to hear about their
health. You learn to make them feel
comfortable in a very short period of
time. It can be easy when you shoot
with film of course, because the
person will always want to talk
about the gear, and will be intrigued
that you aren’t shooting with a
digital camera.
‘It’s not by chance that we are
inclined to certain things. It reflects
inherently our personality traits.
I know I can be a very practical
“well-defined” person, because I use
both sides of my brain. I’ve always
been creative but photography has
allowed me to get out of that stiff
practical mentality so I can have a
better balance, so I can look at the
world a bit differently.
‘My photography goal is to
share my experience. My ultimate
goal though is to have medicine,
travel and photography as one
beautiful being in my life. How
that is going to happen we shall
have to see. One of the reasons I
went into medicine was Doctors
Without Borders…so maybe
that will be my path.’
37
 Testbench CAMERA TEST
Fujifilm
GFX50S II
Fujifilm’s latest 50MP model makes medium format
digital more usable and affordable than ever before.
Andy Westlake puts it through its paces
For and against
Excellent image quality
Compact, portable design
Effective in-body stabilisation
Superb in-camera colour
processing
Quiet operation
Image-quality advantage
over high-end full-frame
isn’t clear cut
S E C I RP T E E R TS E T A M I X O R P PA E R A S E C I R P L L A
Tiny exposure compensation
button
Slow continuous shooting
38
At a glance
£3,500 body only
£3,900 with 35-70mm F4.5-5.6
l 51.4MP medium format sensor
l ISO 50-102,400 (extended)
l 3.69m-dot EVF, 0.77x magnification
l 3.2in, 2.35m-dot tilting touchscreen
l 5-axis in-body image stabilisation
I
Data file t’s just five years since
Fujifilm revolutionised
GFX100S, while mating it with the
updated X-Processor 4. As such,
Sensor 51.4MP CMOS, 43.8x32.9mm medium format digital with it promises fine image quality in a
Output size 8256x6192 the launch of its GFX 50S. proven camera design.
Focal length mag 0.8x This camera provided 51.4MP Of course, even this sub-£4,000
Lens mount Fujifilm G resolution and mirrorless price point is still a long way off
Shutter speeds 60min – 1/4000sec (mechanical); architecture for £6,200 body-only, being mass-market. But it makes
60min – 1/16000sec (electronic) which was a groundbreaking the GFX50S II look competitive
Sensitivity ISO 100-12,800(standard), price at the time. Since then, the with high-resolution full-frame
ISO 50-102,400 (extended) GFX system has gone from cameras such as the 45MP
Exposure modes PASM, 6x custom strength to strength, with the Canon EOS R5, 45.7MP Nikon
Metering Multi, spot, average, centre- GFX100S that appeared earlier Z 7II or 61MP Sony Alpha A7R IV,
weighted this year offering 102MP for which launched for £4,200,
Exposure comp +/- 5EV in 0.3EV steps £5,500, in a body that’s similar in £3,000 and £3,500 respectively.
Cont shooting 3fps size to a full-frame DSLR. Now As we’ll see, it’s somewhat less
Screen 3.2in, 2.35m-dot tilting LCD with the GFX50S II, Fujifilm has of an all-rounder, but for certain
Viewfinder 3.69m-dot OLED, 0.77x brought the price of entry even subjects that benefit mostly from
AF points 117 or 425 lower, to just £3,500 body-only, or raw image quality, it’s a really
Video Full HD up to 30fps
External mic 3.5mm stereo £3,900 with the new matched GF interesting alternative.
Memory card 2x UHS-II SD/SDHC/SDXC 35-70mm F4.5-5.6 WR kit zoom.
Power NP-W235 Li-ion Despite its name, the GFX50S Features
Battery life 455 II isn’t based on the original GFX In essence, the GFX50S II offers
Dimensions 150x104.2x87.2mm 50S. Instead, it employs the the same imaging specifications
same sensor, but places it into as the older GFX 50S and the
Weight 900g the exact same body as the flat-bodied, rangefinder-style GFX
www.amateurphotographer.co.uk

50R. Its 51.4MP sensor is, at
44x33mm, 70% larger in area
than full frame, which means it
promises images with extremely
low noise and high dynamic
range, especially at low ISOs. It
provides a standard sensitivity
range of ISO 100-12,800 that’s
extendable down to ISO 50,
although with a greater tendency
to clip highlight details, and up to
ISO 102,400.
One area where the sensor
shows its age is a continuous
shooting speed of three frames
per second, which is pretty
pedestrian by current standards.
There’s no live view between
frames, either, just playback of
your previous images, which
makes it difficult to keep track of
moving subjects. The camera is
also only capable of recording
video in Full HD resolution, rather
than 4K, which feels decidedly
www.amateurphotographer.co.uk
outdated. But if you’re thinking of
buying into medium format,
chances are you’ll be far more
interested in shooting stills.
Timed shutter speeds are
available for as long as an hour,
which is great for shooting
landscapes with neutral density
filters, and as fast as 1/4000sec
using the mechanical shutter. It’s
possible to go higher still using
the silent electronic shutter, right
up to 1/16,000sec. But this
comes with a considerable risk of
rolling shutter distortion and
banding under artificial light, so
I’d avoid using it. Instead, I set
the shutter to its EF+E mode,
which employs an electronic
first-curtain shutter at slower
speeds to eliminate vibration.
Strangely it also locks you out of
using the extended ISOs, but
that’s not a significant problem.
Unlike its 102MP siblings, the
format image quality in a relatively
Fujifilm GFX50S II, GF35-70mm F4.5-5.6 WR at 44mm,
sensor lacks on-chip phase
detection, so autofocus is based
on contrast detection only. But
thanks to the faster processor, it
should generally be quicker than
the older GFX 50 models. Even
so, it’s inevitably not going to be
a good choice for tracking moving
subjects, meaning the camera is
best suited to landscape, portrait
or studio work.
One notable feature is 5-axis
in-body image stabilisation (IBIS)
that promises up to six and a half
stops of shake reduction. This is
great for shooting handheld at
much slower shutter speeds than
you could otherwise contemplate.
But more generally, it ensures you
get sharp pictures handheld as a
matter of course, and don’t have
to use a tripod all the time.
The IBIS unit also enables a
205MP multi-shot mode in which
16 exposures are compiled to
The GFX50S II delivers medium-
compact, easy-to-use package
1/60sec at f/16, ISO 100
produce a single high-resolution
image, although this will only
work with completely static
subjects. Creating the 205MP file
requires Fujifilm’s Pixel Shift
Combiner software for Mac or PC.
You also get the benefit of
Fujifilm’s industry-leading colour
science, with a full set of Film
Simulation modes that provide a
wide range of attractive looks for
your images. There are 19 to
choose from, ranging from the
punchy, saturated Velvia to more
subtle, muted options such as
Pro Neg. The GFX50S II also gets
Nostalgic Neg that first appeared
on the GFX100S, while
monochrome lovers are well
served by the excellent Acros.
Wi-Fi and Bluetooth are built-in
for connection to your
smartphone or tablet, offering the
usual set of functions via
the free Fujifilm Camera
39
 Effective in-body
stabilisation makes it
easy to get sharp
images handheld
Fujifilm GFX50S II, 35-70mm at 70mm,
0.3sec at f/5.6, ISO 800

Remote app. You can copy isn’t necessarily a bad thing, compensation button as the to zoom in to inspect focus. But
files across to your phone though; just different. GFX100S. But by changing a there’s still no option to operate
for sharing, control the camera Overall, the body is about the couple of menu settings, you can the menus by touch.
remotely from your phone, or same size and shape as a set the camera up so that
geotag your images using its GPS high-end full-frame DSLR, and is clicking the rear dial switches Viewfinder and screen
while you’re out shooting. built for pro use, with magnesium between shutter speed and The GFX50S II inherits the same
To complement the GFX50S II, alloy construction and extensive exposure compensation instead, large, high-resolution electronic
Fujifilm has also launched a new weather-sealing. A large, deep which makes more sense. viewfinder as the GXF100S. At
kit zoom, the GF 35-70mm handgrip makes it very Compared to a lot of other 3.69 million dots and 0.77x
F4.5-5.6 WR, which equates to a comfortable and secure to hold, high-end cameras, the back plate
28-56mm equivalent range. It even with the larger lenses in the is relatively clean. There’s a The matched GF 35-70mm
features a retracting design to GF line-up. With lightweight joystick for positioning the AF F4.5-5.6 WR is capable of
take up less space in your bag, lenses such as the 35-70mm kit area and navigating menus, a excellent results
while also being the first GF lens zoom, it’s entirely possible to dedicated button for changing the Fujifilm GFX50S II, 35-70mm at 70mm,
without an aperture ring. But like shoot one-handed, which isn’t drive mode, and a small switch 1/120sec at f/11, ISO 200
the rest of the system, it features something you’d normally beside the viewfinder for the
weather-resistant construction. associate with medium format. focus mode. Most other settings
On the whole, the controls are are accessed via Fujifilm’s
Build and handling large and well-spaced, making enviably clear Q menu. A couple
Physically, the GFX50S II looks them easy to use while you’re of unmarked buttons on top of
identical to the GFX100S, aside wearing gloves, while a large the camera can be customised to
from the subtle name badge on status panel on top shows all suit your preferences, as can one
the its side. To users of Fujifilm’s your settings at a glance. on the front, while swipe gestures
older GFX models, or most of its Unusually, both electronic dials across the touchscreen can also
APS-C X-system mirrorless can be clicked inwards like be used like custom buttons.
cameras, the design philosophy buttons. With the front dial, this Meanwhile the exposure mode
might come as a surprise, as switches between controlling dial has no fewer than six custom
instead of using the company’s aperture and ISO, which comes positions for saving camera
signature analogue dials, it into its own when using the set-ups for specific purposes.
behaves more like a conventional 35-70mm lens. By default, One of the few criticisms of the
DSLR. So there are twin clicking the rear dial engages live design is that the touchscreen is
electronic dials under your finger view magnification, but I think underemployed. You can use it to
and thumb, an exposure mode there’s a better way to use it. This set the focus point, operate the Q
dial on top, and a joystick for is because Fujifilm has persisted Menu, swipe though images in
positioning the focus point. This with the same tiny exposure playback, and double-tap on them
40

magnification, on paper it looks
very good indeed. But the
numbers don’t tell the whole
story, and the user experience
doesn’t quite match up to its
more expensive sibling. Instead,
the GFX50S II’s live view feed
suffers from visible artefacts,
with jagged edges and false
colour along high-contrast angled
lines. It’s not a huge problem, but
it’s noticeable, especially when
shooting architecture.
One a more positive note, the
EVF displays a huge range of
information about camera
settings, which Fujifilm allows you
to customise to show only what
you want and hide the rest. When
the shutter button is half-pressed,
the camera stops down the
aperture to the shooting setting,
clearly previewing depth of field. It
also provides a pretty accurate
rendition of how your pictures will
come out in terms of colour and
exposure, which is great for
judging when to apply exposure
compensation. With the more
contrasty Film Simulation modes,
though, this isn’t necessarily
what you want, as the shadows
can block up quickly, hampering
composition. In such situations,
help is at hand in the shape of
Fujifilm’s Natural Live View
setting, which mimics the
experience of using an optical
finder in terms of contrast and
colour. I like to assign this to a
handy function button, such as
the one on the camera’s front.
Below the EVF there’s an
excellent 3.2in rear LCD, with its
2.36m-dot resolution providing a
detailed view. The screen tilts in
three directions, allowing high-
and low-angle shooting in both
portrait and landscape
orientation, while being quicker to
use than a side-hinged fully
articulated unit. This is my
favourite screen design for
shooting stills, with its only
limitation being that it can’t be
set facing forwards. But I doubt
many GFX users will care.
Autofocus
With only contrast detection to
fall back on for autofocus, the
GFX50S II is unable to match the
performance of the GFX100S II,
let alone the incredibly
sophisticated AF systems on its
full-frame rivals. But whether this
will actually matter depends
entirely on your expectations. If
you want to shoot rapidly or
erratically moving subjects, then
it’s not going to be a great
choice. But if instead you want an
autofocus system that’s capable
of consistently acquiring accurate
focus on a static subject
wherever it may be within the
frame, it’ll do the job very well.
One situation where it can
struggle, though, is in low
light, which is exacerbated
CAMERA TEST Testbench
Focal points
With the same body design as the GFX100S, the
GFX50S II shares many of the same features
Storage
Two UHS-II SD card slots are
Remote release
On the side of the handgrip, you
available for recording images. These will find a standard 2.5mm TRS
can be used in either sequential or socket that works with a huge range
backup modes; alternatively, you can of electronic cable releases
record raw files to one and JPEGs to originally designed for Canon or
the other. Pentax cameras.
Connectors
Microphone and
headphone sockets are
found under one cover on
the left side, with USB-C,
Micro HDMI, and PC sync
sockets under another
cover lower down.
mm 2.78
Power
Fujifilm’s NP-W235
LCD light
Pressing a tiny button
Grip
No vertical grip is
Li-ion battery can on the side of the available, but Fujifilm
deliver 455 shots per viewfinder housing offers the add-on
charge, according to illuminates the top MHG-GFX S grip
CIPA-standard ratings. LCD status panel. extension, which boasts
I got close to this in an Arca Swiss profile
real-world use. baseplate for tripod use
and costs £139.
mm 2.401
150 mm
41
 by the kit zoom‘s relatively recent GFX models, that’s no
small aperture. When
shooting at twilight it’s not only II mostly works just as well as its
slow and hesitant but also has a
habit of missing focus slightly. In the extent that you soon forget
such situations it’s best to select that you’re shooting with medium
the largest practical focus area.
For those who wish to speed
things up, Fujifilm has included a
Rapid AF function, which is
activated using a button on the
front. According to Fujifilm, its
main disadvantage is reduced
battery life. But with the lenses I
mostly used for this review – the
GF 35-70mm F4.5-5.6 WR and
GF 50mm F3.5 R LM WR – it
didn’t make a big difference.
When you need to engage
manual focus, Fujifilm offers the
usual focusing aids of peaking
and magnified view, and in a
clever piece of interface design,
both can be accessed from the
same button. Pressing it engages
magnified view, while holding it
down for a second turns on
peaking. Another neat feature in
manual focus mode is that you
can use the magnified view to
zoom in on your subject, and then
use the AF-ON button to
autofocus precisely on that point.
Again, though, manual focusing
can get difficult in low light, as
the viewfinder image becomes
noisy and indistinct.
Performance
Historically, medium format digital highlights, but that’s all. The
cameras were clunky and
awkward. But with Fujifilm’s
Autofocus is extremely
accurate on static or
slow-moving subjects
Fujifilm GFX50S II, 35-70mm at 70mm,
1/420sec at f/5.6, ISO 800
longer true. Instead, the GFX50S
high-resolution full-frame rivals, to
format. A flick of the power switch
sees it ready to shoot in less
than a second, and after that, it’s
quick and responsive to the
controls. The well-damped,
low-vibration shutter also means
it’s relatively quiet and discreet.
Crucially, the GFX50S II is also
no larger or heavier than a
high-end full-frame DSLR. I took it
on a ten-mile walk along the
North Kent coast with a couple of
lenses, and never once felt
weighed down. A knock-on benefit
is that you don’t need to carry a
large, heavy tripod, either. Indeed
the image stabilisation is so
effective that a lot of the time,
you don’t need a tripod at all; I
got sharp images at shutter
speeds as low as 0.8sec
handheld with the 35-70mm lens.
This gives you the mobility to
explore creative compositions
and exploit the tilting screen to
shoot from low or high angles.
As always from Fujifilm, the
automated systems work
brilliantly. Metering and auto
white balance are both supremely
well-judged; I occasionally applied
a little negative exposure
compensation to tame bright
in-camera JPEG processing is
typically stunning, with those
lovely Film Simulation modes
giving a wide range of attractive
options. I particularly like Astia
for everyday shooting and Acros
for black & white, while Velvia is
great for punchy landscapes. In
fact, the JPEGs are so good that
sometimes there’s no point in
trying to improve on them by
reprocessing from raw.
Of course it’s the raw image
quality that potentially marks the
GFX50S II apart from full-frame
mirrorless, and as with its
predecessors that used the same
sensors, the files are superb.
They show sensational levels of
detail coupled with huge dynamic
range at low ISOs, so you can
expose to retain highlights and
then bring up shadow detail by at
least four stops in post
processing without any problem.
However, with little or no
advantage over the latest
full-frame sensors in terms of
pixel count, the case for buying
into the GFX50S II isn’t as clear
cut compared to the GFX100S.
But it’s crucial to understand that
lenses are just as important as
the sensor when it comes to
overall image quality, and
Fujifilm’s GF range is superb.
Special mention must go to the doesn’t work brilliantly is the
GF 35-70mm F4.5-5.6 WR, which 205MP pixel-shift mode. Each set
is anything but a stereotypical kit of 16 raw files takes up to
zoom. Instead, it delivers superb 900MB of space, which will fill up
levels of detail, with just a little your SD cards rapidly. The Pixel
softening visible in the extreme Shift Converter program isn’t
corners at the wide end. capable of scanning through a
About the only thing that folder of images on your
computer and identifying sets
automatically; instead, you have
to feed them into the software
manually. It then churns out
massive DNGs up to 800MB in
size, which in turn must be
processed using a raw converter.
Examining the resultant images
close-up reveals that the pixel
shift converter can’t deal with any
subject motion at all, giving ugly
coloured artefacts. Even with
static subjects such as
architecture, it will often end up
rendering strange grid-like
artefacts in some areas, perhaps
due to the light changing subtly
between frames. As a result, it
only really works satisfactorily for
studio still-life work under
completely controlled lighting. But
when everything does come
together, it’s capable of
producing excellent results.
www.amateurphotographer.co.uk
 CAMERA TEST Testbench
Verdict

GOLD
BEFORE Fujifilm launched the original GFX
50S, digital medium format kit was bulky
and expensive, and completely out of the
question for most photographers. So it
seems remarkable to be discussing the
GFX50S II in the same breath as high-end
full-frame models. But this is a camera that
serious enthusiasts might now genuinely
contemplate buying. It can seamlessly
replace a full-frame DSLR kit, fitting into the
same bags and sitting happily on the same
tripods, while delivering fantastic images.
Of course, it might be tempting to
dismiss the GFX50S II based on those
Dynamic range is impressive: in the areas where it lags its full-frame rivals,
original JPEG of this shot, all of the particularly with regards to continuous
foreground detail was black shooting, autofocus and video. But the
Fujifilm GFX50S II, 35-70mm at 35mm, 1/45sec at f/11, ISO 100 reality is that not everybody needs to shoot
at 10fps with eye-tracking AF, and some
ISO and noise users’ requirements are geared more
towards the highest possible image quality.
This is where the camera excels, with
At low ISO settings the GFX50S II gives superb images, with no visible superb colour, detail, and dynamic range.
noise and impressive rendition of even the finest detail. It’s only really It’s not just the image quality on offer
at ISO 3200 that we see any degradation when examining images that matters, either, but how readily you
close-up onscreen. By ISO 12,800 quality is suffering from noise, can take advantage of it. In particular, the
although the camera’s own processing does a better job of maintaining effective in-body stabilisation and soft,
colour than Adobe Lightroom or Camera Raw. Beyond this, however, discreet low-vibration shutter help you get
things go downhill fast, with colours fading and serious problems with the best results from that excellent sensor
The crops shown below are taken noise. ISO 25,600 might sometimes be usable at a pinch, but I’d steer when shooting handheld. Fujifilm’s GF
from the area outlined above in red well clear of the top two extended settings. lenses are absolutely superb, too, although
RAW ISO 100 RAW ISO 3200 RAW ISO 12,800
they’re also large and expensive, which
remains the system’s biggest drawback.
Ultimately, with its sub-£4,000 price
complete with a fine lens, the GFX50S II
comes the closest yet to bringing medium
format digital to a mainstream audience.
It’s a truly impressive camera that’s a
pleasure to use and delivers superb
images in both JPEG and raw. For
photographers who prioritise image quality
RAW ISO 25,600 RAW ISO 51,200 RAW ISO 102,400 over shooting speed, it’s a wonderful tool.
FEATURES 8/10
BUILD & HANDLING 9/10
METERING 9/10
AUTOFOCUS 7/10
AWB & COLOUR 10/10
DYNAMIC RANGE 9/10
IMAGE QUALITY 9/10
VIEWFINDER/LCD 9/10
www.amateurphotographer.co.uk 43
 Testbench CLASSIC CAMERAS

FILM STARS T
The colourful Kodak Vanity cameras were based on the newly styled Vest Pocket Kodak Series III cameras

Gone but
oday’s film enthusiasts tend to fall
into two camps depending on which
film size they prefer – 35mm or 120
roll film. But there is a film that falls
between those two and for which thousands
of cameras were made. They include all the

not forgotten
When it comes to medium format roll film,
127 is one to watch, as John Wade explains
usual types like single lens reflex (SLR), twin
lens reflex (TLR), viewfinder and coupled
rangefinder, ranging from simple snapshot to
super-sophisticated, from conventional to
curious with image formats that cover
6x4.5cm, 6x4cm, 4x4cm and 4x3cm. The film
is 127. Although discontinued in 1992, it has
by no means been forgotten and is now
available again from specialist dealers such
as Analogue Wonderland. With so many 127
cameras made in so many different styles
over the years, it offers something for
collectors and users alike.
Vest Pocket Kodak
This is the camera that launched 127 film in
1912. It’s a folding design with a lens panel
that pulls out from the body on scissor struts
and is supported by a fold-down leg. Early
cameras had only simple meniscus lenses,
soon changed to Kodak f/8 Anastigmats.
Minutely engraved instructions around the
lens give exposure advice: apertures set
according to subject matter and shutter
speeds that suggest 1/25sec for clear
weather and 1/50sec for brilliant conditions.
There are also ‘T’ and ‘B’ settings for

The Autographic Three typical 127

Back found on snapshot cameras,
later Vest Pocket left to right:
Kodak cameras The Vest Pocket Baby Brownie,
Kodak was the Brownie 127 and
camera that the futuristic
introduced 127 (for 1963)
film in 1912 Brownie Vecta
44
 IN PARTNERSHIP WITH
manually controlled slower speeds. The
camera shot eight 6x4cm pictures to a roll.
In 1915 an autographic back was added.
This comprised a trapdoor in the back with a
stylus and used special autographic film that
incorporated a wax sheet between the
backing paper and the film. The trapdoor was
opened and the stylus used to ‘write’ notes
on the backing paper. Pressure from the
stylus broke the wax paper in the shape of
the writing, then leaving the trapdoor open
allowed light to fog the writing onto the rebate
between frames of film. The Vest Pocket
Kodak became known as the soldier’s
camera because many First World War
soldiers were reputed to have illegally carried
Five different
one with them when they went into battle. styles of 16-on-
The camera was later restyled as the Model 127 camera,
B and Series III models that resembled more clockwise from
conventional miniature folding cameras top left: Comet III,
available in a range of colours. Zeiss Ikon Baby
Ikonta, Zeiss Ikon
Snapshot cameras Kolibri, Nagel
Pupille and
A great many 127 cameras were made with Eho-Altissa Eho
fixed focus lenses, single shutter speeds and Baby Box
fixed apertures for simple snapshot
photography. The Brownie 127, which shoots
eight 6x4cm pictures to a roll, is perhaps the After another exposure, ‘2’ was wound to the type mounted on the top plate. Shutter
most famous. Made by Kodak in 1952, it first window, then to the second…. and so on speeds fall into two groups: 1/2-1/15sec,
features a body moulded in smooth black until 16 pictures had been taken, each one set against a red indicator, and 1/25-
plastic with an eye-level viewfinder 3x4cm. That first Zeiss camera was the 1/1,000sec set against a black indicator. The
incorporated into the top plus a white shutter Kolibri, after which the craze for 16-on shutter speed must be set before the film is
button and film wind knob. The camera uses cameras was taken up by manufacturers wound and shutter tensioned. If you fancy
a simple meniscus lens, notorious for around the world. Many have top-brand using one today, beware. They are rare which
producing images sharper at the centre than lenses, plus full specifications of shutter makes them expensive and, worse still,
at the edges. To compensate, the film is led speeds and apertures, making them still very shutters are notoriously unreliable.
around a curved film plane. Hence the curved usable. If you are buying a folding 16-on-127
back of the camera, which leads to the camera, however, check the bellows appear Single lens reflexes
overall ovoid shape of the body. Snapshot light-tight. The first 35mm SLR was the Kine Exakta, but
cameras like these are still usable in good its style was based on an earlier camera that
Coupled rangefinder cameras
sunlight. The lens quality might be a little iffy, shot eight 6x4.5cm pictures on 127.
but there again, that fact alone should appeal
Although there are still a great many 127 Between 1933 and 1939, the German Ihagee
to Lomography fans who delight in strange cameras to be found, they are mostly company made numerous variations on the
lens aberrations. viewfinder types that rely on manual focusing same theme, exemplified by the Exakta B,
without the aid of a rangefinder. The whose clockwork-controlled shutter allows
16-on-127 exception is the Ensign Multex, made in 1937 speeds down to a full 12 seconds. The black
In 1930, Zeiss Ikon introduced a new idea to to shoot 14 exposures of 4x3cm. The lens body has a tapered design that slopes away
127, based on a concept first mooted by pulls out on the end of a short tube into its from the lens panel, a focusing hood that
Ensign for 120 film. Instead of one red shooting position and rotates to focus from springs up from the top to reveal a waist-level
window on the back of the camera where film 3ft to infinity, coupled to the rangefinder viewfinder and a left-handed shutter
numbers were wound one to eight, there were below the viewfinder which is a direct vision release on the front of the body. Also
two red windows. Frame number ‘1’ was
wound to the first window, a picture taken, Bringing coupled rangefinders
then ‘1’ was wound to the second window. to 127 cameras: the
Ensign Multex
 Testbench IN PARTNERSHIP WITH
Two usable 127 SLRs: the 127 film SLRs of more interest to the collector:
Exakta B (left) and Komaflex-S The Karmaflex (left) and Superfex Baby

worth a glance is the Japanese

Komaflex from 1960, which is shaped
like a miniature Hasselblad and shoots 12
4x4 images on 127. Telephoto and wide-
angle adapters screw to the front of the fixed
standard lens. Users will find both of these
cameras practical. Collectors might prefer the
rare German Karmaflex or the Japanese
Superflex Baby from 1932 and 1938.
Twin lens reflexes
In 1928, the original Rolleiflex represented
the first truly compact roll film TLR. It was
followed by a slightly stripped-down version
TLRs made for 4x4cm images on 127 film, left to right: pre-war Baby Rollei, post-war Baby

What to pay
Baby Brownie £10-15
Rollei, Yashica 44 LM and the Tokyo Optical Company’s Primo Junior
called the Rolleicord. Their styles greatly
influenced manufacturers around the world
Curious and quirky
Not every 127 camera followed a
Baby Ikonta £30-40 with models that mostly took 12 exposures conventional style. Consider the Purma
Baby Rollei pre-war and post-war £150-200 6x6cm on 120 roll film. A few companies, Special and Purma Plus cameras made in the
Brownie 127 £2-5 however, transferred the same thinking to 1930s and 1950s. Their shutter speeds –
Brownie Vecta £7-10 smaller cameras that shot 12 4x4cm engraved around the viewfinder of the Plus
Comet III £25-35 exposures on 127. Prime among them are model as ‘fast’, ‘medium’ and ‘slow’ –
Donald Duck Camera £120-150 Baby Rolleiflex cameras produced in different change depending on whether the camera is
Eho Baby Box £15-20 styles before and after the Second World War. held horizontally, vertically one way or
Exakta B £75-100 Yashica, Ricoh and the Tokyo Optical vertically the other. They each take 16
Ensign Multex £250-300 Company were among those who also exposures of 3.2x3.2cm. For real quirkiness,
Karmaflex £80-120 adopted the style. All work on a similar there’s little to beat the Donald Duck camera
Kolibri £60-100 principle: twin lenses that focus in tandem, made by the Toy’s Clan company in the
Komaflex-S £150-175 with the lower one shooting the picture and 1970s. Taking the shape of Donald’s head,
Pupille £150-250 the upper one reflecting its image onto a the lens is behind one eye, the viewfinder is
Purma Plus £20-30 hooded viewfinder screen on the top of the in the other eye and his tongue is the
Purma Special £10-15 body. TLRs made for 127 are usually reliable shutter release. Donald shoots 16
Superflex Baby £80-120 and capable of quality images. 4x3cm images.
Vest Pocket Kodak £20-30
Vest Pocket Kodak Vanity versions £150-200 The quirky side of 127 seen
Yashica 44LM £60-100 in a Donald Duck camera

Ready with your camera? Now dive into

Analogue Wonderland with over 200 films,
home developing kits, accessories and more
– all available for immediate dispatch. Enjoy
fast, tracked shipping from an independent UK
retailer with a huge passion for film.
For an exclusive offer, simply visit us at:
Unusual 127 designs seen www.analoguewonderland.co.uk/pages/ap
in the Purma Special (left)
and Purma Plus
46 www.amateurphotographer.co.uk
AP Photo Tours
In association with ● Quality workshops to top UK and worldwide destinations
● Small groups led by world-leading photographers
● High-quality accommodation, daily activities and lectures
● A tour coordinator from Zoom Photo Tours on every trip

Booowk!
n

www.amateurphotographer.co.uk/photo-tours
 Testbench ACCESSORIES
Lowepro PhotoSport
BP 24L AW III
Andy Westlake tests a camera
backpack that’s designed for walkers Eco-friendly
Lowepro says that 75% of
l £210 l www.lowepro.com/uk-en all the fabric used to
WHILE most camera backpacks are primarily designed construct the bag is
to hold lots of kit, Lowepro’s PhotoSport models are recycled.
different, being true dual-purpose bags for those who’d Recommended
like to carry a camera while out walking or hiking. Here,
we’re looking at a 24-litre version that’s ideal for a day
in the great outdoors.
In essence, this is a lightweight trekking backpack
that’s split into three sections. The lower part holds a
padded camera unit that can be accessed through a
flap on the side or used externally via the supplied
shoulder strap. It’ll hold a large camera body and a
couple of lenses, but the supplied dividers don’t
make great use of the space. Meanwhile, the top
half takes everything else you might need for a day Rain cover
The bright orange
out: sandwiches, sunglasses, headphones and so waterproof cover is quick to
on. A separate full-height rear compartment is fit, large enough to cover a
designed to accept a hydration bladder or when it’s water bottle and stows away
work time, a 15in laptop. neatly in its own pocket.
As befits a bag that’s designed to be carried all day,
one area where the PhotoSport stands out is with
regards to its harness. In addition to generously
padded shoulder straps complete with a stretchy
sternum strap, there’s a deep waist belt which is great
for distributing the load onto your hips. The back
Front pocket
The stretchy front pocket is
boasts moulded air channels to help stop you getting perfect for carrying a
sweaty on a long hike. lightweight jacket.
Several handy pockets are dotted around for
organising your belongings, including an externally
accessible one in the lid and a particularly handy one
on the right side of the waist belt. A set of loops on the
left side of the belt allows the attachment of additional Attachment
pouches, perhaps for a compact camera or lightweight
binoculars. Finally, a large stretchy pocket on one side points
A pair of walking poles can
will hold a flask, water bottle or small tripod. be fastened to the outside of
I tested the bag on a 10-mile walk along the North the bag. However, there’s no
Kent coast, using it to carry the Fujifilm GFX50S II easy way of carrying a
with 35-70mm and 30mm lenses, along with my full-size tripod.
lunch and personal items. Suffice to say it did the
job extremely well, proving itself to be extremely
comfortable to carry fully laden for hours on end. At the
end of the day my feet may have been aching, but my THE PHOTOSPORT RANGE
back was absolutely fine. At a glance Lowepro also offers a smaller 15L
Verdict model for £165, which is designed
S E C I RP T E E R TS E T A M I X O R P PA E R A S E C I R P L L A

l 24-litre capacity
For outdoorsy photographers who wish to be able to l Removable camera unit to take an APS-C mirrorless camera
carry more than just their camera kit for a day’s trekking, l Takes enthusiast camera and a couple of lenses. Like the 24L,
the Lowepro PhotoSport BP 24L AW III ticks a lot of the and two lenses it’s available in either blue or grey.
right boxes. It’s thoughtfully designed and well made, l Rear hydration or laptop For multi-day hikes, 55L (right) and
giving good access to your kit. The only real drawback is compartment 70L bags are available for £430 and
the relatively limited size of the camera unit. £460 respectively.
48 www.amateurphotographer.co.uk
 Tech Talk
The eyes have it
Professor Newman on…
A look at eye-controlled autofocus technology and
O
how it actually works
ne of the interesting
features of the new
Canon EOS R3 is that
it restores a feature
last seen in the film EOS 3 of
1998 – that of eye-controlled
autofocus. Early reviews of the
camera indicate that the revived
technology works well, although it
requires calibration in order to
work for any individual user.
However, given the complexity of
navigating over 1,000 AF points,
the operational speed of the
system justifies its set-up time.
Since its announcement I have
seen a number of adverse
comments about the system,
possibly derived from Canon’s
marketing images. These show
beams of light being directed into
the eye, causing some people to
point out the danger of such an
arrangement, and conspiracy
theorists to suggest that Canon
is building a database of retina
patterns for identity tracking. To
find out more about how the
system works I took a look at the
A B
C D
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
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
patent covering it, Japanese
Patent Office 2021-076832. This
says little about how the system
tracks the eye, but a great deal
about how the eye is illuminated
and imaged. Directing focused
beams of infrared light into the
eye would indeed be a risk, but
thankfully, the system does not
do it. Instead it uses 12 LEDs to
provide diffuse illumination to the
exterior of the eyeball. This
implies that the conspiracy is not
happening; the system does not
image the retina. Also, it’s very
unlikely it could produce the kind
of database that is feared.
On to the part of the function
that the patent doesn’t cover,
how the eye position sensor
works. This kind of sensor uses
essentially the same technology
as an optical computer mouse.
The theory of operation is quite
simple: the sensor is a small
camera, in this case viewing the
eye via a beam splitter in the
viewfinder’s optical path. It takes
pictures of the object over which
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movement is to be detected. It
then performs what is known as
a ‘correlation’ operation over the
images from successive scans,
moving the relative position of the
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two images pixel by pixel until the
correlation between pixels is
maximised. The pixel offset then
gives the distance and direction
that the images have moved
relative to each other.
When I first encountered this
technology, which was developed
by Hewlett-Packard in 1998, I was
surprised by how basic the image
sensor was, with some using just
64 pixels. From the Canon patent
it appears that the R3’s sensor
has more like 1,000 pixels, which
might be one of the differences
between it and its 23-year-old
predecessor. Moreover, the pixels
are simple binary affairs, allowing
Save
50%
the correlation function to be
performed very simply. This can
be seen in the illustration below,
where an image of an eye has
been reduced to just 256 binary
pixels. The first two images are
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 Website
updated daily
inc. promotions
QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.
CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
Used Canon 7D MKII
1DX MKII 5D MKIV body body box 120-300mm
CAF 800mm F5.6
F2.8 300mm F2.8 EXHSM DG 100-400mm 300mm F2.8 500mm F4 IS
body box box DG OS Sport EX DG HSM
hood
£2399 £1999/2397 £997
CANON R DIGITAL AF USED
R5 body Mint- box........................£3897
RF 70-200 F2.8 L IS USM box....£2399
CANON DIGITAL AF USED
1DX MKII body box.......................£2399
7D MKII body box............................£997
6D body box......................................£599
5D MKIV body box............£1999/2397
5D MKIII body box...........................£997
5D MKI body......................................£299
80D body Mint box.........................£699
40D body............................................£149
20D body box......................................£69
400D body ............................................£99
250D body .........................................£449
1000D body.......................................£149
BG-E20 grip box...............................£249
BG-E16 grip........................................£179
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON Z DIGITAL AF USED
Z7 body box....................................£1499
Z6 body box......................................£997
Z50 body box....................................£599
24-70 F4 S Mint box........................£599
FTZ adapter.......................................£239
NIKON DIGITAL AF USED
D3 body box .......................................£799
D850 body box...................£2099/2297
D810 body box...................£1199/1397
D780 body Mint box....................£1699
D750 body box.................................£997
D500 body Mint box....................£1197
D600 body..........................................£599
D500 body .........................................£997
D300 body box.................................£299
D7100 body box..............................£499
D7200 body box..............................£649
D7000 body.......................................£299
D3400 body.......................................£299
D3200 body.......................................£199
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
FUJI DIGITAL USED
X-H1 body box..................................£699
X-T4 body Mint- box....................£1299
X-T1 body box...................................£349
X-T10 body box................................£199
8-16 F2.8 XF WR box.....................£1399
10-24 F4 R OIS XF box....................£699
14 F2.8 R box.....................................£529
16-80 F4 XF WR ................................£599
18-55 F2.8/4 XF Mint- ....................£399
23 F1.4 XF M- box............................£699
50-140 F2.8 XF box.........................£997
60 F2.4 XF box..................................£479
90 F2 R LM WR XF box...................£699
100-400 F4.5/5.6 XF LM OIS WR.. £1299
1.4x extender XF WR......................£279
2x extender XF WR..........................£339
X100 Limited Edition kit box.......£499
VG-XT3 vertical grip box...............£149
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA 645 USED
ETRSi + 75 PE + WLF + back........£699
ETRS + AEII prism + 75 PE
+ speed grip......................................£699
ETRSi body box ................................£299
40 F4 E.................................................£299
150 F3.5 E...........................................£149
200 F4.5 PE.........................................£299
ETRSi 120 back RWC late..............£119
ETRS 120 back early...........................£99
Polaroid back box...............................£29
Plain prism E box.............................£169
AEII prism ...........................................£169
Speed grip E.........................................£99
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED
EOS 5 body ...........................................£89
EOS 600 / 650 / 3000 body each...£39
EOS 300 / 50E / 500N body each..£39
EOS 1000/1000fn body each..........£39
CANON FD USED
A1 body...............................................£169
AE1P silver body..............................£169
T90 body.............................................£199
T70 body................................................£99
A1 World Cup 1982 body box.....£249
AV-1 body..............................................£99
50 F1.8....................................................£69
50 F2........................................................£69
135 F3.5..................................................£69
2x extender B.......................................£49
FD bellows .........................................£149
CONTAX USED
CZ 180 F2.8 AE..................................£399
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL EMAIL YOU WHEN WE CAN HELP. CORRECT 29/10/2021.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
www.mifsuds.com The best stocked
dealer in the
Here to help - just call 01803 852400 Country
West
USM LII box
no F4.5/5.6 LII box IS USM LII
BG-E13 grip........................................£149
BG-E11 grip........................................£149
BG-E9 grip box.....................................£89
BG-E6 grip.............................................£89
BG-E2 grip.............................................£39
CANON AF LENSES USED
10-18 F4.5/5.6 IS STM.....................£219
10-22 F3.5/4.5 USM EFS ................£349
14 F2.8 USM LII...............................£1299
15 F2.8 fisheye..................................£449
15-85 F3.5/5.6 EFS...........................£299
16-35 F4 USM IS L............................£799
17-40 F4 L USM................................£399
17-55 F2.8 EFS IS USM...................£649
18-55 F3.5/5.6 IS STM........................£99
18-135 F3.5/5.6 USM Nano..........£399
18-200 F3.5/5.6 EFS ........................£299
24 F2.8 STM .......................................£129
D3000 body.....£99
D200 body .........................................£169
MBD-15 (D7100/7200) ..................£129
MBD-12 grip (D810)........................£249
MBD-200 grip (D200)........................£69
NIKON AF LENSES USED
8-15 F3.5/4.5 AFS Mint box..........£997
10-24 F3.5/4.5 AFS..........................£499
12-24 F4 DX AFS ..............................£499
14-24 F2.8 AFS Mint- box.............£997
16 F2.8 AFD fisheye box................£499
16-35 F4 AFS VR box ......................£699
16-80 F2.8/4 VR DX .........................£649
18-35 F3.5/4.5 AFS M- box...........£549
18-35 F3.5/4.5 AFD box.................£239
18-55 F3.5/5.6 AF VR .........................£99
18-105 F3.5/5.6 VR DX AFS...........£199
18-200 F3.5/5.6 VRII box ...............£349
18-200 F3.5/5.6 VR box..................£199
18-300 F3.5/5.6 VR DX box...........£699
24 F1.4 G AFS Mint........................£1197
VPB-XT2 grip box.............................£149
VG-XT1 grip ..........................................£79
Nissin Air 10S box...............................£49
MINOLTA/SONY DIGITAL USED
Sony RX10 MKIV box....................£1199
Sony RX100 MKIII.............................£299
Sony A100 body..................................£79
Sony VG-C70AM..................................£99
FE 35 F1.4 ZA OSS cox...................£899
A 16-50 F2.8 SSM DT......................£399
A 18-70 F3.5/5.6..................................£89
A 50 F1.8 SAM DT box ......................£99
MINOLTA/SONY A MOUNT AF USED
28-80 F3.5/5.6......................................£49
28-85 F3.5/4.5......................................£99
35-70 F3.5/4.5......................................£29
35-105 F3.5/4.5....................................£99
70-210 F4.5/5.6....................................£79
75-300 F4.5/5.6....................................£79
Lenshoods various.............................£40
BRONICA 6x6 USED
SQAi complete................................£1097
SQAi body..........................................£499
SQA body ...........................................£299
SQB body............................................£299
40 F4 PS...............................................£499
50 F3.5 PS box ..................................£349
110 F4.5 PS macro...........................£399
150 F4 PS............................................£299
2x converter PS................................£299
2x converter S...................................£149
SQAi 120 back late..........................£199
SQA 120 back early.........................£149
CZ 300 F4 AE.....................................£399
LEICA USED
IIIg body box.....................................£997
LIGHTMETERS USED
Minolta Flashmeter IVF.................£199
Sekonic L358 box............................£329
MINOLTA AF USED
7Xi body.................................................£69
Dynax 3 body.......................................£29
500Si / 505Si Super body each......£29
MINOLTA MD USED
X700 body..........................................£199
X300s body black...............................£99
X300 body blk/chrome ....................£99
28-70 F3.5/4.8......................................£69
50 F1.7....................................................£79
50 F3.5 macro ...................................£149
70-210 F4...............................................£99
75-200 F4.5...........................................£99
Used Sigma
£2199 £1399 £2199 £1799 £4499 £6999
24-70 F2.8 L USM II .......................£1199
24-70 F4 IS USM L............................£699
24-105 F4 IS USM LII M- box........£799
24-105 F4 IS USM L.........................£549
28-135 F3.5/5.6 USM......................£219
35 F2 IS USM .....................................£399
50 F1.2 L USM box...........................£997
50 F1.4 USM.......................................£299
50 F1.8 STM box..................................£99
55-250 F4/5.6 IS EFS.......................£199
60 F2.8 EFS macro...........................£299
65 F2.8 MPE macro .........................£849
70-200 F2.8 IS USM LIII................£1799
70-200 F2.8 IS USM LII .................£1297
70-200 F4 IS USM box....................£699
70-200 F4 L USM..............................£449
70-300 F4.5/5.6 U L IS box............£899
70-300 F4/5.6 IS USM II..................£449
24 F2.8 AFD........................................£349
24-70 F2.8 AFS VR M- box ..........£1499
24-70 F2.8 AFS box.........................£897
24-85 F3.5/4.5 AFS VR....................£399
24-120 F4 AFS VR box....................£499
28-105 F3.5/4.5 AFD.......................£199
28-300 F3.5/5.6 VR box..................£649
35 F1.4 G AFS M- box.....................£997
35 F1.8 AFS DX box.........................£169
35-105 F3.5/4.5 AFD one touch.£169
40 F2.8 AFS DX macro box...........£249
45 F2.8 PC-E tilt box......................£1199
50 F1.4 AFS G box ...........................£299
50 F1.8 AFS box................................£169
50 F1.8 AFD box...............................£129
58 F1.4 AFS G box .........................£1099
60 F2.8 AFS box................................£449
60 F2.8 AFD box...............................£349
70-200 F2.8 E FL Mint...................£1699
70-200 F2.8 AFS VRII M- box.....£1097
70-200 F4 VR box.............................£699
80-200 F4.5/5.6....................................£49
100-300 F4.5/5.6 APO....................£199
100-300 F4.5/5.6..............................£149
3600HSD flash.....................................£49
OTHER MIN/SONY A MOUNT AF USED
SIG 18-300 F3.5/6.3.........................£299
SIG 50-500 F4.5/6.3 HSM OS .......£899
SIG 70-200 F2.8 EX DG OS box..£599
SIG 105 F2.8 EX DG OS ..................£329
SIG 150-500 F5/6.3 DG OS box...£599
SIG 1.4x EX converter........................£99
TAM 90 F2.8 SP.................................£199
Teleplus 1.4x conv..............................£69
Teleplus 2x conv .................................£79
Kenko 1.4x Pro 300DG...................£149
SONY NEX E MOUNT AF USED
A6000 body.......................................£369
E 16-50 F3.5/5.6 PZ OSS................£169
E 50 F1.8 OSS box............................£189
Polaroid back.......................................£29
WLF .......................................................£199
Lenshoods various......................£20/50
HASSELBLAD 6x6 USED
500CM + 80 F2.8
+ A12..................................................£1997
150 F4 CF............................................£699
150 F4 Blk T* box.............................£499
45º prism unmetered late............£399
A12 black latest box.......................£499
WLF chrome late..............................£299
Pola+ back box....................................£79
Lenshood various...............................£49
RCP80 projector + 150 F2.8.......£1499
100-300 F5.6......................................£149
Kenko Teleplus macro conv............£69
Auto bellows III.................................£149
Bellows IV box...................................£149
Macro ext tube for 50 F3.5..............£49
Auto ext tube set................................£89
VC700 grip ............................................£49
NIKON AF FILM BODIES USED
F5 body box.......................................£699
F4s body.............................................£499
F801 body.............................................£99
F801s body...........................................£99
NIKON MF USED
Nikon F Photomic FTn Apollo
chrome body.....................................£699
F3 body...............................................£499
CF22 case for F3..................................£39
CF20 case for F3..................................£39
DW-4 finder for F3..............................£89
70-300 F4.5/5.6 USM......................£299
85 F1.2 L USM MKII.......................£1299
100 F2.8 IS USM L macro..............£849
100 F2.8 USM macro ......................£399
100-400 F4.5/5.6 LII box..............£1799
100-400 F4.5/5.6 L...........................£997
135 F2 USM L box............................£649
180 F3.5 L USM macro.................£1097
200 F2.8 USM LII ..............................£549
300 F2.8 IS USM LII........................£4499
300 F4 IS USM L................................£749
400 F5.6 USM L.................................£799
500 F4 IS USM LII...........................£6999
1.4x extender MKIII.........................£399
2x extender MKIII.............................£369
SIGMA CAF USED
8-16 F4.5/5.6 HSM DC box...........£399
10-20 F3.5 EX DC HSM...................£279
70-300 F4.5/5.6 AF-P ED VR box £479
70-300 F4.5/5.6 AFS VR box.........£349
70-300 F4.5/5.6 G ...............................£99
80-400 F4.5/5.6 AFS VR box.......£1399
80-400 F4.5/5.6 AFD box..............£699
85 F1.4 AFS box................................£997
85 F1.4 AFD Mint box ....................£997
105 F1.4 E AFS M- box.................£1499
105 F2.8 AFS VR................................£599
180 F2.8 ED........................................£399
200 F4 AFD macro.........................£1599
200-400 F4 AFS VR II box............£3697
200-500 F5.6 VR AFS box............£1099
300 F2.8 AFS VRII box...................£3997
300 F4 AFS E PF ED VR box........£1449
500 F4 AFS VR E FL latest box...£7997
500 F4 AFS VR.................................£4399
500 F5.6 E PF VR AFS box ...........£3199
TC-14EIII ..............................................£439
TC14-EII box.......................................£329
TC17-EII box...£299 TC20-EIII ......£349
E 55-210 F4.5/6.3.............................£219
TAM 70-300 F4/6.3 Di III RXD......£479
OLYMPUS 4/3 USED
14-42 F3.5-5.6..£69 14-45 F3.5-5.6 .£69
35 F3.5....................................................£99
40-150 F3.5/4.5....................................£99
40-150 F4/5.6.......................................£69
EX 25 extension tube........................£99
OLYMPUS MICRO 4/3 USED
OMD-EM1X body box..................£1499
OMD-EM1 body black....................£399
OMD-EM5 MKIII body blk M- box..£699
OMD-EM5 MKII body box.............£599
OMD-EM5 body box.......................£299
OMD-EM10 MKII body...................£249
E-PL5 body black box ....................£149
12-40 F2.8 Pro...................................£549
12-100 F4 IS Pro box.......................£799
12-200 F3.5/6.3 box........................£599
MAMIYA 645 MF USED
Teleplus 2x converter........................£39
120 insert...............................................£29
Ext tube each.......................................£29
MAMIYA 7 RF USED
43 F4.5 L + V/F box .........................£997
Viewfinder for 150 F4.5.................£199
MAMIYA RB USED
55 F4.5.................................................£299
Ext tube 1..............................................£59
Ext tube 2..............................................£59
MAMIYA RZ USED
100-200 F5.2 W.................................£299
180 F4.5 W..........................................£299
F2 Photomic + DP-1 chrome.......£599
FM2n body Black.............................£599
FM2n body Chrome........................£599
F301 body.............................................£69
15 F3.5 AIS..........................................£799
24 F2.8 AI............................................£299
28 F3.5 AI............................................£169
28 F4 shift...........................................£499
28-85 F3.5/4.5 AIS............................£299
35 F2 AI ...............................................£249
35-70 F3.5 AIS......................................£99
35-105 F3.5/4.5 AIS.........................£149
50 F1.4 AIS box.................................£299
50 F1.4 AI............................................£249
50 F1.8 AIS..........................................£149
50 F2 AI ..................................................£99
55 F2.8 AIS micro.............................£199
80-200 F4 AIS....................................£249
85 F2 AI box.......................................£299
Used Canon
10-20 F4/5.6 EX DC HSM...............£179
12-24 F4.5/5.6 II HSM.....................£599
17-50 F2.8 EX DC HS OSM............£269
17-70 F2.8/4 DC OS HSM..............£249
18-250 F3.5/6.3 DC OS HSM........£199
50-500 F4.5/6.3 HSM OS...............£799
70-200 F2.8 EX DG OS HSM.........£599
85 F1.8 EX DG box...........................£499
105 F2.8 EX DG HSM OS box.......£329
120-300 F2.8 DG OS Sport box.£2199
150 F2.8 EX DG OS HSM box.......£649
150-500 F5/6.3 APO DG OS .........£599
150-600 F5/6.3 sport....................£1197
150-600 F5/6.3 contemporary....£749
180 F2.8 DG OS macro box..........£997
300 F2.8 EX DG HSM ....................£1399
800 F5.6 EX DG HSM no hood..£2199
TC1401 extender .............................£199
TC-20EII ...............................................£199
SIGMA NAF USED
8 F3.5 EX DG fisheye.......................£599
8-16 F4.5/5.6 HSM DC box...........£399
10-20 F3.5 DC box...........................£269
10-24 F3.5/4.5 Di II VC HLD..........£449
12-24 F4.5/5.6 II HSM.....................£599
18-250 F3.5/6.3 DC OS...................£199
50-500 F4.5/6.3 HSM OS...............£799
70-200 F2.8 EX DG OS HSM.........£599
70-300 F4/5.6 DG APO macro.....£139
70-300 F4/5.6 DG macro...............£139
100-400 F5.6/6.3 DG.......................£599
105 F2.8 EX DG HSM OS................£329
120-300 F2.8 DG OS Sport box.£2199
150 F2.8 EX DG OS HSM box.......£649
150-500 F5/6.3 DG OS HSM.........£599
150-600 F5/6.3 sport....................£1197
150-600 F5/6.3 contemporary....£749
TC-1401 extender............................£179
1.4x EX DG conv box......................£149
14-42 F3.5/5.6 II AR MSC..................£99
14-150 F4.5/5.6 MKII.......................£429
17 F1.2 ED Pro...................................£799
17 F1.8 box ........................................£299
25 F1.2 Pro M- box..........................£997
40-150 F2.8 Pro ................................£929
40-150 F4/5.6 ED .............................£149
45 F1.8 silver......................................£149
60 F2.8 macro box...........................£349
75 F1.8 box ........................................£499
75-300 F4.8/6.7 MKII Mint box....£369
SAMYANG 12 F2 Mint box MF....£239
FL-900AR flash..................................£379
PANASONIC DIGITAL USED
G7 body Silver Mint box...............£299
GH2 body.......£299 G2 body..........£99
7-14 F4.................................................£599
14-42 F3.5/5.6......................................£99
14-45 F4/5.6.......................................£149
Plain prism.........................................£349
PENTAX 645 AF USED
55-110 F5.6 FA..................................£599
80-160 F4.5 FA..................................£399
150-300 F5.6 FA................................£599
200 F4 FA............................................£399
300 F4 FA............................................£799
400 F5.6 FA.........................................£799
PENTAX 645 MF USED
45 F2.8.................................................£349
80-160 F4.5........................................£499
120 F4 macro ....................................£399
135 F4 leaf..........................................£399
200 F4..................................................£199
100-300 F5.6 AIS..............................£149
105 F2.5 AI .........................................£299
105 F4 AI macro...............................£199
135 F2.8 AI .........................................£199
300 F4.5 ED AI...................................£299
TC14B conv...........................................£99
TC300 conv........................................£149
SAMYANG 85 F1.4 Mint box MF.£249
DG-2 Eyepiece magnifier.................£59
DR-4 Angle finder box...................£129
SB-8A flash............................................£69
OLYMPUS OM USED
OM-2N body chrome.....................£299
OM-2 body chrome box................£299
OM-1N body chrome.....................£299
OM-10 chrome body.........................£79
28-48 F4..............................................£129
35-70 F4.................................................£99
35-105 F3.5/4.5.................................£149
OTHER CAF USED
TAM 10-24 F3.5/4.5 Di II................£199
TAM 16-300 F3.5/6.3 II VC.............£399
TAM 28-300 F3.5/6.3 VC PZD.......£499
TAM 70-200 F2.8 VC USD GII box£799
TAM 180 F3.5 Di macro .................£399
TOK 12-24 F4 ATX Pro II DX box.£299
TOK 12-24 F4 ATX Pro box ...........£249
Kenko ext tubes box.........................£99
FLASH/ACCESSORIES USED
430EX MKIII RT box.........................£229
430EX II................................................£149
580EX II................................................£169
580EX ...................................................£129
600EX RT.............................................£299
ST-E3 Speedlight transmitter......£269
ST-E2 Speedlight transmitter.........£99
Angle finder C...................................£149
OTHER NAF USED
TAM 10-24 F3.5/4.5 Di II VC HLD £449
TAM 16-300 F3.5/6.3 II VC.............£399
TAM 24-70 F2.8 Di VC USD...........£499
TAM 28-300 F3.5/6.3 Di VC PZD.£499
TAM 60 F2 SP DiII macro...............£299
TAM 100-400 F4.5/6.3 Di VC USD ..£599
TOK 11-16 F2.8 ATX ProII..............£349
TOK 11-16 F2.8 ATX Pro.................£299
TOK 12-24 F4 ATX Pro II.................£299
TOK 12-24 F4 ATX Pro....................£249
TOK 16-50 F2.8 ATX DX box.........£299
Kenko ext tubes box.........................£99
FLASH / ACCESSORIES USED
R1 ring flash.......................................£449
SB-600............£99 SB-700 box.....£219
SB-900..........£249 SB-910..............£299
SU-800 box...£299 Nissin i40.........£99
DR-6 or DR-5 angle finder each.£169
MC-36A rem.....£89 MC-30A rem..£39
SC-17/SC-19/SC-28 cable each......£49
25 F1.4 box ........................................£379
45-200 F4.5/5.6.................................£199
200 F2.8 box....................................£1299
1.4x converter...................................£299
PENTAX DIGITAL USED
K5 body MKII.....................................£449
16-45 F4 ED DA box........................£199
18-55 F3.5/5.6 AL................................£69
18-250 F3.5/6.3 DA .........................£249
28-80 F3.5/5.6 silver FA ....................£69
35 F2.4 DA AL.......................................£99
35-80 F4/5.6...£49 50 F1.8 DA....£119
55-300 F4/5.8 ED WR......................£299
DG-4 grip for K5..................................£79
OTHER PENTAX AF USED
SIG 17-70 F2.8 EX DC box.............£199
SIG 70-300 F4/5.6 DG macro.......£139
SIG 150-500 F5/6.3 DG OS HSM.£599
WWW.MIFSUDS.COM
REF converter angle finder box..£179
PENTAX 6x7 USED
45 F4 late............................................£599
55 F4 late............................................£499
55-100 F4.5........................................£699
75 F4.5.................................................£399
90-180 F5.6........................................£499
100 F4 + macro adapter................£699
120 F3.5 soft focus..........................£399
200 F4 late..........................................£399
300 F4 latest......................................£349
2x rear converter grey...................£299
Wooden grip.....................................£199
WWW.MIFSUDS.COM
50 F1.8....................................................£99
135 F3.5..................................................£99
200 F4..................................................£129
7/14/25 ext tube each......................£20
14/25 auto ext tube each................£29
Converter 2x A.....................................£99
PENTAX AF USED
SFXN body ............................................£39
PENTAX MF USED
17 F4 PK..............................................£399
50 F1.4 PK...........................................£149
50 F1.7 PK..............................................£69
50 F2 PK.................................................£49
80-200 F4.5 PK.....................................£69
135 F3.5 PK ...........................................£79
300 F4 PK box...................................£399
400 F5.6 PK ...............................£399/499
Bellows M + slide copier...............£199
WWW.MIFSUDS.COM
 Mifsuds Photographic Ltd
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
Est. 1954.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 info@mifsuds.com
Opening times: - Monday - Saturday 10am till 4pm. Closed Sunday.
MIRRORLESS R SERIES CAMERAS & LENSES RF 70-200mm F4 L IS USM.....................................£1699
New Stock ................................................................£4299 RF 85mm F1.2 I USM DS .........................................£3299
CANON EOS R3 ................................................................£2399
.............£2729
RF 85mm F1.2 L USM...............................................£2869
RF 85mm F2 IS Macro................................................ £669
RF 5.2mm F2.8L DUAL FISHEYE............................£2099 RF 100mm F2.8L IS USM Macro ...........................£1479
RF 14-35mm F4 L IS USM .......................................£1749 RF 100-400mm F5/6.8 IS USM black..................... £699
RF 15-35mm F2.8 L IS USM....................................£2389 RF 100-500mm F4.5/7.1 L IS USM .......................£2979
RF 16mm F2.8 STM black ......................................... £319 RF 400mm F2.8 L IS USM.....................................£12449
RF 24-70mm F2.8 L IS USM....................................£2389 RF 600mm F4 L IS USM ........................................£13409
RF 24-105mm F4 L IS USM.....................................£1149 RF 600mm F11 IS STM............................................... £769
RF 24-105mm F4/7.1 IS STM.................................... £479 RF 800mm F11 IS STM............................................... £999
RF 24-240mm F4/6.3 IS USM................................... £959
Body only £5879 RF 28-70mm F2 L USM ...........................................£3099
RF 35mm F18 IS STM Macro.................................. £529
RF 50mm f1.2 L USM................................................£2389
RF 1.4 Extender............................................................ £579
RF 2x Extender.............................................................. £719
BG-R10 grip fits R5 / R6............................................. £419
New Stock RF 50mm F1.8 STM..................................................... £219
RF 70-200mm F2.8 L IS USM..................................£2729
LP-E6NH battery ....................................................£119.99
Mount adapter EF-EOS R....................................£119.99
CANON RF MORE NEW STOCK LISTED ON OUR WEBSITE - WWW.MIFSUDS.COM
100-400mm FULL FRAME CAMERAS OTHER CANON CAMERAS
F5/6.8 IS USM X MKIII body .................................................£6999
....................................................£2869
Powershot G5X MarkII............................................... £849
Powershot G7X MarkIII........................................... £699
.....................................................£1429 Powershot SX70HS ..................................................... £579
EOS 6D MKII + 24-105mm F3.5/5.6 IS STM......£1819 M50 Mark II plus 15-45mm...................................... £699
NON FULL FRAME CAMERAS M50 Mark II plus 18-150mm ................................... £949
EOS 90D body.............................................................£1249 PANASONIC BRIDGE & COMPACTCAMERAS
EOS 90D plus 18-55mm..........................................£1349 FZ1000 MarkII............................................................... £729
EOS 90D plus 18-135mm........................................£1629 FZ330........................£429 FZ82............................... £299
EOS 80D body......£799 EOS 850D body ............ £859
Our Price £699 EOS 250D body...£569 EOS 250D + 18-55mm£629
EOS 2000D body.£379 EOS 2000D + 18-55mm...£468
LX15...........................£429 LX100 MarkII............... £749
TZ200........................£599 TZ95............................... £399

Quality Used Equipment

Part Exchange Welcome
BEST
PRICES
CALL MATT 0736 828 8126
Open 8am till 8pm daily. RINGsuds.com
nt details to info@mif
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ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 29/10/2021. E&OE.
 Buying
SPONSORED BY

Cameras
Guide
Our comprehensive listing of key camera specifications
Controls
Entry-level cameras
Viewfinder
The biggest difference
110
cameras
listed &
rated

tend to have simple,
Cameras come in three types: easy-to-understand
DSLRs with optical viewfinders, controls, while more
expensive models add
mirrorless models with electronic lots of buttons and
viewing, and compact cameras dials to give quick
with non-interchangeable lenses access to settings.
Compactcameras
These range from
between DSLRs and small, pocketable
mirrorless cameras models to large
is that the latter use bridge-type cameras
electronic, rather than with long zoom lenses
optical viewfinders. and SLR-style designs.
Some advanced In this guide, we’re only
compact cameras including those with
also have built-in relatively large sensors
electronic viewfinders for high image quality,
to complement their raw format recording
rear LCD screens. and manual controls.

Handgrip
DSLRs traditionally
have relatively large
handgrips, while many
mirrorless models have
much smaller grips
to keep size down.
However, some can
accept accessory grips
to improve handling
with larger lenses.
Lens mount
Each camera brand
AMOST all serious photographers
prefer to use cameras with
interchangeable lenses, as this
uses its own lens gives the greatest degree of creative
mount, and mirrorless flexibility. At one time, this meant
cameras use different digital single-lens-reflex (DSLR)
lenses to DSLRs even cameras, but these have now been
from the same brand. joined by mirrorless cameras that
However, mirrorless use electronic viewfinders. The
models can often latest models are true alternatives
use DSLR lenses via to DSLRs, offering the same image
a mount adapter. quality and creative options. Camera
manufacturers offer a range of
options, from simple, relatively
inexpensive beginner-friendly
designs, to sophisticated
professional models. In the middle
of the range you’ll find enthusiast
cameras with more advanced control
layouts. Meanwhile the term
‘compact’ refers to cameras with
built-in lenses, regardless of their
size. Many offer excellent image
quality and full manual control.

SPONSORED BY Park Cameras was established in 1971 in Burgess Hill, West Sussex. For 50 years they have forged a reputation across
the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of all
photographers, from enthusiasts through to professionals, through the very highest level of customer service.
www.amateurphotographer.co.uk 53
 BUYING GUIDE

Mirrorless cameras

) P M ( NO I T U L O S E R

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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M200 £499 Basic entry-level viewfinderless model gains 4K video recording APS-C 24.1 Canon M 25,600 3840 143 6.1 • • 3 • • 315 108.2 67.1 35.1 299
Canon EOS M50 Mark II £699 4★ Likeable, easy-to-use entry-level APS-C model with viewfinder APS-C 24.2 Canon M 51,200 3840 • 143 10 • • • 3 • • 250 116.3 88.1 58.7 387
Canon EOS M6 Mark II £869 4★ Sports 32.5MP sensor and 14fps shooting, uses removable viewfinder APS-C 32.5 Canon M 51,200 3840 • 143 14 • • 3 • • 305 119.6 70 49.2 398
Canon EOS RP £1400 4★ Compact and affordable but over-simplified full-frame camera ever FF 26.2 Canon RF 102,400 3840 • 5 • • 3 • • 250 132.5 85 70 485
Canon EOS R £2350 4★ Canon’s first full-frame mirrorless uses the EOS 5D Mark IV’s sensor FF 30.3 Canon RF 102,400 3840 • 5655 8 • • 3.2 • • 350 135.8 98.3 84.4 660
NEW Canon EOS R3 £5880 High-speed, pro-spec flagship model that’s packed full of clever technology FF 24.1 Canon RF 204,800 6000 • 30 • • 3.2 • • 860 150 142.6 87.2 1015
Canon EOS R5 £4200 4.5★ Remarkable 45MP powerhouse capable of internal 8K video recording FF 45 Canon RF 102,400 4096 • 12 • • 3.2 • • 320 135.8 97.5 88 738
Canon EOS R6 £2500 5★ Superb all-rounder with in-body stabilisation and dual card slots FF 20.1 Canon RF 204,800 3840 • 12 • • 3 • • 380 138.4 97.5 88.4 680
Fujifilm X-A7 £699 3★ Sports large fully articulated LCD, but frustrating controls APS-C 24.2 Fuji X 51,200 3840 • 425 6 • • 3.5 • • 270 119 67.7 41.1 320
Fujifilm X-E4 £799 4★ Sharply-styled, compact mirrorless model with a tilt-up selfie screen APS-C 26.1 Fuji X 51,200 3840 • 425 20 • • 3 • • 460 121.3 72.9 32.7 364
Fujifilm X-Pro3 £1799 4★ Employs unusual hidden rear LCD design that polarises opinions APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 370 140.5 82.8 46.1 497
Fujifilm X-S10 £949 5★ Fine SLR-styled model with in-body image stabilisation and large handgrip APS-C 26.1 Fuji X 51,200 3840 • 425 20 • • • 3 • • 325 126 85.1 65.4 465
Fujifilm X-T200 £749 3.5★ Fine handling and great image quality, but slow and buggy in use APS-C 24.2 Fuji X 51,200 3840 • 425 8 • • • 3.5 • • 270 121 83.7 55.1 370
Fujifilm X-T30 £849 5★ Superb mid-range model that borrows much of its tech from the X-T3 APS-C 26.1 Fuji X 51,200 3840 • 425 8 • • • 3 • • 380 118.4 82.8 46.8 383
Fujifilm X-T30 II £769 Gains higher-resolution screen and numerous small updates over X-T30 APS-C 26.1 Fuji X 51,200 4096 • 425 8 • • • 3 • • 390 118.4 82.8 46.8 378
Fujifilm X-T3 £1349 5★ New sensor and improved autofocus make it the best APS-C camera yet APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 390 132.5 92.8 58.8 539
Fujifilm X-T4 £1549 5★ Exciting update with in-body stabilisation and fully articulated screen APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 500 134.6 92.8 63.8 607
Leica CL £2250 4.5★ Gorgeous APS-C mirrorless model with viewfinder and touchscreen APS-C 24.2 Leica L 50,000 3840 49 10 • • 3 • 220 131 78 45 403
Leica TL2 £1700 4★ Update to the TL with 24MP sensor and much faster operation APS-C 24 Leica L 50,000 3840 49 20 • 3.7 • 250 134 69 33 399
Leica SL2 £5300 4★ Sports 47.3MP full-frame sensor, in-body stabilisation and 5K video FF 47.3 Leica L 50,000 5120 • 225 20 • • 3.2 • 370 147 107 83 916
Leica SL2-S £3975 4★ More affordable 24MP version of the SL2 with pro video features FF 24.6 Leica L 100,000 4096 • 225 25 • • 3.2 • 510 146 107 83 931
Nikon Z 5 £1719 4★ Simplified version of the Z 6, comes with compact 24-50mm f/4-6.3 zoom FF 24.3 Nikon Z 102,400 3840 • 273 4.5 • • 3.2 • • 470 134 100.5 69.5 675
Nikon Z 6 £2099 5★ Full-frame mirrorless all-rounder with 24MP sensor and 12fps shooting FF 24.5 Nikon Z 204,800 3840 • 273 12 • • 3.2 • • 330 134 100.5 67.5 675
Nikon Z 6II £1999 4.5★ Second-generation full-frame mirrorless model with useful updates FF 24.5 Nikon Z 204,800 3840 • 273 14 • • 3.2 • • 410 134 100.5 69.5 705
Nikon Z 7 £3399 5★ High-resolution full-frame mirrorless with in-body stabilisation FF 45.7 Nikon Z 102,400 3840 • 493 9 • • 3.2 • • 330 134 100.5 67.5 675
Nikon Z 7II £2999 4.5★ Gains dual card slots, faster shooting, 4K 60p video and vertical grip option FF 45.7 Nikon Z 102,400 3840 • 493 10 • • 3.2 • • 420 134 100.5 69.5 705
NEW Nikon Z 9 £5299 High-speed, high-resoluttion flagship with pro build and connectivity FF 45.7 Nikon Z 102,400 7680 • 493 20 • • 3.2 • • 700 149 149.5 90.5 1340
Y R AV YA M S E C I R P T E E R T S , S P R R E R A S E C I R P L L A

Nikon Z 50 £849 5★ Well-specified APS-C mirrorless model boasts excellent handling DX 20.9 Nikon Z 204,800 3840 • 209 11 • • • 3.2 • • 320 126.5 93.5 60 450
Nikon Z fc £899 4★ Lovely-looking retro-styled model with fully articulated touchscreen DX 20.9 Nikon Z 204,800 3840 • 209 • • 3 • • 300 134.5 93.5 43.5 445
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will
inevitably have crept in along the way: if you spot one, please let us know by emailing ap.ed@kelsey.co.uk. Unfortunately we don’t have space
to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you
to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.
Mirrorless cameras at competitive low
as in store or online.
f our expert team for free impartial
nd the perfect camera for your needs.
Keep up to date with us on:

54 www.amateurphotographer.co.uk
 SPONSORED BY

Mirrorless cameras

) PM( NO I T U L O S E R

)NI( EZIS NEERCS

)SPF( EDOM TSRUB

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IF-IW NI-TLIUB

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EZIS ROSNES

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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Olympus PEN E-P7 £749 4★ Viewfinderless model with 20MP sensor and creative processing controls 4/3 20.3 Mic4/3 25,600 3840 121 15 • • 3 • • 360 118.3 68.5 38.1 337
Olympus OM-D E-M10 IV £699 4.5★ Compact, lightweight, enjoyable to use and takes great-looking pictures 4/3 20.2 Mic4/3 25,600 3840 121 15 • • • 3 • • 360 121.7 84.4 49 383
Olympus OM-D E-M5 III £1100 5★ Very capable camera with a small, lightweight, weather-sealed body 4/3 20.4 Mic4/3 25,600 4096 • 121 10 • • 3 • • 310 125.3 85.2 49.7 414
Olympus OM-D E-M1 III £1600 5★ Super-fast, incredible IS and packed full of advanced features 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 420 134.1 90.9 68.9 580
Olympus OM-D E-M1X £2800 4.5★ Pro-spec high-speed model with built-in vertical grip 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 2580 144.4 146.8 75.4 997
Panasonic Lumix G9 £1499 4.5★ High-speed, rugged photo-centric flagship camera with in-body IS 4/3 20.3 Mic4/3 25,600 3840 • 225 9 • • 3 • • 890 136.9 97.3 91.6 658
Panasonic Lumix G90 £899 4.5★ Versatile SLR-shaped stills/video hybrid with 4K video and in-body IS 4/3 20.3 Mic4/3 25,600 3840 • 49 9 • • • 3 • • 290 130.4 93.5 77.4 533
Panasonic Lumix G100 £590 4★ Small SLR-shaped camera specifically designed for vloggers 4/3 20.3 Mic4/3 25,600 3840 • 49 10 • • • 3 • • 270 115.6 82.5 54.2 345
Panasonic Lumix GX880 £400 Tiny easy-to-use pocket camera with tilting screen and 4K video 4/3 16 Mic4/3 25,600 3840 49 5.8 • • 3 • • 210 106.5 64.6 33.3 270
Panasonic Lumix GX9 £699 4★ Compact body with tilting screen and viewfinder, and 5-axis stabilisation 4/3 20.3 Mic4/3 25,600 3840 49 9 • • • 3 • • 900 124 72.1 46.8 450
Panasonic Lumix GH5 II £1499 4.5★ Video-focused high-end model with in-body stabilisation and 4K video 4/3 20.2 Mic4/3 25,600 4096 • 225 12 • • 3 • • 410 138.5 98.1 87.4 727
Panasonic Lumix GH5S £2199 Professional video version of GH5 with 10.2MP multi-aspect sensor 4/3 10.2 Mic4/3 204,800 4096 • 225 11 • • 3.2 • • 410 138.5 98.1 87.4 660
Panasonic Lumix S1 £2199 4.5★ 24MP full-frame mirrorless with exceptional viewfinder FF 24.2 Leica L 204,800 3840 • 225 9 • • 3.2 • • 380 148.9 110 96.7 899
Panasonic Lumix S1H £3600 Specialist full-frame mirrorless model designed for pro-level video FF 24.2 Leica L 204,800 4096 • 225 9 • • 3.2 • • 380 151 114.2 110.4 1164
Panasonic Lumix S1R £3399 4.5★ High-resolution full-frame mirrorless with in-body stabilisation FF 47.3 Leica L 51,200 3840 • 229 9 • • 3.2 • • 360 148.9 110 96.7 898
Panasonic Lumix S5 £1800 4.5★ Compact-bodied, enthusiast-focused model designed for both stills and video FF 24.2 Leica L 204,800 3840 • 225 7 • • 3 • • 440 132.6 97.1 81.9 714
Sigma fp £1999 4★ Smallest full-frame mirrorless, but compromised features and handling FF 24.6 Leica L 102,400 3840 • 49 18 3.2 • 280 112.6 69.9 45.3 422
Sigma fp L £1999 4★ High-resolution version of the fp with 61MP full-frame sensor FF 61.0 Leica L 102,400 3840 • 49 10 3.2 • 240 112.6 69.9 45.3 427
Sony Alpha 6000 £670 4.5★ A fine camera for its time, but now very much showing its age APS-C 24 Sony E 25,600 1080 179 11 • • • 3 • 310 120 67 45 344
Sony Alpha 6100 £830 Update to the A6000 with Sony’s latest AF technology and 4K video APS-C 24.2 Sony E 51,200 3840 • 425 11 • • • 3 • • 380 120 66.9 59.4 396
Sony Alpha 6400 £1000 4★ Extraordinary new autofocus system, but in an outdated body design APS-C 24.2 Sony E 102,400 3840 • 425 11 • • • 3 • • 360 120 66.9 49.9 403
Sony Alpha 6600 £1450 4★ In-body stabilistion and impressive autofocus, but frustrating body design APS-C 24.2 Sony E 102,400 3840 • 425 11 • • • 3 • • 720 120 66.9 59 503
Sony Alpha 1 £6500 5★ Flagship model with an unprecedented combination of resolution and speed FF 50.1 Sony E 102,400 7680 • 759 30 • • 3 • • 530 128.9 96.9 80.8 737
Sony Alpha 7 II £1498 5★ The full-frame Alpha 7 II includes in-body image stabilisation FF 24.3 Sony E 25,600 1080 • 117 5 • • 3 • 350 126.9 95.7 59.7 556
Sony Alpha 7 III £1999 5★ Remarkable all-rounder with 10fps shooting and 4K video recording FF 24.2 Sony E 204,800 3840 • 693 10 • • 3 • • 610 126.9 95.6 73.7 650
NEW Sony Alpha 7 IV £2400 Boasts 33MP sensor, fully articulated screen and updated controls FF 33.0 Sony E 204,800 3840 • 759 10 • • 3 • • 610 131 96.4 79.8 658
Sony Alpha 7C £1900 3.5★ Compact full-frame design let down by poor handling and tiny EVF FF 24.2 Sony E 204,800 3840 • 693 10 • • 3 • • 680 124 71.1 59.7 509
Sony Alpha 7R III £3200 5★ Same sensor as A7R II, but faster and with improved body design FF 42.4 Sony E 102,400 3840 • 399 10 • • 3 • • 650 126.9 95.6 73.7 657
Sony Alpha 7R IV £3500 5★ Superb high-resolution, full-frame mirrorless with new 61MP sensor FF 61.0 Sony E 102,400 3840 • 567 10 • • 3 • • 670 128.9 96.4 77.5 665
Sony Alpha 7S III £3800 4.5★ Huge update gains fully articulated screen and new touch interface FF 12.1 Sony E 409,600 3840 • 759 10 • • 3 • • 600 128.9 96.9 80.8 600
Sony Alpha 9 £4500 5★ Super-fast 20fps shooting and stunning overall performance FF 24.2 Sony E 204,800 3840 • 693 20 • • 3 • • 650 126.9 95.6 63 673
Sony Alpha 9 II £4800 A9 gains professional connectivity options and an improved body design FF 24.2 Sony E 204,800 3840 • 693 20 • • 3 • • 500 128.9 96.4 77.5 678
Sony ZV-E10 £680 Designed for vlogging, with high-end microphone and fully articulated screen APS-C 24.2 Sony E 51,200 3840 • 425 11 • 3 • • 440 113 64.2 44.7 343

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 BUYING GUIDE

DSLR cameras

) % ( EG A R E V O C FV
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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 2000D £469 3★ Minor update to EOS 1300D gains 24.1MP sensor APS-C 24.1 Canon EF 12,800 1080 9 3 95 • • 3 500 129 101.3 77.6 475

Canon EOS 250D £530 4★ Very compact entry-level DSLR with fully articulated screen and 4K video APS-C 24.1 Canon EF 51,200 3840 • 9 5 95 • • 3 • • 1070 122.4 92.6 69.8 449

Canon EOS 850D £820 4★ Fully featured upper entry-level DSLR includes 4K video recording APS-C 24.1 Canon EF 51,200 3840 • 45 7 95 • • 3 • • 800 131 102.6 76.2 515

Canon EOS 90D £1210 4★ Mid-range DSLR boasts 32.5MP sensor, 10fps shooting and 4K video APS-C 32.5 Canon EF 51,200 3840 • 45 10 100 • • 3 • • 1300 140.7 104.8 76.8 701

Canon EOS 6D Mark II £1999 4.5★ Includes 26.2MP full-frame sensor and fully articulated screen FF 26.2 Canon EF 102,400 1080 • 45 6.5 98 • 3 • • 1,200 144 110.5 74.8 765

Canon EOS 5D Mark IV £3599 4.5★ Hugely accomplished workhorse model, but pricey FF 30.4 Canon EF 102,400 3840 • 61 7 7 100 • 3.2 • 900 151 116 76 890

Canon EOS-1D X Mark III £6499 Super-fast pro model for sports and action photographers FF 20.1 Canon EF 819,200 5496 • 191 16 100 • 3.2 • 2,850 158 167.6 82.6 1440

Nikon D3500 £499 4★ Easy-to-use entry-level DSLR with Bluetooth connectivity DX 24.2 Nikon F 25,600 1080 11 5 95 • 3 1,550 124 97 69.5 415

Nikon D5600 £800 4.5★ Excellent image quality and handling, plus Bluetooth connectivity DX 24.1 Nikon F 25,600 1080 • 39 5 95 • • 3.2 • • 970 124 97 78 465

Nikon D7500 £1299 4.5★ Places the excellent sensor from the D500 into a smaller body DX 20.9 Nikon F 1,640,000 3840 • 51 8 100 • • 3.2 • • 950 135.5 104 72.5 720

Nikon D500 £1729 5★ Probably the best DX-format DSLR ever, with remarkable autofocus DX 20.9 Nikon F 1,640,000 3840 • 153 10 100 • 3.2 • • 1,240 147 115 81 860

Nikon D780 £2199 5★ Superb all-rounder blends the best of DSLR and mirrorless technology FX 24.5 Nikon F 204,800 3840 • 51 7 100 • 3.2 • • 2,060 143.5 115.5 76 840

Nikon D850 £3499 5★ High speed and superb image quality make this the best DSLR yet FX 45.7 Nikon F 102,400 3840 • 153 7 100 • 3.2 • • 1,840 146 124 78.5 1005

Nikon D5 £5199 Nikon’s top-end sports and action model for professionals FX 20.8 Nikon F 3,280,000 3840 • 153 14 100 3.2 • • 3,780 160 158.5 92 1405

Nikon D6 £6299 Latest pro-level high-speed sports camera boasts new AF system FX 20.8 Nikon F 3,280,000 3840 • 105 14 100 • 3.2 • 3,580 160 163 92 1450

Pentax K-70 £600 4.5★ Solid performer with fully articulated screen and in-body stabilisation APS-C 24.2 Pentax K 102,400 1080 11 6 100 • • 3 • 410 125.5 93 74 688

Pentax KP
Y R AV YA M S E C I R P T E E R T S , S P R R E R A S E C I R P L L A

£1099 4★ Compact but well-specified DSLR with interchangeable hand-grips APS-C 24.3 Pentax K 819,200 1080 • 27 7 100 • • 3 • 390 131.5 101 76 703

Pentax K-3 III £1899 4★ Highly specified but pricey APS-C DSLR that boasts a large viewfinder APS-C 25.7 Pentax K 1,600,000 3840 • 101 12 100 • 3.2 • 800 134.5 103.5 73.5 820

Pentax K-1 II £1799 4.5★ Well-featured full-frame DSLR that’s excellent value for money FF 36 Pentax K 819,200 1080 • 33 4.4 100 • 3.2 • 670 136.5 110 85.5 1010

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Compact cameras

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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon G1 X Mark III £1149 5★ Rewrites the rule book by fitting an APS-C sensor in a compact body APS-C 24.2 24-72 25,600 1080 9 • • • 3in • • 200 115 77.9 51.4 399
Canon G3 X £799 3.5★ Long zoom range, but let down by slow shooting and no built-in EVF 1in 20.2 24-600 12,800 1080 • 5.9 • • 3.2in • • 300 123.3 76.5 105.3 733
Canon G5 X Mark II £849 4★ Handles well and gives great image quality, but sluggish AF in low light 1in 20.2 24-120 25,600 3840 30 • • • 3in • • 230 110.9 60.9 46 340
Canon G7 X Mark II £549 4.5★ Pocketable body that handles well, with really useful zoom range 1in 20.1 24-100 12,800 1080 8 • • 3in • • 265 105.5 60.9 42 319
Canon G7 X Mark III £699 4★ Lovely pocket camera that includes 4K video and YouTube live streaming 1in 20.1 24-100 25,600 3840 • 30 • • 3in • • 265 105.5 60.9 41.4 304
Canon G9 X Mark II £449 4★ Slim, stylish, pocketable camera gives great image quality 1in 20.2 28-84 12,800 1080 8.2 • • 3in • 235 98 57.9 30.8 206
Fujifilm X100V £1999 5★ Replaces the X100F with new lens, tilting screen and weather-sealing APS-C 26.1 35 51,200 3840 • 20 • • • 3in • • 420 128 74.8 53.3 478
Leica C-Lux £875 Customised, re-badged version of the Panasonic TZ200 1in 20.1 24-360 25,000 3840 10 • • • 3in • 370 113 67 46 340
Leica D-Lux 7 £1075 Customised, re-badged version of the Panasonic LX100 II 4/3 17 24-75 25,000 3840 11 • • 3in • 340 118 66 64 392
Leica V-Lux 5 £1049 Customised, re-badged version of the Panasonic FZ1000 II 1in 20.1 25-400 25,000 3840 • 12 • • • 3in • • 440 136.7 97.2 131.5 812
Leica Q2 £4250 Update to the Q with high-resolution sensor and weather-sealed body FF 47.3 28 50,000 4096 20 • • 3in • 350 130 80 91.9 718
Leica Q2 Monochrom £4995 5★ Variant of the Q2 with a modified sensor that only shoots in black & white FF 47.3 28 100,000 4096 20 • • 3in • 350 130 80 91.9 734
Panasonic FZ1000 II £700 4★ Updates FZ1000 with higher-resolution, touch-sensitive screen 1in 20.1 25-400 25,600 3840 • 12 • • • 3in • • 440 136.2 97.2 131.5 810
Panasonic FZ2000 £600 4.5★ Sophisticated bridge camera with strong focus on 4K video 1in 20.1 24-480 25,600 3840 • 12 • • • 3in • • 350 137.6 101.9 134.7 966
Panasonic LX15 £370 4.5★ Likeable advanced compact with ultra-fast f/1.4-2.8 zoom lens 1in 20.1 24-72 25,600 3840 10 • • 3in • • 260 105.5 60 42 310
Panasonic LX100 II £600 4.5★ Fine camera with Four Thirds sensor, fast lens and analogue controls 4/3 17 24-75 25,600 3840 11 • • 3in • 340 115 66.2 64.2 392
Panasonic TZ100 £350 4.5★ Long zoom lens in pocket-sized body makes for a fine travel camera 1in 20.1 25-250 25,600 3840 10 • • • 3in • 300 110.5 64.5 44.3 312
Panasonic TZ200 £500 4.5★ Huge zoom range for a pocket camera, but telephoto images lack detail 1in 20.1 24-360 25,600 3840 10 • • • 3in • 370 111.2 66.4 45.2 340
Ricoh GR II £549 Fine pocket camera, but showing its age in terms of specifications APS-C 16.2 28 25,600 1920 4 • • 3in 320 117 62.8 34.7 251
Ricoh GR III £799 4★ Slimline, lightweight advanced compact with in-body image stabilisation APS-C 24.2 28 102,400 1920 4 • 3in • 200 109.4 61.9 33.2 257
NEW Ricoh GR IIIx £899 Variant of the GR III with new 40mm-equivalent f/2.8 lens APS-C 24.2 40 102,400 1920 4 • 3in • 200 109.4 61.9 35.2 262
Sony RX0 II £730 Tough wateproof camera with tilting screen and internal 4K video recording 1in 15.3 24 12,800 3840 • 16 • 1.5in • 240 59 40.5 35 132
Sony RX10 IV £1800 5★ Update to RX10 III with vastly improved shooting speed and autofocus 1in 20.1 24-600 12,800 3840 • 24 • • • 3in • • 400 132.5 94 144 1095
Sony RX100 III £810 5★ Features fast f/1.8-2.8 zoom lens and pop-up electronic viewfinder 1in 20.1 24-70 12,800 1920 10 • • • 3in • 320 101.6 58.1 41 290
Sony RX100 V £900 4.5★ Includes super-fast 24fps shooting and slow-motion video up to 960fps 1in 20.1 24-70 12,800 3840 24 • • • 3in • 220 101.6 58.1 41 299
Sony RX100 VI £980 4.5★ Fantastic pocket travel camera with 24-200mm equivalent f/2.8-4 lens 1in 20.1 24-200 12,800 3840 24 • • • 3in • • 240 101.6 58.1 42.8 301
Sony RX100 VII £1200 4.5★ Gains Sony’s latest AI-based autofocus tech, including real-time eye AF 1in 20.1 24-200 12,800 3840 • 20 • • • 3in • • 260 101.6 58.1 42.8 302
Sony ZV-1 £700 4★ Designed for vloggers, with high-spec mic and fully articulated screen 1in 20.1 25-70 12,800 3840 • 24 • 3in • • 260 105.5 60 43.5 294
Zeiss ZX1 £5400 3★ Unique camera with built-in Lightroom Mobile, but awkward touch interface FF 27.4 35 51,200 3840 3 • • 4.3in • TBC 142 93 94 837

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EOS 5D IV Z 50 a7 II X-T4
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CANON DSLRS NIKON DSLRS SONY MIRRORLESS FUJIFILM MEDIUM FORMAT
EOS-1D X Mark III......................from £5,099 A9 II ......................................................from £3,199 GFX 100.............................................from £5,679
EOS-1D X Mark II .......................from £1,739 D6...........................................................from £4,999 A7R IV .................................................from £2,599 GFX 50S .............................................from £2,309
EOS-1D X .............................................from £649 D5...........................................................from £1,499 A7R III .................................................from £1,539 GFX 50R .............................................from £1889
EOS 5D Mark III ...............................from £729 D4...............................................................from £859 A7R II.......................................................from £899
EOS 5D...................................................from £159 D300s ......................................................from £159
D7500 .....................................................from £689
A7S II ...................................................from £1,049 FUJIFILM MIRRORLESS
EOS 6D Mark II ................................from £879 A6500......................................................from £719 X-Pro3 .................................................from £1,499
EOS 7D Mark II ................................from £629 D7100 .....................................................from £329 A6400......................................................from £749 X-S10 .......................................................from £849
EOS 60D ...............................................from £219 D5600 .....................................................from £439 A6300......................................................from £479 X-T3...........................................................from £659
D3500 .....................................................from £319 X-H1 .........................................................from £569
CANON MIRRORLESS SONY COMPACTS X-T20 .......................................................from £319
EOS R ..................................................from £1,349 NIKON MIRRORLESS RX1............................................................from £939
EOS RP...................................................from £839 ZZ 76..........................................................from £1,599 ZV-1 ..........................................................from £629 FUJIFILM COMPACTS
EOS M5 ..................................................from £399 Z 5..............................................................from £939 RX100 III ...............................................from £189 X100V..................................................from £1,149
..........................................................from £1,079 RX100 II .................................................from £189 X100S ......................................................from £389
EOS M50...............................................from £449 Df ............................................................from £1,229
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BEST
SELLER SRB Elite Filter System NEW
Award-winning. Aluminium square
filter system. Made by us.
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Elite Holder £34.95 £19.95
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Elite ND1000 Filter £29.95
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Square Filters Most filters available for 67mm & 84mm systems Circular Filters Sizes from 25mm to 105mm depending on filter

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 Equipment to sell?
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 Photo Critique

Final Analysis
Paul Hill considers…
Petticoat Lane, London, 1966 by Roger Taylor

‘W hat connects mustard

and photography?’
asked Roger Taylor,
the UK’s premier
photographic historian, at the beginning
of his lecture at Trent Polytechnic,
Nottingham, in 1978. I was in the
audience and we were all fascinated by this
intriguing question. I have heard Roger talk
many times over the years, and he always
injects this sort of stuff into his enthusiastic
and entertaining presentations. Although
he is an emeritus professor of photography
and a world-renowned photographic
scholar – he has just been to Windsor Castle
to get the Royal Victorian Order from the
Queen for services to the Royal Collection
– he makes photographic history engaging,
with humour and humanity.
His journey to this world of historic
collections and dusty artefacts started at
the end of World War Two when he was
five. A family friend, who was a
professional photographer in Manchester,
lent him a camera whilst they were on
holiday at the seaside, and said: ‘Go
and photograph that seagull.’ That
photographer was Rex Lowden, who was to
have an immense effect on Roger’s life
when he later became his apprentice in
1957, having been considered an academic
failure at his secondary school. He loved
his job and was determined to succeed and
become qualified. As a consequence, he
passed his City & Guilds exams and later
went to Derby School of Art as senior Big turnaround Media Museum in Bradford in the 1980s.
photographic technician where he also got The move from making photographs to That move led to him and his wife buying
a first-class Diploma in Creative researching and collecting them came a house in Settle in the Yorkshire Dales
Photography (there were no degrees in when he found a 19th century where he became director of ‘the smallest
photography then) in 1967. Daguerreotype in a Derbyshire antique gallery in the UK’ – a redundant BT
Around that time, he borrowed the shop and bought it for £1. Although he telephone box – where he exhibited many
college Hasselblad and went to the famous was a senior lecturer in photography at photographers, including Martin Parr,
Petticoat Lane Market in London, where Sheffield Polytechnic, it was a Damascene and some stereographs from the collection
this image was made. ‘It completely bowled moment for Roger, who became eager to of his great friend and collaborator, Brian
me over as a lad from Manchester,’ he told know more about that era. He embarked May of Queen.
me. ‘I only used about three 120 films as on a master’s course in Victorian Studies at So what connects mustard and
they were expensive for someone on a £300 Leicester University and his MA thesis on photography? Well, gelatine for film was
a year grant!’ A book of these pictures has G W Wilson later became a book. His made from cows’ hooves and if the cattle
just been published by Cafe Royal Books: transition into historian was cemented grazed on grass that had been enriched by
www.caferoyalbooks.com/shop/roger- when he became senior curator and head mustard plants it improved the
taylor-petticoat-lane-london-1966. of research at the National Science and quality of the gelatine.
Among many achievements, Paul Hil has written two books on photography, was director of the Creative Photography course at Trent Polytechnic and has been exhibited numerous times.
He was the first photographer to receive an MBE for services to photography and the first professor of photographic practice in a British university. hillonphotography.co.uk.
66 www.amateurphotographer.co.uk
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SIGMA I series
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