Amateur Photographer - March 6, 2021 UK

Fujifilm Xo1u0w0ilV
Saturday 6 March 2021
Once you try one yl want

ichael Topham discovered
one, as M
FIELD TEST
Passionate about photography since 1884

Twin Lens
Contaflex Shoot in
all weather
The story of a rare
35mm TLR from 1935
Expert tips for dramatic landscape

photos in all conditions
Seeing double
How Louis Dazy creates
emotive multi exposures
in-camera on colour film
FEBRUARY 2020 £2.95
KELSEYmedia
Kaleidoscopes KELSEYmedia
Elizabeth Kazda’s unusual KELSEYmedia

£3.49
£2.95
flower-based mandalas KELSEYmedia
FEBRUARY 2020 £2.95
KELSEY
Plus When Harry Borden met Jeff Goldblum ● Tested: the Benro media 70
ArcaSmart
KELSEYmedia
VISIT…
I ILM X Series cameras channel over 85 years
of pert e in the photographic industry to deliver
l c ea ivit r both stills a video s ooters
- .
7days
COVER PICTURES © JEREMY WALKER / © ELIZABETH KAZDA / © LOUIS DAZY
Among the most important their tips and advice to help make the discomfort
attributes for anyone wishing to worth the effort. If you’d rather stay warm and dry
succeed in landscape photography at home then perhaps Elizabeth Kazda’s beautiful
is an ambivalence – if not an floral mandalas or Louis Dazy’s film-based double
outright enthusiasm – towards exposures will inspire you. Speaking of beautiful,
being out in inclement weather. we take an in-depth look at the Fujifilm X100V, a
If the thought of an impending storm doesn’t camera that’s almost impossible to use without
make your heart skip with excitement then this wanting to buy one (as Michael Topham found to
probably isn’t the genre for you. This week some of his cost) and John Wade tells the story of the
the UK’s leading landscape photographers offer Contaflex 35mm TLR. Nigel Atherton, Editor
This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
SOMETHING TO SAY? Write to us at [email protected] with your letters, opinion columns (max 500 words) or article suggestions.
cover image PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to [email protected].
JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
Our cover shot of Brograve facebook.com/ flickr.com/groups/
Mill, Norfolk, was taken on amateurphotographer.co.uk amateur.photographer.magazine amateurphotographer @AP_Magazine amateurphotographer magazine
a stormy day by Jeremy
Walker, on a Nikon D850
This week in 1971

In this issue TREASURES FROM THE HULTON ARCHIVE
3 7 days
14 Brave the
elements
22 Inbox
24 Join the club
28 What’s driving
Mr Dazy?
34 When Harry met
36 Botanical
highlights
40 Fujifilm X100V
field test
46 Twin Lens
Contaflex
50 Accessories
52 Ask the experts
55 Buying Guide:
Mirrorless lenses
66 Final analysis
Equality March by Evening Standard

It’s been 50 years since the UK’s first women’s protest, Sheila Rowbotham, said, ‘What was vital for
liberation march, which took place on 6 March 1971 us was to recognise we actually had a presence –
and progressed from Hyde Park to Trafalgar Square. that we could mobilise on the streets. Before then,
An estimated 4,000 women, men and children joined we’d had conferences, which several hundred people
the procession, despite snow and sleet. Speaking to had attended – but this was on a bigger scale. We
The Guardian in 2018, one of the organisers of the were visible to people, physically, as a movement.’
SUBSCRIBE
AND SAVE! The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic
See page 54 for details
Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.
Our favourite photos posted by readers
on our social media channels this week
AP picture
of the week
The Unknown by
Karl Horsman
Canon EOS 5D Mark III, EF70-200mm f4L, 1/80sec
at f/11, ISO 100
‘Waking up early and looking out of the window, I was
greeted with the thick fog the weather apps had
promised,’ recalls Karl, a keen landscape photographer
from East Sussex. ‘I decided to take a quick walk to my
local woodlands, hoping to photograph the fog drifting
amongst the trees before it evaporated in the sunlight.
I set my camera up on my Benro Mach 3 tripod and
waited for the sunlight to illuminate the area that I was
in. I captured this just in time, as few moments later
the fog was gone.’ Instagram @t_anyone.
#appicoftheweek
Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
Each week we choose our favourite picture on Facebook,

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 www.amateurphotographer.co.uk
www.amateurphotographer.co.uk 5
We also liked...
Petrol Station
by Ryan Bowen
Nikon D7200, 18-55mm lens, 1/8sec at f/5.6, ISO 640
Ryan is a young photographer from Tyldesley, near
Manchester, who enjoys photographing anything to do with
aviation, and night landscapes like this one. ‘I took this in
mid-January while out with my camera trying to shoot some
long exposures of cars on the local A580. But I spotted this
newly opened petrol station lit up in blue, in Astley and
thought it would make a good picture.’ He was right. It’s a
fairly mundane subject that most people would pass by
without a second glance but Ryan has made an appealing
photograph of it. Instagram @ryanbowen98.
Bridge Fog by Jamie Bassett

Panasonic Lumix GF1, 20mm F1.7, ISO 100
Bristol-based Jamie was introduced to photography at a
young age by his godfather, leading landscape pro Clive
Minnit, but with other demands on his time it always took
a back seat till recently. ‘I only really started giving it the
time and love it deserves since the pandemic,’ he
confesses. ‘It’s one of the only good things that has
come out of this whole thing for me. This was taken in
January on a very foggy day in Bristol. The bridge was
barely visible from Clifton Observatory so I headed down
to bridge level for a closer look! I liked how the lamp post
provided a strong focus point, creating a contrast to the
bridge.’ Instagram @jbassphotography.
Little Green
Bee-eater
by Philip
Whiteoak
Canon EOS 7D Mark II,
Tamron SP 150-600mm
f/5-6.3 @ 400mm, 1/500sec
at f/8, ISO 400
‘I’ve been a keen photographer
since the 1980s, photographing
anything and everything,’ says
Philip, but when I had to take
early retirement due to ill health
I needed some direction. We
had a caravan near the Bempton
Cliffs Nature Reserve in
Yorkshire so bird photography
soon became my new focus and
has remained so for the past
seven years.
‘This image was taken from a
safari jeep during a trip to Sri
Lanka with my wife and two
friends. Having this chosen as
one of your Pictures of the Week
has given me quite a mental lift
as someone who has an acute
underlying health issue and has
been basically locked down for
the past ten months, with
photography my only major
outlet.’ Instagram @p111crw.
Final Resting
Place by
Matthew
Mallett
Nikon Z 7, 24-70mm
f/4, 179sec at f/10 using
a 15-stop ND filter,
ISO 64
‘This abandoned
houseboat and small boat
are on my doorstep on the
picturesque Backwaters at
Landermere in Essex,’
says Matthew, who is
based in Clacton-on-Sea,
Essex. ‘I have been a
photographer for 28 years,
from medium format
through to digital, and
taken many a photograph
of these craft. This time
I wanted to give them a
minimalist feel that
highlighted the sad
dilapidation they now find
themselves in.’ Twitter/
Instagram: @1936matt. 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 [email protected]. See page 3 for how to find us.
Panasonic launches 70-
Books 300mm full-frame telezoom
The latest and best books from the
PANASONIC has released a
world of photography
telephoto zoom for its full-frame
L-mount cameras, in the shape of the
Lumix S 70-300mm F4.5-5.6 Macro
OIS. The firm claims that it should
offer outstanding image quality along
with fast, precise autofocus. It’s also
compatible with Dual IS, meaning that
the lens’s optical stabilisation
operates in conjunction with the
in-body stabilisation in Lumix S
cameras, enabling handheld
use at shutter speeds up to 5.5
stops slower than would
otherwise be possible.
Optically, the lens employs 17 The new lens
The Karakoram: Ice Mountains elements in 11 groups, including is designed
for full-frame
of Pakistan by Colin Prior one UED (Ultra Extra-low Dispersion) L-mount cameras
£44, Merrell, hardback,160 pages, lens, two ED (Extra-low Dispersion)
ISBN: 9781858946870 lenses and one UHR (Ultra-High One notable feature is unusually close
Refractive Index) lens. Together, these focusing, ranging from 54cm at the
The ice mountains of the Karakoram, aim to suppress colour fringing due to 70mm end to 74cm at the 300mm
which includes K2 – Earth’s second both lateral and axial chromatic setting. The latter provides an
highest mountain – are among the aberration, while maintaining high impressive 0.5x magnification, equating
world’s greatest natural treasures. image quality across the frame. An to an image area of 72mm x 48mm. A
While most of the world’s great peaks 11-blade rounded aperture promises switch on the side of the barrel can be
are almost always blanketed in snow attractive bokeh. set to limit the minimum distance to 3m,
and ice, the Karakoram mountains are so vertical which should reduce any hunting when
that they rapidly shed snow, leaving their bold, jagged shooting distant subjects.
outlines of granite glistening in the sun. It is these Physically, the lens boasts a
dramatic structures that landscape photographer dust and splash-resistant
Colin Prior was inspired to visit nearly 30 years ago. design, along with fluorine
He’s made a further five expeditions to the region coating on the front
and this book showcases the breathtaking beauty of element to repel raindrops
the scenery, with images juxtaposed by essays and and fingerprints. It
quotes from historical expeditions of the area. Also, measures 148mm in length
a fascinating section highlights the challenges that and 84mm in diameter,
come with capturing such photographs. weighs 790g, and takes 77mm
filters – unusually large for this type
Physical AF/MF, OIS on/off, focus limiter of lens. The lens is due to go on sale at
Look At This If You Love and zoom lock switches are on the barrel the start of May for £1,259.99.
Great Photography
£14.99, The Ivy Press, hardback, 224 pages,
ISBN: 9780711256040 Firmware updates for Nikon Z 6II and Z 7II
Written by former AP Features Editor NIKON has released firmware the time of its launch. Additionally, both
Gemma Padley, this book should be updates for its latest cameras will be able to output raw video
right up the streets of our readers. It full-frame mirrorless models, to Blackmagic external recorders.
features 100 of the best photographs the Z 6II and Z 7II. The firm has also launched
ever captured on camera, with a Version 1.1 for both a Nikon Z 6II Essential Movie
concise, insightful summary on just cameras is claimed Kit. This includes a camera
what it is that makes each one so special. Padley to provide enhanced body with the latest firmware
draws on her expert knowledge to reveal the eye-detection already installed, an Atomos
fascinating stories behind these incredible pictures; autofocus, including Ninja V recorder, a Nikon FTZ
and whether it’s gut-punching photojournalism that the ability to detect Mount Adapter for using
changed public opinion and made us question who and track subjects F-mount DSLR lenses, and a
we are, or images that rewrite the rules of that are smaller SmallRig camera cage. It’ll
photography, these are images you need to see (if within the frame. cost £2,909.
you haven’t already). To celebrate the launch of the Nikon Z 6II users also gain
book, Padley has written a Final Analysis of an Ansel the option of recording 4K The Z 6II Essential Movie Kit
Adams image, which you can see on the back page. 60p video, as promised at includes an Atomos recorder
Change gear.
www.mpb.com
What will the sequel

to this photo be?
MPB makes selling

your camera easy.
Sell your used kit to MPB.

Free up funds to tell a whole new story.
Sell now at www.mpb.com
wex.co.uk
4.9 out of 5 01603 486413
9 stores nationwide
Spread the cost

over 12 months†
0% APR representative
Now available on the Canon EOS
R5, R6 and selected RF lenses
R5 and R6
NOW IN
STOCK
Canon EOS R5 Body Canon EOS R6 Body Selected RF lenses
£349.92 per month† £208.25 per month† from £42.42

or pay £4,199 today or pay £2,499 today per month†*
E. & O. E. Prices and monthly repayments correct at time of going to press. Prices subject to change. All prices inc. VAT. *Based on the RF 35mm f1.8 IS Macro STM Lens,
priced today at £509. For a full list of RF lenses available in the promotion visit wex.co.uk/canon-r-finance. All items within this promotional offer come with free standard
UK delivery (2-3 working day delivery service). Deliveries to N.I. or remote areas may incur a delivery charge. For more information on delivery options visit wex.co.uk/
delivery. †Subject to application, financial circumstances and borrowing history. Warehouse Express Limited trading as Wex Photo Video, 13 Frensham Road, Norwich. NR3
2BT. Company registration number 03366976 acts as a credit broker and not the lender. Warehouse Express Limited only offers financial products from Barclays Partner
Finance. Barclays Partner Finance acts as the lender. Barclays Partner Finance is a trading name of Clydesdale Financial Services Limited, a member of the Barclays Group.
Clydesdale Financial Services Limited is authorised and regulated by the Financial Conduct Authority (Financial Services Register number: 311753). Registered in England.
Registered No: 2901725. Registered Office: 1 Churchill Place, London E14 5HP. This finance offer ends 31.03.21. © Warehouse Express Limited 2021.
Visit wex.co.uk/canon-r-finance for more details

or call us on 01603 486413 7 days a week
Samsung talks smartphones and AI
Samsung’s latest
Galaxy S21 Ultra
5G employs four
camera units
IN JANUARY, Samsung
released its latest flagship
smartphone, the Galaxy S21
Ultra 5G. Costing from £1,149,
it features no fewer than four
camera modules: ultra-wideangle,
wideangle, 3x telephoto, and 10x
telephoto. Technical editor Andy
Westlake spoke via video link
with Joshua Sung dae Cho, Vice
President and Head of Visual
Software R&D for Samsung
Mobile (pictured above), about What was the most difficult part frames are being taken, your can be optimised and the sign
some of the technologies used of the camera design? hands can shake, so the next becomes very clear and crisp.
in the device. We have used two folded step is to align them. What’s
telephoto lenses to give a 10x really important here is to select Do you use this technology for
What new camera features are optical zoom, and fitting them the right reference frame, which every picture?
in the S21 series? into a device this small was a is done by AI. Then you have the Think of a swan floating on the
We always focus on two main challenge for the hardware synthesisisation step [of water, it may look very graceful
points: to democratise the design. In terms of software, our combining all the frames], and peaceful but underneath
experience of professional concern was how much zoom followed by AI restoration to there is a lot going on. This is
photography, and to provide power we can provide. Our enhance the details and pictures happening with our camera
Galaxy as a tool for professional solution was to use AI technology even further. experience as well, because we
photographers. We have added a in the form of super-resolution, Another example of super- have so many different scenarios
lot of new features to serve those so we take a lot of data from the resolution technology is in for super-resolution technology.
purposes. For example, in our 10x zoom lens, and then use night-time pictures. For example, The user may only think they are
portrait mode we can add synthesisation to provide our when you have a neon sign in the clicking the button and that’s it,
studio-like lighting effects. ultimate output of 100x dark, you often see excessively but there’s super-resolution,
Another feature that we’re proud maximum. high brightness so that it’s bokeh effects and multiple AI
to introduce is that when you difficult to distinguish the form. In processing going on in order to
take a picture of a landscape Could you give more detail on our S21 series, AI will detect the produce the optimum output.
using our single take mode, AI how this works? sign and make the necessary
can process it to show how the We take multiple frames, maybe adjustments including using What features might we expect
lighting will change through the 20 or more depending on how multiple exposure levels both in future, thanks to AI?
day, like a 24-hour hyperlapse. bright or dark it is. While these high and low, so that brightness I would like to talk about
personalisation of the camera
experience. In the future, I think
Super Resolution AI will analyse and learn each
user’s preference in terms of
colour, resolution and so on, so
that the output is customised to
each individual. So when ten
people take a picture of the same
landscape from the same angle,
all ten pictures will look different
because each individual’s
Input 10Frames (Blurred) Picking Reference Image Alignment & Registration Solution Output preferences are analysed and
understood by AI. I think one day
Super resolution combines multiple exposures to give an image with more detail than any individual frame this could come true.
From the archive
Nigel Atherton looks back at past AP issues
Editor FJ Mortimer welcomed readers in the colonies to the 1912 Empire Number
11 March 1912
AP’S THIRD annual Empire Number featured a full-bleed
cover image (a rarity for the time) depicting the view
across Blackfriars Bridge, London. It shows horse-drawn
carriages, an Edwardian double decker bus and, on the
skyline, the faint outline of St Paul’s Cathedral. This was
pretty much the view from the AP office from 1972 to ‘Reviews of some of the recent apparatus submitted to us for notice’
2008 when we were based at King’s Reach Tower,
although rush hour looked somewhat different by then.
Inside, beneath a masthead of banners listing Britain’s
colonial outposts, the Editor FJ Mortimer welcomed its
international readers. ‘The great popularity of The AP and
PN in our Colonies is well evidenced by the steadily
increasing number of communications received daily from
readers in all parts of the world,’ he wrote. In How to
Succeed with a Hand Camera, the author argued: ‘A
negative measuring 3 ½ x 2 ½ in. or smaller can include
just as much as a half plate, and thanks to the excellence
of modern anastigmats, the detail of the tiny negative is
so sharp and well defined that the subject will stand
enlargement to an almost unbelievable extent.’ The
Latest’s round-up of ‘recent apparatus’ included the ‘Chic’
Reflex camera, claimed to be the cheapest reflex camera
on the market at £2 2s (£250) or an extra 7s 6d (£45)
with a variable shutter. The Junior Multi-Speed Shutter
could be fitted to most lenses and offered speeds from
1/500sec to 1/2sec for £3 12s 6d (£430) and the
‘Folding Ensign’ roll film camera came in three variants
from 37s 6d (£225) down to 21s (£125). Tips for using folding handheld cameras A guide to photographing cloudscapes
Mag
gnetic metal lens cap
p (FRONT CAP LCF62-01M))
Lens Hood (LH
H656-01) supplied
Available mounts: L-Mount, Sony E-mount
Sigma Imaging (UK) Ltd, 13 Little Mundells, Welwyn Garden City, Hertfordshire AL7 1EW | 01707 329999 | [email protected] | sigma-imaging-uk.com
Technique
Brave the
elements
Don’t let the damp, cold and windy
conditions put you off enjoying the great
outdoors over the winter months. We speak
to four pros who use the British weather to
their advantage, to capture unique scenes
Mark Gilligan
A professional photographer, producer/director of TV and
photography teacher for over 40 years, Mark is also a LEE Filters
Master supported by Berghaus and Billingham. A former Fujifilm
ambassador and winner of the #OMGB in LPOTY, he is a Fellow
of the BIPP. Visit www.wastwaterphotography.co.uk or follow
him on Facebook or Instagram.
I LOVE watching dramatic weather the eye of a storm but on days when
move across the landscape. Whilst I it is very changeable. Safety is
observe and enjoy, photographing it is paramount and I always abide by the
a passion of mine. Fortunately it isn’t rule that the mountains will be there
just seasonal either, as our weather another day. You will be exposed to
presents opportunities all year. I’m not the wet stuff, so ensure your
advocating thst you venture out into waterproofs and kit are up to the job!
Location knowledge
Luck will always play a part, but I find it helps to
know the location. Our weather creates anomalies
anywhere, but mountains are my ‘go to’ and I find that
Work with a partner studying it on recces helps. Positionally, being on lower
It’s better when there are two of you working together. It will be inclement and ground or slightly elevated produces good results. As
whilst I use a fisherman’s brolly bracket attached to my tripod, excessive gusts clouds close in, summits invariably disappear. It is a
can make that unstable. That’s where a flexible, human, brolly holder is handy! lottery, but changeable weather generally produces
Shielding the lens with the brolly, counting to three and quickly lifting up will work a results. Like the fisherman, you need patience! The
lot of the time. However, rain swirling around can prove testing, if not impossible. It MWIS is a good forecasting website but always be
can be hit and miss but weather gaps will appear. Patience is a virtue. cautious – as with any forecast, it is not set in stone.
Shoot
handheld
I generally use a
solid, robust tripod in
my work but have found
that using the camera
handheld, with the
stabiliser on and upping
the ISO, works well. The
flexibility of movement
affords a greater chance
of getting the shot. That
isn’t set in stone but if the
weather system is moving
fast, you need to as well.
Pushing between ISO 400
and 800 gives very good
results. Noise is not as
evident as it once was and
irrespective, I think a little
graininess can add to the
drama of the image.
Using filters
Whilst some bracket or
shoot HDR, I always use
my grads. Just my
preference and the way I
work. I use both ‘100’ and
‘85’ systems depending
upon lens choice. There’s
always the potential for
rain spots, irrespective of
how you protect the kit. To
maximise this, I attach a
Anticipation Lenses and kit lens hood. I utilised them
and options My bag is completely waterproof, and I use three weatherproof lenses. This making TV programmes
Pre-empting gaps in gives me options achieving a wider scope of photographs to ‘document’ the because they can reduce
the clouds and their effects of a storm as it approaches, hits and moves on. However, your choice and unwanted light, adding
speed and movement decisions will be dictated by the speed of the weather passing through and because another layer of protection.
will deliver. I generally of that I find that the 16mm or 16-55mm lenses get most use. My largest lens is no If really bad, I will drape a
use either f/8 or f/11 bigger than 210mm and that allows me to ‘cherry pick’ tighter scenes that occur. cloth over the top of the kit
for the majority of my just to be sure.
shots with this style
of photography. If I
have the telephoto
on, it can be f/4 or BEST KIT
f/5.6. It can go very
dark! You’ll be Waterproof bag
scanning the whole I recommend investing in a
scene, anticipating good-quality, fully waterproof
‘that moment’ and it bag. It is imperative that you
appears where you keep your kit dry and safe
would never have from the elements. Even if you
thought, as the don’t intend to go out in
‘show’ will randomly downpours, you never know
appear on a small when you might get caught in
crag or slope being one unexpectedly.
just as dynamic. Also,
consider a simple Brolly bracket
three-shot panorama This is an extremely handy
of the same situation accessory for positioning a
by adding overlapped brolly over my kit to protect it
images either side of from drizzle. However, use
the main one. with caution on breezy days.
Technique
Verity Milligan
Verity is a professional photographer based
in Birmingham. She has worked on
campaigns for international organisations,
leads workshops for Light & Land and is an
ambassador for Zeiss and LEE Filters.
www.veritymilliganphotography.com.
FOR PHOTOGRAPHERS who predominantly work

outdoors, there is no such thing as ‘bad weather’,
just a different set of challenges. In fact, if you asked
me what my worst weather condition might be for
photography, I would emphatically say clear blue
skies and endless sunshine. What normal folk might
consider bad weather I consider interesting weather,
and that’s where excitement can be found. Whether
it’s rain, fog, snow or just a bit windier than usual,
there’s the chance to capture familiar scenes in
different and unusual ways and the opportunity to
see the surroundings in a new, different light.
Fog makes a city feel cinematic

Fog is probably my favourite weather condition. It’s
also rare to get fog in the middle of a city,
especially the one where I live, so it feels very much
like an event. Fog can change the whole feeling of a
city because the normal run of things becomes
obscured and slowly revealed over time. People
become ghostly figures against an absent backdrop
and mundane architecture becomes otherworldly,
making the imagery feel timeless.
Rain means puddles

and reflections
While passing rain showers won’t
always result in glorious sunsets or
sunrises, they often do leave behind
puddles of water that can be used to
great creative effect. It means getting
low to the ground which sometimes
seems a little odd to people passing
by, but the strange looks are worth it
when you’re able to capture a fleeting
reflection that would otherwise not
exist. It can transform vaguely clichéd
scenes into something entirely new.
Snow brings
uniformity
As a child, snow can be absolutely
magical, but as an adult, it can be
seen as an annoyance. However, in
photography it can bring unique
opportunities. Snow, especially just
after it has fallen, gives a fresh
uniformity to the landscape. It renders
messy scenes much more simplified
and manageable. I particularly enjoy
the neutral palette that snow provides
and it’s one of those weather
conditions I look forward to.
Rain can lead to epic skies
Yes, when it’s actually raining it can be somewhat
miserable outside (I recommend investing in
some good waterproof clothing), but what comes before
and after the heavens open can transform a scene,
especially at either end of the day. If you time it right, it
can resolve into grandiose colour and light in the sky as
the sun bounces off the cloud and kicks back in style.
These conditions have led to some of my most
favourite urban landscape shots.
Moody skies
add atmosphere BEST KIT
I’m a big fan of trying
to get the weather to Good gloves
work for me whatever the A decent pair of gloves can
conditions, and deploying make the difference when
some ND filters to create shooting in bad weather.
a long exposure can take Cold hands lead to misery
an underwhelming scene so invest in gloves designed
and turn it into something for photographers, so that
interesting. Wet, windy you can stay warm and
weather means the clouds operate your camera.
move faster than usual
and even a 30-second Lens hood
exposure can give an This is invaluable if you’re
Falling rain/sleet or snow can add impact impression of movement capturing photos in wet
One of the delights of shooting in ‘bad’ weather is capturing the conditions to a still image. This can weather. Having a decent
and mood. Although long exposures can help with that, deploying a fast shutter be even more effective if lens hood will prevent
speed to capture the individual droplets or flakes can equally enhance the feeling of you have some added droplets from landing on
a particular image. This can be especially intriguing if there’s some backlight, but light trails to enhance the the lens, which can disrupt
even without, the maelstrom of rain/snow frozen in time can be very effective to overall moody, gritty urban the image and ruin the
convey a certain feeling. atmosphere. final results.
Technique LANDSCAPE PHOTOGRAPHY
Jeremy Walker
Jeremy is regarded as one of the finest
landscape photographers in the UK and for
more than 25 years has been producing
eye-catching images for use by clients
around the globe. Jeremy’s inspiring images
and writing appear in many of the world’s
top photographic publications and he is in regular demand as a
guest speaker, writer and workshop leader, both at home and
abroad. See more at www.jeremywalker.co.uk.
IT COULD of course be argued that there is no such

thing as ‘bad weather’, just different light and an
opportunity to perhaps shoot something a bit
unusual. Landscape photography is not all about
just going out at sunrise or sunset and shooting
pretty, colourful skies. Shooting in ‘bad weather’ is a
chance to capture an image with a unique, fleeting
mood and drama. Of course, chances are you will
have to suffer for your image; the conditions will be
too wet, too windy, too cold. You will be pelted by
hailstones, smothered in snow and no doubt will be
standing around, possibly for hours at a time, in the
most uncomfortable of conditions. However, if you
do your homework and are prepared, you can make
the ‘bad weather’ work for you.
Get some thermals

Shooting in bad weather can entail a great deal of
hanging around, waiting for the right moment, often in
bleak, exposed locations. You need the right outdoor
kit. Rain dribbling down your neck, frozen extremities Be ready and anticipate
and boots that leak are not going to lead to great Watch the weather forecasts and use smartphone weather apps. Constantly
images. Once cold, your mind turns to warm fires and be on the lookout for storm fronts and a change in weather systems and keep
mugs of tea, which is not the best frame of mind to an eye on where the weather is coming from. The weather can be very transient – a
have. There are serious health issues to contend with fresh snowfall may last only a day and you need to know where you are going to
as well: hyperthermia can become a major issue. You shoot and how to get there. Making your mind up at the last minute and dithering
need the best outdoor clothing you can afford. Start simply does not work. Allow extra time to get to your chosen location, as the
with Icebreaker thermals, they’re fab! weather may make driving slow and difficult.
Take a closer look
If inclement weather and poor light stop you
shooting the big view, look for a ‘micro
landscape’, a close-up shot or an abstract. Landscape
photography is not all about grandeur and large,
sweeping vistas. A thick bank of fog may stop you
shooting a distant view, but it will certainly give you
perfect soft lighting for a detail or close-up image.
Visualise in black & white

So many bad weather days lack any meaningful
colour that working in black & white can free up
the creative in you. Monochrome is a different way of
seeing and working, and will open up new possibilities.
With a lack of colour, the basics become much more
important and thinking in terms of tone, texture,
contrast and shape are key to a successful image. Also
be aware of what is possible with a mono image in
post-production, and take a look at specialist black &
white software such as Silver Efex Pro.
BEST KIT
Thermal wellies
Standing around in puddles,
streams and snowdrifts will
be uncomfortable at the best
of times and normal
Wellingtons or leather walking
boots have very little in the
way of thermal properties. Get
a good pair of neoprene-lined
wellies with a strong sole unit.
Aigle does a very good thermal
hunting boot.
Chamois cloth
I have always carried a
Subject choice Embrace the grey chamois cloth with me to wrap
Choose the subject matter that suits the weather Try to get away from the concept of just shooting pretty around my camera and lens,
conditions. For instance, castle ruins with sunrises and sunsets. Grey, overcast days can work to help protect them from the
brooding stormy skies; abbeys peacefully nestling in a well but it does all depend on your subject matter and rain, snow or even sea spray.
bank of fog; lighthouses with stormy seas; large open the treatment you give to the image. Overcast days can More recently I have been
vistas with approaching storm clouds. Find a location, lead to shadowless, low-contrast soft lighting which can using a piece of leather with
do a recce and stick to the plan. You have to be ready be ideal for woodland interiors, waterfalls or even Velcro tabs for ease of use.
and waiting for the precious few moments where the coastal shots. Coupled with a LEE Filters ‘Big Stopper’ Plastic camera covers have
weather, light and location all play ball. Perseverance is and a neutral density grad, flat grey landscapes and always seemed bulky and
key when working in conditions that don’t favour you. seascapes can take on a whole new look. impractical to me.
Technique
Gareth Mon Jones
Anglesey and Snowdonia-based astro and
landscape photographer, Gareth, has a
passion for being out in the elements.
North Wales is one of his favourite
locations. Back in 2019, Gareth was
awarded World Weather Photographer of
the Year. See more at www.garethmon.com or follow him on
Facebook @garethmonphotography.
I love getting out to photograph in bad weather. It’s
the sense of adventure I get walking into remote
areas or the absolute thrill of trying to battle the
elements head on. I enjoy the challenge of trying to
capture Mother Nature with her teeth out while
knowing there is no one else about, but also praying
for a short break in the weather for some relief. That
said, you have to be prepared and having the
appropriate apparel for the elements is a good
starting point. A hot flask of tea and good packet of
biscuits (my choice is Hobnobs) will also keep
you motivated and energised. Patience is key –
some images are worth waiting around for, but you
also need to know when it’s time to walk away.
Safety
This tip might sound really boring, but I always let my wife know where I am
intending to go and for how long. Anglesey gets some really bad storms and
walking some of the headlands can be challenging, so having someone knowing
where you’re going is vital if anything were to go wrong on your outing in bad weather.
Lens hood
My lens hood has become a vital piece of kit over
the years. There is nothing worse than having to
constantly check and wipe the front element over when
it’s raining, and it’s also a godsend when the sun pops
out and you don’t have to use your hand as a sun
shield. As well as protecting my lens from the
elements, my trusty lens hood has saved me a fortune
on a number of occasions. Once I accidentally dropped
my camera on some rocks and if it wasn’t for the lens
hood, it could have caused some serious damage.
Be reactive
When I’m at or even
travelling to a
location, I always have the
camera to hand. With
stormy weather, there are
often only fleeting
moments that can offer
epic photographic
opportunities, so you need
to be ready to capture it in
an instant.
Stay dry
Having a good waterproof
cover for your backpack is
important for obvious
reasons. Carry some
spare socks too. The
luxury of having a dry pair
of socks to pop on after a
soggy shoot is massive
peace of mind to me.
Another little piece of
equipment I have used in
some situations is a bath
cap; it’s the perfect size to
cover your camera and
lens when a squall of rain
or snow passes over. If my
kit does get a little damp,
I will keep it in my camera
bag for a few hours after
getting home before
opening it, so the gear can
acclimatise to the
temperature of the house.
A little while later, I will
Grey, flat days place my kit on a shelf
I make the best of the near a radiator. This action
grey, dull days by heading will prevent the camera
towards the coast for condensing any moisture
some long-exposure inside the camera or lens.
photography. I aim to
capture interesting
subjects, such as
lighthouses, buoys or even BEST KIT
just patterns in the sand.
It totally depends on my Shower caps
location as to what kind of These are a cheap and
long-exposure shots I effective way of protecting
capture. It can vary from your equipment when a brief
Weather forecast really long minimal shower passes over and you
It’s not all about being lucky, there is a lot you don’t have time to pack
exposures or even
can do to have the odds on your side when everything away.
handheld intentional
getting out in bad weather and capturing successful
camera movement (ICM)
photos. Use an array of weather apps on your phone to
photography. I typically Waterproof rain
gather as much info as you can about what the weather
might do at different points throughout the day. I tend
use a 24-70mm lens and cover
a shutter speed of 1/3sec This is a great accessory
to use Sat24, Met Office and the BBC weather apps that offers your kit and bag
and move the camera
and find windows with the most positive forecast, so extra protection from the
level along the horizon,
that I know when to attempt a trip out in the hope of elements. It can pack down
either to the right or to the
capturing something great. small and be stored in a
left depending on the
subjects to achieve a pocket in your camera bag
certain effect. when it’s not required.
21
YOUR LETTERS
Inbox
Amateur Photographer
Email [email protected]
Editorial
Group Editor Nigel Atherton
Deputy Editor Geoff Harris
Technical Editor Andy Westlake
Features Editor Amy Davies
Technique Editor Hollie Latham Hucker
Production Editor Jacqueline Porter
Art Editor Sarah Foster
Photo-Science Consultant
Professor Robert Newman
Special thanks to The moderators of the AP Email the Editor at [email protected] and include your full postal address. Please don’t send letters in
website: Andrew Robertson, lisadb,
Nick Roberts, The Fat Controller
the post as there is no one in the office to receive them. Thanks for your understanding.
Advertisement sales & production
Head of Market Liz Reid 07949 179 200
Ad Production Sam Tomkins (ATG) LETTER OF THE WEEK Silent cities: photos of the
Management
Old friends
Chief Executive Steve Wright global Covid-19 lockdowns
Chief Operating Officer Phil Weeden
Managing Director Kevin McCormick
Subscription Marketing Director Gill Lambert
Publisher Liz Reid
strive to remember and
Retail Director Steve Brown The recent travel limitations of travel The cameras I have used included an learn from. Could any of
Brand Marketing Manager
Rochelle Gyer-Smith imposed upon us has meant an Olympus OM1, a Leica M8, Fujifilm your team recommend a
Print Production Manager Georgina Harris imperative to more fully explore our X100F, a Ricoh GR and an old book that would serve as
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
Print Production Controller Anne Meader

local area in more detail. I have found medium format film camera. Each a photographic record of
Subscriptions it challenging to keep on trying to see marque has given me pleasure this most unusual of
51 issues of Amateur Photographer are
published per annum. familiar scenes with fresh eyes, so peculiar to itself and, using them, has times? David Richards
UK annual subscription price: £152.49
Europe annual subscription price: €199 I decided to view them through helped to keep me snapping. Of
USA annual subscription price: $199
Rest of World annual subscription price: £225 less-familiar viewfinders. I have been course, the cameras themselves are I would recommend Cities
UK subscription and back issue orderline unexpectedly surprised at how such a unimportant. You will have other ‘old’ of Silence: Extraordinary
01959 543 747
Overseas subscription orderline simple idea has added pleasure to friends on the shelf! Views of a Shutdown
0044 (0) 1959 543 747 my photographic excursions. Has it Allister Smith World, published by
Toll free USA subscription orderline
1-888-777-0275 improved my photography? No, but it teNeues. It shows images
UK customer service team 01959 543 747
Customer service email address has provided that little boost What a great idea: if you can’t change of normally busy but now
[email protected] necessary in getting me ‘out there’. the view, try changing the camera. eerily empty streets in
Customer service and subscription postal
address Amateur Photographer Customer more than 60 cities
Win!
Service Team, Kelsey Publishing Ltd,
Kelsey Media, The Granary, Downs Court, around the world. Amy
Yalding Hill, Yalding, Maidstone,
Kent ME18 6AL
Davies, Features Editor
Find current subscription offers on
our website shop.kelsey.co.uk/AMP
Already a subscriber?
A Samsung 64GB EVO Plus microSDXC with SD
adapter Class 10 UHS-1 Grade U3 memory card Shooting from the hip
Manage your subscription online at
shop.kelsey.co.uk/site/loginForm supports 4K UHD. Offering R/W speeds of up to 100MB/s /20MB/s and Recently there have been
a 10-year limited warranty. www.samsung.com/uk/memory-cards. a few letters on the issue
Classifieds
Telephone 0906 802 0279 of articulated screens. My
Premium rate line, operated by Kelsey very first camera -– a
Publishing Ltd. Calls cost 65p per minute
from a BT landline; other networks and
mobiles may vary.
Digitising AP (1984) was released and results are rather good. Christmas present in the
Lines open Monday-Friday, 10am-4pm Regarding the there were volleys of How about a piece in 1960s – was a Kodak
Email [email protected] conversation in Inbox hurrahs for the camera ‘Second-hand hall of Twin 20. Made from
Kelsey Classifieds, Kelsey Media,
The Granary, Downs Court, Yalding Hill, about digitising the AP and lenses. fame’ on this much- Bakelite this camera
Yalding, Maidstone, Kent ME18 6AL
archive, why not allow Keep up the good work: maligned first foray by boasted a single shutter
Distribution in Great Britain
Marketforce (UK) Ltd, 3rd Floor, readers to self-digitise the there is a reason why Nikon into CSC. speed of 1/100s, three
161 Marsh Wall, London, E14 9AP
Telephone 0330 390 6555
AP and send them in. I you’ve outlived all the Barry Shaw apertures and three focus
could start with my 1940 weekly and monthly zone choices. It also
Distribution in Northern Ireland
and the Republic Of Ireland
Newspread
copy. You have lots of very competitors, and why you Covid-19: the book offered two viewfinder
Telephone +353 23 886 3850 old readers with time on stand head and shoulders There’s no denying that we options: a conventional
Printed by William Gibbons their hands. You could above all the other are living through the eye-level finder and a
Kelsey Media 2021 © all rights reserved. Kelsey Media
is a trading name of Kelsey Publishing Ltd. Reproduction
test by asking for a non-critical review most significant event in waist-level one. The
in whole or in part is forbidden except with permission in particular month in a year, merchants: critical living memory. Being of problem with the eye-level
writing from the publishers. Note to contributors: articles
submitted for consideration by the editor must be the and companies could thinking. Paul O’Sullivan singular global finder was that it offered a
original work of the author and not previously published. sponsor the activity. importance, I think this is view akin to looking
Where photographs are included, which are not the
property of the contributor, permission to reproduce them Alternatively, pick the Thanks for the suggestion, something we should through the wrong end of
must have been obtained from the owner of the copyright. classic film SLRs and Paul. We are currently
The editor cannot guarantee a personal response to all
letters and emails received. The views expressed in the publish two reviews per exploring the available
magazine are not necessarily those of the Editor or the
Publisher. Kelsey Publishing Ltd accepts no liability for camera – one when it was options.
products and services offered by third parties. released, and one now.
Kelsey Media takes your personal data very seriously. For
more information of our privacy policy, please visit www. For example, I remember Much maligned Barry
kelsey.co.uk/privacy-policy. If at any point you have any that when the Canon F1n I’ve recently reacquainted
queries regarding Kelsey’s data policy you can email our
(1978) was tested with myself with the Nikon 1 recently
Data Protection Officer at [email protected].
bought two
the New FD lenses, the system, purchasing two used Nikon 1
lenses got an absolute used cameras and some cameras
kicking for build quality. lenses. I find it fun to use, and loves
www.kelsey.co.uk But then the New F1 uber-compact, and the using them
YOUR LETTERS
In next week’s issue
© ROSS HODDINOTT
Lewis by Graeme Youngson. Graeme often shoots from the hip, as it has great benefits
a pair of binoculars, so it inventing the great dream competitions are ‘likely’ to

was virtually unusable. So factory which we now be manipulated using
at a very early stage of my know as Photoshop. It software – and hence be
photographic career I was alarmingly concluded that classed as frauds. I have
forced into shooting from virtually every image to agree. Back in the day
the waist. I soon around us is likely to be of film, the same issue
Nature
discovered that falsified in some way, and was possible with prints
perspectives are often in particular the from negatives. Hence, for
better and more flattering photograph can no longer the most ‘serious’
at this level and shooting be trusted. AP will competitions the
Special
from the hip is a great realistically accept that organisers would stipulate
help when shooting many of the photographs that only slides were to be
candids. Another it now publishes will be submitted; and usually
advantage is that manipulated images, yet 120 film format. It would
communication with your most people still solve the digital problem if
subject is much improved instinctively look on the such a requirement was
when half your face isn’t photograph as an stipulated again. Pro tips to improve your
hidden by your camera. accurate depiction of Dr Hugh Anderson
When using any lens wider reality. Do not our children,
shots of wildflowers, animals,
than a standard lens I grandchildren or others I would replace the word birds, and invertebrates
frequently shoot from have the right to assume ‘serious’ with the word
© FRANS LANTING
waist level – with or they are looking at a ‘pompous’. By this logic,
without the help of an faithful record of the Ansel Adams, Edward
articulated screen. I was person photographed, Weston and all the great
encouraged to go down stripped of the artifice of b&w photographers in
this path by my very first the software dream history who ever used a
camera and haven’t machine? Leave the darkroom are ‘fraudsters’,
looked back. professional image which is just ludicrous.
Graeme Youngson makers to do what they Photography has been
must, to satisfy the primarily a two-stage
A more honest expectations of
demanding clients. We
process since Fox Talbot
invented it in 1839.
standard enthusiasts can aim for a The dishonest over-use of
The BBC series Age of the more honest standard. image manipulation is
Image by James Fox (on Alan Newall clearly an issue today, but Human nature
BBC iPlayer) discussed those who believe that all Frans Lanting speaks to AP about a
man’s desire to record his Frauds pictures must come out of major new book on the environment
world from the earliest AP has published a the camera ‘pure’ and
cave drawings to the more number of letters finished in order to be Natural selection
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
sophisticated paintings, reflecting on the fact that valid are the Taliban of the Tracy Calder shows you how to create
sculptures and digital pictures entered for photography world. flatlays by bringing nature indoors
photographs which
followed. The final episode Lenses and accessories
touched on the invention
YOUR FREE ENTRY CODE The best lenses and accessories for
of the digital image in Enter the code below via Photocrowd to get one nature and wildlife photography
1957, followed in 1987 by free entry to Round one – Black & White
APOY09037351
John Knoll’s holiday snap
of his partner Jennifer in
Paradise which led to his
On sale every Tuesday
1 Swaledale by Graham
Harrison This classic
scene includes some
great leading lines,
making an excellent
composition
2 Homeward Bound
with Lunch by Paul
Malley Captured at
precisely the right
moment, this is an
1 excellent example of 2
bird behaviour
5 Bath Parade by David
5 Evans Great eye contact 6
and a good use of a
square crop for this
engaging portrait
6 Bridge by Bridge
Light by Ian Jackson A
nicely framed shot which
shows off the impressive
nature of Victorian
architecture
Join
When was the club founded? techniques, and members’ images. In
The society began in 1956. The founding addition, longstanding members proactively
president John West sent a congratulations help new members with invaluable practical
email on the 60th anniversary of the society. advice tips from their wealth of experience in
Hopefully an 65th anniversary dinner will be a friendly and informal way.
Club
the held this coming year.
What does your club offer to new

Describe a typical club meeting
Our club room is normally open for 7pm,
members? ready for a 7.30pm start, the room is
In past years, the society has organised prepared with the chairs laid out before
training events for new members. Our members begin to arrive and sign in. The
members’ lecture evenings are well attended meeting usually commences with the
with members demonstrating still-life president or vice president opening the
photography, macro photography, studio meeting. The competition judge or guest
Based in beautiful evenings, photo editing workshops, and speaker will be introduced, and the meeting
recently a small group the ‘Shutterbugs’ has will begin. We usually take a refreshment
Lincolnshire, this club been formed to teach techniques on a more break mid evening, giving time for members
caters to all genres individual basis. The website and Facebook
blogs are regularly updated with useful
to socialise, ask questions, and speak to
the judge, or speaker. The meeting will
YOUR PICTURES IN PRINT
3
3 Balloons by Paul 4 Hello, Here, Goodbye
7 Storm Brewing by David Gray A striking by Ian Jackson An
Whitehouse An atmospheric composition which has excellent use of multiple
shot that greatly benefits from been timed to exposure to tell a story
the foreground interest perfection. The colours in a fun and cheerful
are beautiful, too portrait
Club essentials
Louth Photographic
Society
Church House, 6 Upgate, Louth,
Lincolnshire LN11 9ET
Meets Every Wednesday evening, from September
through to July, with a summer, and Christmas break
Membership The annual subscription rate is normally
£30, but this has been reduced to £15 for the 2020-
2021 season owing to Covid-19 preventing meetings
Contact Via Facebook, or the website
Website louthphotographicsociety.co.uk
normally conclude before 10pm. N&EMPF and Fosters Challenge competitions walked into the meeting asking if we were
Currently, though, during this pandemic and enters ‘friendly’ inter club competitions. Alcoholics Anonymous, to which someone
situation, the society’s meetings are being remarked, ‘He’s not anonymous any more.’
held on the Zoom platform. How many members do you have? The present president caused the portrait
We currently have 17 members. rules to be changed after winning with a head
Do you invite guest speakers? shot of a herring gull.
Yes. This year has been more restrictive, but Are any residential trips or outings A member of the public asked for a
recently Darren Juggins, a Lincoln planned? volunteer to go up in a two-seater aircraft to
professional photographer, gave a Zoom talk The society has regular outings to local photograph Louth canal quite a few years
about the challenges of his profession. nature reserves, often in the beautiful ago. On turning up the pilot had been told an
Another Zoom speaker, Charles Thody, gave Lincolnshire Wolds, or on the extensive North ex-RAF photographer was doing the job. That
a talk on deep sky imaging which was Sea coast, to photograph landscapes, plants, took a bit of living up to, especially when my
extremely interesting. birds, and small insects. A ghost walk was main camera packed up and I had to rely on
held in Lincoln last year, as well as an outing my trusty old Olympus OM1n and 50mm lens.
Do members compete in regional or to a local heritage steam railway.
national competitions? What are the club’s goals for the future?
The society is a member of the PAGB, and is Do you have any funny stories The society would like to attract new
affiliated to the local N&EMPF, and LPA about the club? members and have a greater presence in the
organisations. The society competes in the During one meeting many years ago, someone local annual N&EMPF competition.
We buy second-hand
Nikon...
Image by Tony Hurst
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm
[email protected] Visit our website: www.graysofwestminster.co.uk
Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
Instagram: @nikonatgrays LinkedIn: Grays of Westminster
What’s driving Mr
Double exposures used to be a function of forgetting always manage it as well as we’d like.
It is easier to represent a longer
whether the film was wound on, but for Louis Dazy period of time by showing a series of
images. That way we can mix the
they are a means of adding depth of meaning, time broad view with close-up details so
when exhibited together, and
and expression, reports Damien Demolder consumed as a single body, they can
T
work together to form an account
he story we can tell within 1/60sec past the hour. With care and with more twists, turns and intricate
a single exposure does not consideration for what we include features. A movie does this especially
have to be restricted to in the composition we can make our well – presenting us images at a rate
that period of time during picture sum up the events of perhaps of 24 per second that feed our
which the shutter was open. If we an hour or even a whole day. There’s imagination as we develop an idea of
take a picture at 4pm exactly, the no denying of course that it’s a tricky what is going on in the scene. With
story represented in that frame does job to compress a few hours into a a panning camera we can also collect
not have to start at 4pm and end at fraction of a second, and we don’t information about the whole
Dazy?
straightforward, but Louis isn’t one the result produced and from then
for the easier, softer way. He prefers tried to make a double exposure on
to shoot on film and to make his every roll he shot – until it became
double exposures in-camera, often almost all he did.
using multiple cameras and ‘A double exposure involves taking
recording where the subject is on two moments and putting them
each frame so he can accurately together to show as one,’ Louis
environment while appreciating a Above left: align the second exposure later. As explains. ‘That’s what attracted me
sense of the time over which the Delphine, you can see though, the effort pays at the start. I can tell two different
sequence spans. Vancouver, Winter off. His pictures are stunning. stories at the same time, which gives
Operating somewhere in that area 2018, Nikon F2, me a sort of cinematic way to
Portra 400, soft
between the still image and a movie focus filter Accidents happen express what is in my head. The
is French photographer Louis Dazy, Like all good film photographers, viewer gets to see the portrait first
who specialises in producing images Top: Marissa, Louis discovered multiple exposures and then they can dive into the
that represent an atmosphere, a Vancouver, by accident. Shooting a friend’s band second exposure to pick up the
feeling and an extended sense of Autumn 2018, in his early days of photography he environment and the mood. Pictures
time by showing us two moments Nikon F2, Lomo accidentally pressed the wind-on that are shot in this way hold my
simultaneously. Double exposures 400, light leak crank release on the base of his attention for much longer than a
reason unknown
are nothing new, of course, but the Nikon F2. When he pulled the single frame ever can.’
way Louis uses them is particularly Above: Bec, winder over for the next shot the
striking and emotive. Melbourne, Spring film remained where it was and he Doubling up
Modern digital cameras make 2016, Nikon F2, exposed a second image over the ‘I don’t have much technique
creating double exposures very CineStill 800 first. Fortunately he liked the effects in my photography so all of
FOLLOWERS OF FILM
what you see is from ambient

light – I don’t take lights on a
shoot. I look out for coloured lights
in the street and in shops that I can
use. There’s not much planning
either. I just take a friend, a few beers
and walk around for a while. If I find
some nice light we stop to see what
we can get.’
Louis likes to create his double
exposures in-camera which requires
first shooting the portrait and then
shooting a second frame of the
environment directly on top of it.
Sometimes he can find the second
shot straight away in the same
location, but when he can’t he uses
up to six cameras to take six portrait
shots of his subject and makes notes
about what is in the frame. Then he
heads off to find environmental
shots that he can record over the
originals. It all sounds very
complicated, but he has a simple
system to make sure things work out
well. ‘I try to keep the main portrait
subject in the middle of the frame so
I always know where it will be when
I’m framing up the second
exposures. This way I can make sure
the elements in the second shot
allow the portrait to show through
clearly, or so they interact with the
portrait in an interesting way. I also
have a folder of single frames on my
computer that I sometimes use to
match up with other single frames to
create new double exposures, but
these make up a very small Judianne,
percentage of my work.’ Vancouver,
Summer 2018,
Louis has been extremely
Sony A6300
successful with his double exposure
personal work and has a gigantic
following on social media. His style
and creativity attracts commercial
clients and gets him paid projects.
‘Whether I’m shooting personal
pictures or commercial work I
operate in the same style. With
personal work the moments come
naturally but in commercial work
obviously I have to recreate those
moments. I still want to explore my
individual style, so won’t shoot the
way everyone else is just to make
money. I need to be proud of the
photos I shoot. Commercial work is
also shot digitally as you need more
of a margin for error, but most of my
personal work is on film – though I
also shoot digitally when I’m broke.
‘Clients don’t usually want double
exposures for their advertising as PNE, Vancouver,
they are a bit too arty for selling a Spring 2018,
Nikon F2,
brand, but they like the style so
Portra 400
come to me for that. I do manage to
FOLLOWERS OF FILM
make a living from photography,

and can make money by selling the
rights to pictures I’ve already taken,
which is great as you just send the
file and get paid. I also sell prints.
‘I made a book of my pictures that
I published and sold myself which
has worked out well. I found it was
much better than going with a
publisher as you only get a tiny
fraction of the sale price that way.
The worst bit was storing all the
books in my apartment and having
to post them all!’
Despite his large following and the
fact that he earns his living from
photography, Louis says he doesn’t
feel like a photographer. ‘I’m just
creating memories,’ he says. ‘I started
photography just to have pictures I
could look back on of places I was in
and people I knew, and I’m still
trying to do that – making pictures
for when I’m old. When I go back to
old photos I feel the same thing I felt
at the time. Pictures unlock
memories in the same way that
smell can – and without these
reminders you can’t always conjure
those memories from the back of
your head. Photos bring those
feelings back and make me feel like
I’m in the same moment.’
The trappings of success

Louis has come to a point where he
wants to move on from working in
double exposures, but as he has
become very well known for them
he is finding it a challenge to change
direction. His social media followers
expect his pictures to be double
exposures, and no matter how good
his single-exposure pictures are they
vote with the ‘Like’ button and
almost demand more of what they
came to him for. Rather than him
defining his own style, double
exposures have come to define him
as a photographer and it is all that
interviewers want to ask about.
‘I’m now trying not to shoot
double exposures as I feel like I’m
getting stuck. I don’t feel like I know
everything about the technique or
that I’ve done it all, but I know how
it works now and feel I want to do
something else. People expect me to
shoot double exposures though so I
know when I don’t give them what
they expect, unless it is something
really awesome, my stats go down.
Robin, Los ‘I’m still grateful that people like
Angeles, Summer my double-exposure work, but I’m
2018, Nikon F2,
becoming bored shooting it. It’s
Portra 400
a weird feeling. I have to ask
DEDICATED FOLLOWERS OF FILM
myself, “Am I doing this for satisfied with what I’m doing – even
myself or everyone else?” It has if it’s just for me. Liking my own
to be for myself. I don’t want to get pictures should be enough for me.
lost in the process of being My pictures need to be in sync with
successful, so I need to focus on how I feel, and I should be proud of
what I want to do rather than them. I have been taking pictures for
listening to the voices around me. other people for too long.
You can become lazy when you feel ‘I don’t know if I’ll abandon
like you’ve out-done yourself and double exposures entirely, as it was
everything is great – but then you my first love, so I will probably still
stop doing what you do for the shoot them when I see the potential,
reasons you started doing it. When but it won’t be the main part of my
you shoot pictures to please other work. I won’t be able to capture that
people you are giving away some same sense of time in a single frame,
of your personal time – you may as and I have no idea really what I will
well be at work! do next other than trying to capture
‘I’ve been doing double exposures the way I feel. It’s really hard to
for four or five years now. After a remap my brain to see things
while you get to know what people differently as I have got used to
like so you shoot that way because seeing that way.’
it’s easy and you know it’s going to ‘Over the past few months I’ve
work. That can make photography been trying to move on, but we’ll see
boring as there’s no experimentation how that goes as we move through
– you already know what the picture 2021. I’m stepping up my game, and
is going to look like. There’s nothing having a change of direction – seeing
real about the process. Even if it does things differently but still focusing
really well on social media you get a on the right thing. We all need to
bitter-sweet feeling as other people focus on what we feel.’
like the picture but it doesn’t mean
very much to me.’ Kit, settings and film
Louis hasn’t decided yet on a Louis uses a Nikon F2 for most of his
direction for his future personal film work, and a Sony A6300 when
work, but he is keeping an open he is shooting digitally. ‘I’d love a
mind while he thinks about it. ‘I’m Nikon F6, but they are quite
still searching. I used to be scared expensive. I also want a Hasselblad
about moving away from shooting 500 – I don’t need it, and I’m not Above: Margot, view that’s similar to the way I see.
double exposures, but now it feels into cameras, but I think it will make Melbourne, ‘You can be really close to the
refreshing. It’s a new approach and me shoot in a different way. At the Summer 2016, subject with a 35mm lens, which
I’m finding it really exciting. I’m moment though I shoot almost Nikon F2, creates a different vibe and allows
Portra 400
aiming for the same thing I was everything with the F2 and a Nikkor you to feel their energy. Pictures shot
when I started taking pictures; 35mm f/2 lens, but sometimes use a with 85mm and long lenses don’t
making memories and feeling 28mm or a 50mm. The 35mm has a make me feel things in the same way
– it’s like the people are just standing
there. Most of the time I shoot wide
open as almost all my work is shot at
night; the middle of the day isn’t
really my thing. And I shoot
handheld. I experimented a lot
when I started and now use the same
settings all the time. I shoot at
1/30sec or 1/15sec because I have
pretty steady hands.
‘I used Kodak Ekta 100 pushed to
400 when I started, but now I use
Kodak Portra 400 colour negative film
most often. I didn’t think I would
like Lomography film as usually it
has really strong colours, but
Left: From left to Lomofilm 400 works well at night.
right: Sony A6300, Portra 400 is kind of warm and is
Rollei 35s, really close to the way I see. CineStill
Olympus OM30, film is too blue and I don’t like the
Nikon F2
halation. I also tried Fujifilm Velvia
Right: Martin, 50 slide film and liked the results,
Paris, Summer but it’s expensive, you have to wait
2017, Sony A6300 longer to get it developed and I need
to use a tripod. Slide film has less
grain too and grain is a big part of
my pictures, so I prefer negative film.
When I’m working digitally usually
I add a bit of grain to the images to
get the shot-on-film-look.
‘I always get my negatives scanned
at a commercial lab, as when
travelling I only want to take my
camera, some film and my laptop. A
scanner would be a step too far.’
Advice to new film

photographers
‘Shooting with film isn’t as hard as
you might think it is. I started off
not knowing anything about
photography. Just get to know the
camera really well, and the basics of
making an exposure. Practise a lot
and once you know how to expose a
photo you can then just focus on
what you feel is right, what you
want to shoot and being creative.
Don’t let anyone tell you that your
work is rubbish – just keep shooting
and enjoy it. If you like what you
are doing that’s enough. You don’t
need a purpose for what you
do. I just make memories.’
See more of Louis’ work at www.instagram.com/

louisdazy and www.louisdazy.com.
When Harry Met...
Jeff Goldblum
Harry Borden looks back on a shoot with
charismatic Hollywood film star Jeff Goldblum
T
oday, most portraits of big-grossing films such as Jurassic As with my portrait of another
Hollywood A-listers you Park (1992) and Independence Day American film star, Morgan Freeman
see in magazines tend (1996). When I met him, he was 44 – which I talked about recently in
to be arranged by film years old and doing publicity work this series (AP 23 January) – I had to
companies, shot in Los Angeles for his next major blockbuster, The hit the ground running, encourage a
and distributed centrally. It suits Lost World: Jurassic Park. convivial atmosphere and work fast.
the companies because it’s more The shoot took place in the I knew from previous experience
efficient than having images shot by Dorchester Hotel, London, where he that the Dorchester’s soft furnishings
lots of photographers for different was also doing interviews. I went wouldn’t offer a good background,
magazines. It also means they have along with the Observer’s writer, and if there was an interesting
much more control over the images. Harriet Lane, and an assistant. We location there would probably be
The downside, for readers, is that were carrying my Hasselblad 500CM something in the way. In this case,
magazine interviews with these stars with a couple of lenses, a ringflash an area beside the first floor lifts was
often look bland and all very similar. and a red head tungsten light. We covered in red flock wallpaper that
In the same week I photographed also took a portable Colorama I knew would go well with his dark
Jeff Goldblum for the Observer Life backdrop, which I would have fallen blue suit, dark blue shirt and tie.
magazine, back in 1997, I also back on if there were no interesting The only problem was that an
photographed actors Julie Walters, backgrounds available. enormous gilt mirror was partly
Minnie Driver, Charlton Heston, I was looking forward to meeting covering the best section of the
Rachel Weisz and Demi Moore. Goldblum, and he didn’t disappoint: wallpaper. So, to the film company
Access was much better, but the time tall and rangy, he was smart, very publicity manager’s extreme
I had to do these shoots was often self-assured, with loads of charisma irritation, I got out my Swiss Army
limited and the pressure was well and an offbeat sense of humour. penknife, unscrewed the mirror, and,
and truly on for me to get results. When Harriet’s interview was over, with the help of my assistants, lifted
Goldblum was a massive star in I had about ten or 15 minutes to it from the wall.
the 1990s and had starred in shoot a memorable portrait. If I was in that situation now, I’d
simply take the shot with him next
to the mirror and later retouch it out
in Photoshop. Back then, I had to
get the image in-camera, which
often wasted valuable time, or
resulted in me squeezing the subject
into a space that looked awkward.
Using my Hasselblad, an 80mm
lens and either a ringflash or red head
I shot half- and three-quarter-length
portraits on three rolls of colour film,
which I later cross-processed to give
a more contrasty appearance.
Then I switched to Kodak Tri-X
black & white film to go in close for
some more conventional
Hollywood-style head shots. The
original classic movie star portraits
would have been shot in a studio on
large-format cameras and carefully Harry had to take
lit. My portraits were shot in a few down a large
minutes, only lit by the red head. mirror that was in
the way, but it was
The kind of hard, contrasty light
worth it to get the
Though lit only you get with a red head is quite perfect shot
with a red head, intense and can be pretty brutal on in-camera
the black & white some faces, but if they’ve got an
head shots worked iconic face and great bone structure,
very well; one was they can look fantastic with it.
used on the cover
As I packed up my gear and left
of Observer Life
after an intense 15 minutes or so,
I felt exhausted. There was a great down the mirror had been
sense of relief, tempered by the fact worthwhile. As I remember saying to Harry Borden
that I was shooting on film so all I the PR, when she tried to stop me Harry is one of the UK’s finest portrait
actually had were some latent taking it down: ‘No one will photographers and his work has been
images yet to be developed. I didn’t remember me messing with the widely published. He has won prizes at
shoot a Polaroid as a test, as time was interior of the hotel in 20 years’ the World Press Photo awards (1997 and
precious and I didn’t want to waste a time. All that will be left will be the 1999), and was awarded an Honorary
frame. However, the b&w close-ups picture.’ A little awkwardness or Fellowship by the RPS in 2014. The National
worked particularly well and one of indignity is a small price to pay for a Portrait Gallery collection holds more than
them was used on Observer Life’s memorable portrait. 100 of his images.
cover. All the kerfuffle over taking As told to David Clark Visit www.harryborden.co.uk
Technique FLORAL MANDALAS
KIT LIST
Light pad
A flat light pad is ideal
for creating mandalas.
‘Mine is about 18.5in
x 25in, so it’s pretty
big,’ reveals Elizabeth.
‘It needs to be big
because when you are
rotating it you don’t
want the edges to
appear in the picture.’
Tripod
Elizabeth uses a
Vanguard Alta Pro
264AT tripod with a
Manfrotto 410 geared
head. ‘I like the
geared head because
it allows me to make
true precision
movements of just the
tiniest increments,’
she explains.
Lensbaby
Velvet
85mm lens
All of the botanical
mandalas here were
created with a
Lensbaby Velvet
85mm – a manual-
focus lens that
Elizabeth feels adds
a painterly look to her
images. ‘I believe that
working in manual
mode with a
manual-focus lens
makes me more
creative,’ she says.
Motorised
platform
To start with,
Elizabeth used a
rotating display
platform from her
jewellery-making days
to move the light pad,
but she soon
upgraded to a
ComXim turntable,
which allows her much
greater precision.
Elizabeth Kazda
Elizabeth is an artist from Wisconsin, USA, who
specialises in creative macro/close-up studio work. She’s
had a lifelong interest in art and science. Photography
provides the perfect medium for her to combine these
interests. Visit elizabethkazda.myportfolio.com or find
her on Facebook www.facebook.com/beth.kazda.
Botanical
highlights
Artist Elizabeth Kazda creates floral mandalas
that bring a sense of joy and positive energy.
Here she talks to Tracy Calder about her unique
approach, and her love of experimenting
A
round 20 years ago Elizabeth around with in-camera multiple
Kazda created a mandala using exposures. ‘I took a photo, moved the
watercolours and pencils. At the camera a certain amount and then took
time, photography was not part another one,’ she recalls. ‘I was doing this
of her artistic practice – in fact, it would maybe ten times to create a design with
be more than a decade before she picked the prisms, and at some point I decided to
up a camera and began using it to channel try a similar thing with botanical subjects
her creativity. Looking at this piece on the on a light pad.’
wall, however, the photographer is certain
that it influenced her current series of Breakthrough moment
highly successful botanical mandalas. ‘I To begin with, Elizabeth kept her camera
feel like everything I have done before has (a Nikon D850) on the focusing rails, but
an impact on what I am doing now,’ she moved it horizontally (left and right)
suggests. Elizabeth’s love of art goes way rather than towards her subject. Early
back and spans a multitude of disciplines results were encouraging, but she knew
including painting, drawing and jewellery there was more to be discovered. ‘One day
making. ‘All of my work is a fusion of I just thought, what if I move the light
art and science,’ she reveals. ‘I love to pad in a circular motion,’ she recalls. To
experiment and I’m always looking at satisfy her curiosity, she set the light pad
how I can change something or take it to on a rotating platform (designed for
the next level.’ displaying jewellery) and positioned the
camera over it. ‘I put the subject on the
In the beginning light pad, took a picture in multiple
In 2019 Elizabeth’s curiosity led her to exposure mode, rotated the pad, took
introduce prisms into her work. As another one, and so on,’ she explains.
sunlight passes through a triangular block ‘That’s how I created the first mandala!’
of glass or Perspex it separates into
individual bands of colour. ‘I was working Setting up
with prisms to generate colour and using Spurred on, Elizabeth ditched the focusing
Mandala with Asters mirrors to reflect this light and colour rails (mounting her camera directly on a
Nikon D850, Lensbaby Velvet 85mm onto other things,’ she explains. Eager to geared head instead) and began refining
0.6sec at f/8, ISO 50 delve deeper, she mounted her camera on her technique. It soon became clear
16 in-camera exposures a set of focusing rails and started playing that the old rotating platform wasn’t
Technique FLORAL MANDALAS
up to the job, so she upgraded to a
motorised version, which would allow
her to be more precise. ‘I think it’s
something people use in the product
photography world to take pictures of an
object from different angles,’ she suggests.
One of the key aspects to creating a
mandala is deciding how many times you
want to repeat the subject. ‘It could be four
or I’ve gone up to 32,’ she laughs. Making
this calculation early on, and then getting
the rotating platform to stop in the right
places, is critical.
To add to this challenge, the camera
needs to be held completely parallel to the
light pad. ‘Careful measurement and
levelling are crucial,’ confirms Elizabeth. To
assist her in this task she uses a tripod with
a centre column that can be positioned
horizontally (a Vanguard Alta Pro 264AT),
with a hotshoe spirit level.
Many of Elizabeth’s pictures feature
flowers from her own garden. ‘I spent most
of last year working on these mandalas and
not leaving home too much,’ she admits.
‘I have a specimen collection and whenever
I see something interesting I collect it, put
it in a bag and save it for later.’ Her magpie
eye has led to mandalas featuring tulips,
geraniums, ornamental grasses and even
the humble teasel.
Time to shoot
With the number of repetitions decided,
Mandala with Geranium and the light pad firmly adhered to the
Nikon D850, Lensbaby Velvet 85mm centre of the rotating platform, Elizabeth
1/10sec at f/8, ISO 50 makes sure the surface is entirely level, and
32 in-camera exposures then finds the exact centre. ‘You need to
TOP TIPS
Level up Use manual focus Try multiple exposures

Accurate measuring and levelling are key to Working in manual focus gives you the Elizabeth combines multiple exposures
a successful mandala picture. Both the maximum flexibility. ‘I want to decide where in-camera. ‘Many (not all) computer-generated
camera and the light pad need to be the focus is going to be,’ says Elizabeth. mandalas are mirror-image symmetry, but I
completely level. What’s more, the exact ‘Sometimes autofocus will pick what I want, use a technique I call Precise Incremental
centre of the light pad must be found before but at other times it picks something Rotation, which leads to rotational symmetry
you can introduce the subject. completely different!’ in the design,’ she explains.
get everything measured and level or your
mandala will not come out symmetrical,’
she warns. When everything is aligned she
sets the camera on the tripod and positions
it directly over the light pad.
It takes time, and a little pre-visualisation,
to work out where to place her subject on
the light pad, but once she has decided
Elizabeth takes care to secure any
lightweight subjects to the surface using
tape or, in some cases, a sheet of glass.
‘The subject can’t move,’ she stresses. ‘As
soon as the platform rotates and things
move out of position the symmetry will
be destroyed.’
All the mandalas shown on these pages
were shot on a Nikon D850 with a
Lensbaby Velvet 85mm. ‘I love the way this
lens gives an almost painterly look to the
images,’ says Elizabeth. The Velvet 85mm
is a manual-focus lens, which suits her style
perfectly. ‘Everything I do is manual,’ she
laughs. ‘I work in manual mode and I use
manual focusing – it gives me more
flexibility.’ To help her to keep everything
sharp she shoots around f/8 and uses a
combination of viewfinder and live view
to refine her focus. ‘I also use a remote
release and I switch the camera to Mirror
Up mode,’ she adds.
With the camera set to multiple exposure
mode, Elizabeth takes one shot then rotates
the platform the predetermined amount
and shoots another. The process is repeated
until the platform has completed its full Mandala with Fern
rotation. ‘The camera combines the shots Nikon D850, Lensbaby Velvet 85mm
and that’s how the mandala is 1/8sec at f/8, ISO 64
created,’ she concludes. 12 in-camera exposures
Keep still Be patient Banish the dust

When the motorised platform begins to Botanical mandalas can take hours or Elizabeth shoots in raw and imports files into
move, everything on the light pad will move – sometimes even days to perfect. ‘It’s not a Lightroom, where she carries out basic
so it’s a good idea to fix any lightweight one and run technique,’ laughs Elizabeth. adjustments. She often tweaks exposure,
objects to the surface with tape or, in the Treat the exercise as an almost therapeutic white balance, texture, clarity, colour, vibrance,
case of seriously lightweight objects such as act and enjoy the sense of calm that you saturation and sharpening. Any dust spots
ornamental grasses, a sheet of glass. experience from being ‘in the zone’. are removed in Photoshop.
Testbench IN THE FIELD
Bite
the
bullet
There are some cameras you need
in your life and the Fujifilm X100V
is one of them, as Michael Topham
explains having purchased his own
T
he best camera is the taking photography seriously
one you have with you when I do it. Smartphones will, in
is a cliché we’ve all my opinion, always lack the same
heard before. As much creative and inspiring feeling you
as it states the obvious, it does get when you lift a viewfinder to
have relevance in today’s society your eye and operate a camera
where there can be big rewards with tactile controls at your
for being the first person to fingertips.
record a crisis, extraordinary Ever since reviewing the Fujifilm
event or unexpected moment. X100V last year I’ve had an itch
Most of the time these situations I’ve needed to scratch. A practical
to which I refer are recorded on pocket compact seemed like it
smartphones, which can be could be the perfect answer to
pulled from pockets to snap stills get away from using my
or snippets of video in seconds. smartphone when I don’t have my
I have nothing against people DSLR, or small mirrorless camera
using phones to document world to hand. If I needed another
events and daily life, but there’s reason, my increased interest in
part of me that feels like I’m not cycling since lockdown regularly
presents opportunities to get

some great shots at first light
and I often pass subjects and
At a glance other points of interest that
justify a brief stop for a quick
£1,249 shot. Neither my DSLR nor
mirrorless camera really cut it for
● 26.1MP APS-C X-Trans this purpose unless I carry a
CMOS 4 sensor backpack, which I’m not fond of
● 23mm f/2.0 lens on long rides or when heading
● Hybrid viewfinder (OVF & out for a brisk walk. But
3.69-million-dot EVF) something had to give if I was
● 3in, 1.62-million-dot serious about the idea of owning
two-way tilt touchscreen an X100V as I only had £500 to
● 4K video at 30fps spend, not a penny more. After
● Weather-sealed (with deciding to part with my Fujifilm
adapter ring)
X-T10 and XF 23mm F1.4 R (for
which MPB.com offered me
£520), I had a shortfall of £780
This misty shot through the
trees was captured during
a brief stop cycling the
off-road forest trails at
Bedgebury Forest in Kent
Fujifilm X100V, 1/25sec at f/16, ISO 250
to make up. Browsing Fujifilm’s but soon realised people were or mentioned the camera. I feel Mr Masazumi Imai, several times
online shop opened my eyes to attracted to its retro design and my decision was definitely the and his enduring passion for
the idea of buying a refurbished wanted a closer look. Members right one for someone who likes wanting to create a truly special
model, which at £999 brought it of the public who were less savvy to go about their photography bond between photographer and
within budget. Minutes later I would pass and say ‘that’s a quietly and unobtrusively. camera has always resonated
decided to bite the bullet. One lovely-looking camera’ or ask if it A lot has been written about with me.
decision remained. Should I buy took film. As much as I adore the the X100V so rather than cover
in black or silver? appearance of the X100V in each and every feature, I want to The special feel
black and silver, the classic guise offer an account of how I’ve found The X100V spreads its buttons
Discreetness drew more attention than I’d it, what makes it special and the and dials intuitively across the
I was shocked by the interest expected. It was this experience areas where there’s still room for body and its aluminium top and
photographers expressed in the that led me to my decision to buy improvement. The first thing to bottom plates, which have a
X100V when I had been reviewing my X100V in black in the hope say about the X100V, like most of lovely crisp edge, give it a
it. On one day alone three people people wouldn’t notice it. On the Fujifilm’s cameras for that matter, precision-engineered look and
approached me to inquire about off-chance they did, I wanted it to is that you immediately sense it finish. It has an immensely
it. At first I thought it was look unassuming to the average has been designed by satisfying feel, though I wouldn’t
because I had one of the first Joe. Was this the right decision? photographers for photographers. class it as a camera that offers a
production samples in the Well, in the past six months not I’ve been fortunate to meet the high level of grip. Within
country hanging off my shoulder one person has approached me designer of Fujifilm’s X100-series, days of receiving my X100V
The X100V has been the perfect jacket pocket camera for walks close
to home during daily exercise in lockdown Fujifilm X100V, 1/1000sec at f/2, ISO 160
I started researching thumb they encourage you to operate

grip options to enhance the them with your left hand as it’s a
purchase in my right hand. In the bit of a stretch with your right. If
end I chose Squarehood’s you like to shoot single-handed
offering that’s purposely designed like I do, it feels a little odd not
to fit the X100V. It doesn’t having function buttons below
obstruct access to the top-plate your thumb. This persuaded me
dials like some cheaper to edit the quick menu and take
alternatives and by combining it full advantage of all 16 slots to
with a mini soft shutter button, it ensure I have the settings I most
has turned the X100V into a regularly use a button press
camera that’s as satisfying to away. I’m a fan of the change
hold as it is to look at. Fujifilm has made to the Q Menu
I was skeptical at first of how button. Like the joystick, it’s a tad
the absence of four-way buttons small and could benefit from a
at the rear might affect operation. wider surface area, but by
Coming from other X100 models positioning it that bit closer to the Shooting from the hip three-way tilt design from the
you’re immediately aware of how side of the body you never find One of the reasons Fujifilm chose X-T3, this is likely to have
you rely on using the joystick a lot yourself pressing it with your to revise the layout of buttons at increased body size or stood
more. The touch functions that thumb by accident – something the rear was due to a new tilting proud at the rear rather than sit
let you swipe a finger across the that really infuriated me at times screen taking up more real perfectly flush. Based on how
screen to perform a pre-assigned in the past when I’ve been using estate and what a transformation well received the tilt screen has
function work well enough, but the X100F. this has had. The fixed screens been received on the X100V, it’ll
on older X100-series models be interesting to see how Fujifilm
have always put me off and looks to develop it on the next
though the X100V’s screen can’t iteration. I’m sure I’m not alone
Accessories be tilted to assist with low- or

high-angle shooting in the portrait
format, it does let you glance
in saying I hope Fujifilm doesn’t
introduce a vari-angle
touchscreen like on the X-T4.
THERE’S no shortage of accessories for the X100V. Some of the best down and shoot inconspicuously I much prefer the idea of a slim
I’ve used and would recommend include NiSi’s Fujifilm X100 Series from the hip without anyone three-way tilt screen that tilts
Professional Filter kit (£53), which provides useful filters such as a noticing what you’re up to. This is discreetly behind the camera
3-stop ND and a super-compact holder at a great price. I’ve also been a huge benefit and I’ve seen than off to the side.
impressed by the Squarehood thumb grip (£34) and Mini soft shutter thousands of images taken by I’m not one for being too
button (£9). Fujifilm’s WCL-X100 and TCL-X100 conversion lenses are other photographers on enthusiastic when it comes to
great for converting the lens’s 35mm equivalent focal length Instagram who’ve also touchscreen operation and like to
into 28mm and 50mm started to reap the use physical controls to adjust
respectively, however reward of being able to settings and operate the camera.
they do make the frame up and shoot this If truth be told I’ve found the
camera less way without drawing X100V’s touchscreen a
compact. attention to oneself. It’s the distraction and with limited value
thinnest screen Fujifilm has ever (it can’t be used to navigate the
Squarehood’s thumb grip made and though some would main menu and it fails to let you
is a great optional extra have preferred the fabulous scroll between images quickly in
Stellar optics
When I reviewed the camera
twelve months ago I was taken
aback by just how far the optical
performance of the new lens has
come from the previous version
without any change to its physical
size. The improvement in
sharpness at minimum focus
distance didn’t bother me too
much as I rarely shoot close-ups,
however what did interest me
was the way the lens controlled
flare and how it performed
wide-open in general use. I’ve
been aware of the complaints
X100-series users have made
about the issue of flare in the
past. As I’m someone who loves
to shoot during golden hour and
towards the light, this has
possibly been the biggest factor
that’s put me off buying an X100
sooner. Over the past six months
I’ve shot hundreds, if not
thousands, of shots towards the
light and am pleased to say the
way the X100V’s new lens
controls flare is vastly improved
over its predecessors, even
without a supplementary hood.
Don’t get me wrong, veiling flare
Sunrise at Fairfield Church is still evident when it’s directed
in Kent. Flare resistance straight at the sun, but I don’t
has improved compared to find it ugly or off-putting and I
earlier X100-series models
admire the sun stars it
creates when it’s stopped
playback) so I’ve opted to switch

it off at the cost of losing the
aforementioned touch functions.
Thankfully not all is lost as there
are six other controls that can be
customised. Everyone has their
own way of setting up their
camera, but for me the small Fn1
function button on the top plate
is used to access metering
mode, while the often-forgotten-
about selector function that
operates on a long hold of the
toggle switch at the front of the
body, is set to employ the built-in
4-stop ND filter without affecting
the switching between electronic
and optical viewfinders. As for the
Fn2 button within the toggle
switch, I’ve kept this set to the
control ring setting. Being able to
quickly cycle through the film
simulations using the control ring The way the light was
to see the effect they have on the hitting this curly hair on a
image live is fabulous, I just wish small horse caught my
Fujifilm offered a way to turn off eye whilst out walking so
I paused for a quick shot
the pesky descriptions in the
centre of the preview image.
‘When I’m not under pressure to capture a

shot in the moment I often find myself
flicking the camera into manual focus’
down to f/16. And what as some DSLR or mirrorless
about the sharpness users may be used to, but it’s still
wide-open? Countless shots pretty hasty for a lens that shifts
taken at f/2 show it produces in and out during focusing. This is
tremendous levels of sharpness, the only weak point in the entire
with a delightful depth to portraits construction, as it requires the
and other subjects worthy of use of an adapter ring and filter
isolation. Fujifilm has worked to make it 100% weather-sealed.
wonders on the lens and the fact Those who want to make their
it’s no larger means it accepts all X100V weather-sealed for less
existing conversion lenses and than the cost of Fujifilm’s
accessories. Having tried a weather-resistant kit (£99) should
friend’s wide conversion lens check out NiSi’s UHD UV filter
(WCL-X100) with great success, (£32), which still lets you use the
I’m eyeing up a used example – original lens cap. The fly-by-wire
which, at £144 in good condition, focus ring lacks the beautiful
seems a bit of a bargain for tactile feel of one that’s
times when I’d like a focal length mechanically coupled, but by
equivalent to 28mm to squeeze a using the rear command dial and
bit more in the frame. the joystick together to magnify
My lasting impression of the and inspect focus, I’ve found my
X100V’s autofocus is that it’s hit rate of sharp manually
extremely accurate. I’d be lying if focused shots to be extremely
I said it has found focus every high. When I’m not under
time in low-light situations or pressure to capture a shot in the
when I’ve been shooting towards moment I often find myself
the light, but generally speaking it flicking the camera into manual
can be relied on to acquire focus focus for the reason it seems to
where it’s needed when it’s slow me down to think about the
needed with extensive coverage photograph I’m taking in a more
to the edges of the frame. deliberate and considered way.
Acquisition speed isn’t as rapid And that’s the beauty of the
X100V in a nutshell. It has more thoughtful about getting the

everything you want, placed shot right in camera at the point
What is refurbished?
where you want it to take precise of capture. To accentuate warmth,
manual control when there’s no contrast and vibrancy in my shots
rush, but with the option to set all I’ve started experimenting by
FUJIFILM, like some other camera manufacturers, offers the option to the dials to their ‘A’ setting when using different film simulation
buy refurbished cameras at reduced price from its online shop there’s no time for refinement modes and white balance
(https://shop.fujifilm.co.uk). But what exactly is a refurbished camera and you just need to capture the settings. Who knew that the
and can you expect a good example in return? Now and then, limited special moment that’s in front of Fluorescent light white balance
quantities of cameras are returned to manufacturers from retailers you with no faff. mode with a warm white balance
and it’s these models that trained technicians extensively inspect and shift, combined with the Velvia
test before they’re sold on. Refurbished products may exhibit minor Delightful images film simulation mode, creates
cosmetic imperfections but these in no way impair operation. There Another reason for wanting to gorgeous tones that are well
are some great savings to be made choosing a refurbished camera shoot more with camera and less suited to sunsets and autumnal
and in the case of my X100V I picked one up in as good as new with a smartphone was the scenes? I’ve also found the Acros
condition and saved £250 on the guide attraction of improved image mode with a hint of warming
price. Fujifilm refurbished quality from an APS-C size monochromatic colour and gentle
products come with the sensor. The quality of the lift to the tone curve works
same contents as a X100V’s images are exquisite for particularly well with vintage
brand new product, a camera that comfortably fits in subjects to create a real sense of
including a 12-month my jacket pocket, or my medium- nostalgia. Most impressive of all
warranty covering any size saddlebag when I’m out from an image quality perspective
failure that occurs due riding my bike. I’ve been so has to be the quality of its JPEGs.
to a manufacturing impressed by the detail and Unlike some cameras that lay
defect, which is the colour straight out of the X100V their automated processing down
same warranty as I rarely find myself editing images, thick, the X100V doesn’t. I
buying new. which has encouraged me to be haven’t hesitated to print and
though. Since owning the X100V
it has had a huge impact for
re-gaining my interest in
photography. It has an uncanny
way of making me more aware of
what’s around me and fills me
with energy to get out there and
want to take photographs.
To be honest I never thought I’d
fall for a compact with a fixed
lens in the way I have with the
X100V. I like the way it
encourages me to move my feet
and think carefully about
composition, plus it improves in
the areas that put me off buying
one before. Fujifilm is one of the
best companies when it comes to
listening to the feedback from its
users and the outcome is
cameras like the X100V, which
not only look the part, but are a
delight to use.
Anyone mulling over whether to
buy the X100V or not should take
up the option to try it for free for
48 hours (www.fujifilm-loan.com).
As good as this incentive is, just
don’t say I didn’t warn you that
it’ll only make you want to buy
one even more. In summary, I’ve
used few compact cameras that
bestow the same charm and
The X100V’s APS-C sensor character as the Fujifilm X100V.
lets you crop in tightly It’s a camera worth every penny
when it’s required to create in my book and has become a
more drama and impact
Fujifilm X100V, 1/220sec at f/4, ISO 1600 firm favourite that I can’t
imagine being without.
publish from the camera’s JPEGs Vintage subjects can benefit from a hint of
(most of the images that support monochrome warming colour and a tweak
this review are JPEGs), however I to the tone curve Fujifilm X100V, 1/750sec at f/5.6, ISO 80
always make a point of shooting
in JPEG+Raw, with the raw acting
like my negative if it’s needed.
Indeed, I’ve been so impressed
by the quality of its output I’m
planning to push it into service
as my second camera for a few
different projects and weddings
later this year.
A masterstroke
If you haven’t worked out by now,
I’m smitten with my X100V. It has
taken up residency on my
sideboard right next to my front
door and I take it everywhere I go
to capture whatever I might
happen to stumble upon. There
aren’t many days that pass when
I don’t use it – something I put
down to its practical size, but
also the sheer enjoyment I get
from using it to document daily
life. There’s more to it than this
View from the top, showing
The Zeiss Ikon Twin the enlarged focusing screen
Lens Contaflex with with markings for the
5cm f/1.5 Sonnar telephoto lenses
standard lens fitted
FILM STARS
Twin Lens Cont
It’s a TLR, but not as you know it. John Wade
explains all about this unusual 35mm camera
I
f you are familiar with twin lens reflex Made in 1935 by Zeiss Ikon in Germany,
(TLR) cameras from the film age, the camera was correctly known simply as
mention of the type will bring forth the Contaflex. Today it is more usually
images of the Rolleiflex and the many referred to as the Twin Lens Contaflex, in
models that copied its shape and way of order to differentiate it from a single lens
working. You’ll be thinking of an upright black reflex of the same name launched by Zeiss
box with two lenses of the same focal length in 1953. Advertising at the time of its launch
one above the other, the lower lens to shoot boasted that the Contaflex was ‘five years
the picture, the upper one to reflect its image ahead of any other’.
via an internal mirror to a waist-level The first big difference between the
viewfinder on the top of the body. It will take Contaflex and other TLR cameras is in it
120 size roll film, running vertically through being one of a small group of TLRs designed
the body to shoot twelve 6x6cm square for 35mm film to shoot pictures in the
pictures. Well, when it comes to the Twin 24x36mm format. Unlike most other TLRs,
Lens Contaflex, you can forget all that. Sure it the film runs horizontally through the body
has two lenses, but that’s about its only from side to side.
similarity to a traditional TLR. Apertures are set on the lens, shutter How the Contaflex was advertised
Testbench
The plate back in
position with its
plate holders and
focusing screen
‘Sure it has two lenses,

but that’s about its
only similarity to a
traditional TLR’
The meter cell under a flap above the lens and,

below it, the controls used to measure exposure
aflex
body than the taking lens. So despite the
different focal lengths, focus is matched
between the two.
The viewing screen is not ground-glass as
in a traditional TLR, but a rectangular fresnel
lens which gives a brilliant image. For critical
focusing, a magnifier is swung into position
from behind the hood. The full size of the
screen gives the view for the 50mm lens, but
speeds from 1/2–1/1,000sec by a knob on it is etched with guidelines for 8.5cm and
the side of the body, which is also turned to 13.5cm lenses. Similar guides also appear
tension the focal plane shutter, another rarity in the eye-level viewfinder. This takes the form
in a TLR. The shutter is released by a lever of a semi-silvered mirror on the front of the The match-needle window that indicates when
the correct exposure has been set
also on the side of the body. focusing hood, through which the
In a traditional roll film TLR, the focusing photographer looks via an aperture on the
screen is the same size as the film image. back. The lens format guide lines are actually
That’s fine for a 6x6cm format, but when the on the inside back of the hood, from where
camera’s format is 24x36mm, it’s a little they are reflected in the back of the semi-
small for practical use. The Contaflex gets silvered mirror. As a result the guides
round that by using lenses of different focal appeared to hover over the scene being
lengths for shooting and viewing. The viewed. From the front of the hood, the
shooting lens is 50mm, the standard focal semi-silvered mirror reflects the same field of
length for a 35mm camera. But the viewing view as the camera lens does, making it ideal
lens is 80mm, which means the image on the for self-portraits, when the delayed action
viewing screen, found under a fold-up device is activated.
focusing hood, is around twice the size of the Those guides in each viewfinder indicate
negative image. The two lenses are focused the next feature rarely found in a TLR:
in tandem by rotating a lever to the side of interchangeable lenses. The Contaflex was
the viewing lens, but they are geared so that sold with a choice of 5cm f/2.8 Tessar, With the back removed, showing a focal plane
the viewing lens extends further from the f/2 Sonnar or f/1.5 Sonnar standard shutter, rarely seen in a TLR
Testbench FILM STARS
Other
35mm TLRs
LENS PICTURES COURTESY OF WWW.PETERLOY.COM

The Contaflex was the first TLR
to use 35mm film, but it wasn’t
the last. Here are four others Interchangeable
lenses for the
1953 Bolsey C Contaflex, left to
right: 8.5cm Sonnar,
An American compact camera derived from 3.5cm Biogon, and
the Bolsey B with an extra lens and viewing 13.5cm Sonnar
hood added. The C-22 model added
Set-O-Matic, which automatically changed lenses. Also available were a 35mm
apertures as the lens was focused to f/2.8 Biogon wideangle, plus 8.5cm f/4
adjust exposure with a flashgun. Triotar, 8.5cm f/4 Sonnar and 13.5cm f/4
Sonnar telephotos. Because the Contaflex
was made by Zeiss Ikon, it is sometimes
1955 Huldaflex 35 assumed that Contax lenses will fit the
Japanese name variant of the Toyocaflex camera. In fact, the bayonet fitting is unique
35. It was unusual for placing the two to the Contaflex, so Contaflex and Contax
lenses side by side. Operation of a lever to lenses are not interchangeable.
the side of the taking lens racked both Now we come to perhaps the camera’s
back and forth to focus. most innovative feature. The Contaflex was
the first camera with a built-in photo-electric
1955 Samocaflex exposure meter, with its selenium cell found
under a flap above the top viewing lens. The
A Japanese camera similar to the Asahiflex
(precursor of the Pentax) but with a cell powers a match needle metering read-out
viewfinder lens above the taking lens. To in a small window to the side of the focusing
focus, both were moved by a radial lever hood. Above the viewing lens there are three
beside the lower lens. scales. The first sets the film speed. Above
this is a scale showing all the camera’s
apertures. Above that is a third scale on a
1960 Agfa Flexilette moving ring which lists the shutter speeds.
German camera similar to the same The settings on these last two scales appear
company’s Silette, with the addition of an upside down when viewed from the
extra lens to reflect its image to a small front, enabling them to be read by the
waist-level viewfinder. photographer from above whilst
operating the camera.
Turning a lever attached to
the top ring moves the shutter plates. Once fitted in place of the normal
speed scale in relation to the camera back, a hinged door swings up and a
aperture scale, and also plate holder, containing a small glass plate, is
shifts the needle in the meter slid onto rails on the back of the door, which
window. When the needle is is then closed. The plate holder’s dark slide
lined up against a central is removed, the exposure made, and the dark
point, the shutter speeds on slide replaced, before opening the back’s
the top scale line up with the door and going through the process again for
suggested apertures on the the next exposure. A tiny ground-glass screen
middle scale to indicate correct fits into the plate back for focusing and
exposure. Although the previewing the subject.
camera’s speeds go only Few cameras can be termed unique in the
to 1/2 second, the true sense of the word, in that their
metering scale goes down specifications are unlike those of any other
to 16 seconds, which can cameras. But when all the various aspects of
be attained by manually the Contaflex are put together, it’s one
counting off the time with camera that deserves that title.
the shutter open in its ‘B’
setting. The suggested What to pay
exposure needs to be set When new, depending on the standard lens,
Other 35mm TLRs. Clockwise from top manually on the camera. the Contaflex was priced from £64 12s 6d
left: Agfa Flexilette, Samocaflex, One more unusual accessory comes in the (£64.62½). Today, according to the
Bolsey C-22 and Huldaflex 35 form of a special back that accepts glass lens, expect to pay £800-1,200.
I N T R O D U C I N G
The Rhino Collection
Stand strong and imagine

all the possibilities
The Rhino series of photographic tripods offers the ideal combination of strength
and weight without compromising stability. Each Rhino tripod also converts
to a full-size monopod. Its reverse folding design makes it extremely portable
while its strength make it equally suited for the studio.
B I T . L Y / B E N R O R H I N O K I T S
@BE N ROLETSGO @BE N ROU K @BE N RO_U K

ACCESSORIES Testbench
Benro ArcaSmart 70
Andy Westlake tries out a
two-in-one quick-release plate
● £40 ● www.benroeu.com
DO YOU ever find yourself wishing you could fit your
phone onto your tripod? If not, this intriguing device
from Benro isn’t for you. But if you ever make use
of smartphone features that aren’t readily
replicated by conventional cameras, such as
panorama or night modes, or you would like
Above: The plate fits
to be able to film video clips from a stable Screw Arca Swiss-type
support, this might just be the answer. The camera screw can release clamps
In essence, Benro has designed the be fastened using a coin,
ArcaSmart 70 as a dual-purpose holder to hex key, or its sturdy
work with Arca Swiss compatible tripod folding D-ring.
heads. Used in its folded-down flat mode, it’s
a relatively conventional camera plate
measuring 4.8x7cm, although at 13mm deep, it
adds quite a lot of bulk. The camera screw slides
along a 3cm groove, giving some leeway to attach it
without blocking your battery compartment door.
Textured rubber grips provide a decent degree of
resistance against twisting, while removeable safety
screws at each end should prevent your camera
from sliding expensively off your tripod.
When you wish to use it for your phone instead,
simply pull up the hinged rectangular frame. This
reveals an extremely sturdy clamp that can accept
Grips
devices up to 8.5cm in width, which means pretty
Clamp Patterned rubber grips
The fold-up, sprung provide a secure hold on
much any current smartphone. For example, I found the camera and
Recommended phone clamp is capable
it had no trouble accepting the Samsung Galaxy smartphone.
of holding the largest
Note20 Ultra in a chunky protective case – one of
devices, even when
the largest devices you can currently buy. Attach the housed in a
protective rubber cover to the camera screw, and protective case.
you can use it to hold the lower edge of your phone
in place more positively. There’s even a cold shoe
on top for microphones or lights, and while it’s
Cold shoe At a glance
rather slim, you should still be able to clamp them
A 6mm-wide cold shoe is
incorporated at the top of
firmly in place. ● Arca Swiss compatible
the phone clamp for
Build quality is exemplary, thanks to machined ● 7cm wide camera plate
holding a light or
aluminium-alloy construction. Unlike cheaper microphone. ● Phone clamp for devices up
holders, this one provides full confidence that it’ll to 85mm wide
hold your precious smartphone tightly in place. ● Built-in accessory shoe
Likewise, I’d happily entrust it with a high-end
camera. The biggest caveat is that, because the
screw only slides in one direction, it won’t ALSO CONSIDER
necessarily be a perfect fit for cameras whose
tripod sockets are positioned towards the front of If you’d just like a simple clamp
the body, which is quite common with mirrorless for occasionally fitting your
models that include in-body stabilisation. phone onto a tripod, take a look
at the Joby GripTight ONE (£20).
Verdict It’ll hold most
ALL PRICES ARE APPROXIMATE STREET PRICES
The Benro ArcaSmart 70 is a well-designed, devices, and its

robustly made device that does what it’s designed neat folding
to do very well. While it’s quite large and pricey, design makes it very
there aren’t many other Arca-compatible easy to carry. It’s
smartphone clamps around. The big question is also available in a
whether you can see a use for it; but if you can, it’ll bundle with a
do the job extremely well. mini tripod stand.
Tech Talk
Ask the Experts

Looking for a new camera or accessory and need some advice? We’re here to help. Contact us at [email protected] or on Twitter at @AP_Magazine and #AskAP
Best backgrounds for food
photography?
Best microphones for under £250?
Q This year I’ve been
combining my two big
passions of cooking and
photography to produce stylish Q I’m a documentary photographer with a
Nikon Z 6II who’s just starting to record
some video clips so that I can offer A
With most cameras now offering
high-quality video recording, you’re one
of an ever-increasing user base who are
food images from home. I have more options to clients. While I’m very happy embracing both media. One of the most obvious
some nice slate tiles and with the visual quality of my video files, I’d like differences between the two is sound, and
rustic-looking planks of wood to increase the standard of my audio capture. nothing will have your audience reaching for the
that I often place my creations I’ve been looking at external microphones, but stop button faster than bad audio. The inbuilt
on to shoot, but they take up a I’m not really sure where to begin. I mainly just mics found in cameras are okay for video
lot of space when not in use, are need to record ambient sounds, but something snippets for personal use, but you’re right to
heavy, and have perhaps been that might be suitable for a few basic interviews look at investing in an external mic if you intend
over-featured in my images by in the future too would be great. What might you to produce work for clients. Here are three good
now. Are there any backgrounds suggest as solid starting point under £250? options within your price range that would
designed specifically for this kind William Henderson seriously improve your production values.
of photography that I could look
to invest in? Sally Wisdom
Our experts suggest
A
For flat lays and food
photography, vinyl
backgrounds can often be
the perfect choice. Available in a
huge range of colours and
high-resolution texture designs
such as aged wooden floorboards
and rusting iron panels, these
lightweight plastic sheets are
flexible and – importantly for food
photography – wipe clean! With a
matt finish, reflections are
Rode VideoMic NTG Rode Wireless GO Sennheiser MKE 200
This broadcast-grade shotgun Don’t let cables hold you back! Described as Sennheiser’s first
minimised, and they can be
microphone brings high-quality This ultra-compact wireless step to upgrading your sound,
quickly rolled up when not in use
audio to any production. microphone offers clip’n’go this features a super-cardioid
for easy transportation or
Optimised for on-camera use, versatility in an very compact capsule that provides the
storage. Sold in sizes from 30cm
it comes with a 30-hour-life form-factor. Weighing 31g and necessary focus and detail in
up to several metres wide, they’re
rechargeable battery, a pairing in under three seconds, your audio while rejecting
also fairly inexpensive with a
high-quality Rycote Lyre shock the transmitter features an unwanted background noise.
60x90cm backdrop just £20
mount and a windshield. As omnidirectional condenser Despite its portable design that
from clubbackdrops.com. The
well as pairing perfectly with capsule and can also be used weighs in at just 48g, the MKE
aforementioned site even offers
cameras it’s also a fully with a plug-in lavalier, sending 200 features integrated wind
vinyl printing of your own texture
featured USB mic that can be crystal-clear audio to the protection and shock
images, allowing you to create a
plugged directly into a on-camera receiver. Wireless absorption, ensuring clean
one-off backdrop if you so desire!
computer for voiceovers, while range is a very respectable audio recordings while shooting
its 3.5mm connector doubles 70m, while its inbuilt on the move. Both 3.5mm TRS
as a headphone output for rechargeable batteries will keep and TRRS cables are included
seamless monitoring of audio you going for up to seven hours for maximum compatibility with
while using the USB output. of constant recording. a range of devices.
£239 £169 £87

● Inbuilt rechargeable Lithium Ion ● Wireless microphone system with ● No batteries required
battery 70m range ● Frequency range 40Hz to 20kHz
● Frequency range 20Hz to 20kHz ● Frequency range 50Hz to 20kHz ● Included windshield
● 48kHz, 24-bit sampling ● Inbuilt rechargeable Lithium Ion
battery
THE EISA PHOTOGRAPHY
MAESTRO CONTEST 2021
1ST PRIZE
This Year’s Theme: €1500 & EISA
Faces Maestro Trophy

2ND PRIZE
€1000 & EISA
Maestro Trophy
3RD PRIZE
€750 & EISA
Maestro Trophy
© SHUTTERSTOCK.COM/TOM EVERSLEY
HOW TO ENTER NATIONAL DEADLINE: 1 MAY 2021 INTERNATIONAL JUDGING:

Provide 5 to 8 photographs on the AP has teamed up with Photocrowd JUNE 2021
theme of ‘Faces’. All entries must be in to host the contest. To enter your The winning entries from each of the
digital format (camera or scanned film portfolio of 5 to 8 images, go to: 16 participating EISA countries will be
originals) and must be taken by you www.photocrowd.com/maestrouk judged together at the Association’s
for the purposes of this competition. Awards Meeting in June 2021. The final
Existing portfolios are excluded. The top three will be chosen by the results of the International Maestro
AP team and published in a June or contest will be revealed at the EISA
nners will also be July issue of AP. The winner will receive Awards Gala on 3 September 2021
All National Maestro wi the end of June
at a one-year subscription to AP and will (circumstances permitting).
published on Facebook
oice competition.
for the EISA Public’s Ch 0. go forward to the International round
00
Prize for the winner : €1 of the contest.
The winning photographs will be published in the Sept or Oct issues of all 16 EISA photo magazines/websites.
Circumstances permitting, winners will be invited to the EISA Awards ceremony in Berlin on 3 September 2021
For further details, terms and conditions visit www.eisa.eu/maestro

Subscribe today
for just £9.99
print + digital access included!
Great reasons to subscribe:

Free home delivery of every issue
Access to every digital edition
Pay just £9.99 by monthly Direct Debit
Guarantee you never miss an issue
Offer available to new UK based subscribers paying by Monthly Direct Debit including print and digital editions, available until March 31, 2021.
Discounts are calculated on the full cover price and digital edition download fee. For overseas credit/debit card offers, visit our website at shop.
kelsey.co.uk. For digital subscriptions, visit shop.kelsey.co.uk/amateurphotographer. Calls charged at your local network rate. Order lines open
8.30am-5.30pm, Monday-Friday. Full T&Cs can be found at shop.kelsey.co.uk/terms. Kelsey Publishing takes your privacy seriously and will only
use your personal information to administer your account and to provide the products and services you have requested from us. We will only
contact you about our special offers via the preferences you will indicate when ordering and you can update these at any time by emailing us at
[email protected] or by calling us on 01959 543 747.
SPONSORED BY
Buying
Guide
284
lenses
listed &
rated
Our comprehensive listing of key specifications for mirrorless lenses
Lens mounts
On the whole, each manufacturer
Lenses uses its own proprietary lens
mount. Notable exceptions are
Interchangeable lenses come in Micro Four Thirds, shared by
Olympus and Panasonic, and the
a huge array of types for shooting full-frame L-mount that’s used by
different kinds of subjects Leica, Panasonic and Sigma.
IN GENERAL, the easiest way
to expand the kinds of
pictures you can take is by Built-in focus motor
buying different types of Lenses for mirrorless cameras invariably
lenses. For example, use built-in motors for autofocus, which
telephoto lenses are also used for electronic manual
let you zoom in on distant focusing. Silent, video-friendly stepper
subjects, while macro lenses motors are most commonly employed.
enable close-ups of small Manual-focus optics with traditional
objects. Large-aperture aperture rings are also widely available.
lenses allow you to isolate
subjects against blurred
backgrounds, or shoot in
low light without having to Filter thread Maximum
raise the ISO too high. A thread at the front of
the camera will have
aperture
Meanwhile, all-in-one Wider apertures mean
superzooms cover a wide a diameter, in mm, which you can use faster,
range of subjects, but usually will allow you to attach motion-stopping
with rather lower optical a variety of filters or shutter speeds.
quality. adapters to the lens.
OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS

AF Nikon AF lenses driven from camera DC Sigma’s lenses for APS-C digital ED Extra-low Dispersion elements LM Fujifilm Linear Motor SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DG Sigma’s designation for full-frame lenses EF Canon’s lenses for full-frame DSLRs MP-E Canon’s high-magnification macro lens SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors Di Tamron lenses for full-frame sensors EF-S Canon’s lenses for APS-C DSLRs OIS Optical Image Stabilisation STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di-II Tamron lenses designed for APS-C DSLRs EF-M Canon’s lenses for APS-C mirrorless OS Sigma’s Optically Stabilised lenses STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-III Tamron lenses for mirrorless cameras EX Sigma’s ‘Excellent’ range PC-E Nikon tilt-and-shift lenses TS-E Canon Tilt-and-Shift lens
APO Sigma Apochromatic lenses DN Sigma’s lenses for mirrorless cameras FA Pentax full-frame lenses PF Nikon Phase Fresnel optics UMC Ultra Multi Coated
ASPH Aspherical elements DO Canon diffractive optical element lenses FE Sony lenses for full-frame mirrorless PZD Tamron Piezo Drive focus motor USM Canon lenses with an Ultrasonic Motor
AW Pentax all-weather lenses DT Sony lenses for APS-C-sized sensors G Nikon lenses without an aperture ring RF Canon full-frame mirrorless lenses USD Tamron Ultrasonic Drive motor
CS Samyang lenses for APS-C cropped sensors DX Nikon’s lenses for DX-format digital HSM Sigma’s Hypersonic Motor S Nikon’s premium lenses for mirrorless VC Tamron’s Vibration Compensation
D Nikon lenses that communicate distance info DS Canon’s Defocus Smoothing technology IS Canon’s Image-Stabilised lenses SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
DA Pentax lenses optimised for APS-C-sized sensors E Nikon lenses with electronic apertures L Canon’s ‘Luxury’ range of high-end lenses SDM Pentax’s Sonic Direct Drive Motor WR Weather Resistant
DC Nikon defocus-control portrait lenses E Sony lenses for APS-C mirrorless LD Low-Dispersion glass SMC Pentax Super Multi Coating Z Nikon’s lenses for mirrorless cameras
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.
BUYING GUIDE
FILTER THREAD (MM)

Mirrorless Lenses
MICRO 4 THIRDS
MIN FOCUS (CM)
DIAMETER (MM)
STABILISATION
LENGTH (MM)
FULL FRAME
FUJIFILM X
WEIGHT (G)
CANON RF
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
CANON MIRRORLESS
EF-M 11-22mm f/4-5.6 IS STM £355 Ultra-wideangle lens with a compact, retractable lens design • • 15 55 61 58.2 220
EF-M 15-45mm f/3.5-6.3 IS STM £249 Collapsible standard zoom for EOS M-series cameras that’s less bulky than the 18-55mm • • 25 49 60.9 44.5 130
EF-M 18-55mm f/3.5-5.6 IS STM £269 Compact and versatile zoom lens • • 25 52 61 61 210
EF-M 18-150mm f/3.5-6.3 IS STM £399 Wide-ranging 29-240mm equivalent superzoom with surprisingly good image quality • • 25 55 60.9 86.5 300
EF-M 22mm f/2 STM £220 Small and bright wideangle pancake lens • 15 43 61 23.7 105
EF-M 28mm f/3.5 IS STM Macro £294 Small, retractable lens with built-in LED lights for illuminating close-up subjects • • 9.7 43 60.9 45.5 130
EF-M 32mm f/1.4 STM £500 Large-aperture but lightweight prime that offers a 50mm equivalent angle of view • 23 43 60.9 56.5 235
EF-M 55-200mm f/4.5-6.3 IS STM £330 Telephoto zoom that takes you closer to the action • • 100 52 60.9 86.5 260
RF 15-35mm f/2.8L IS USM £2330 Premium f/2.8 optic with unusually wide maximum angle of view and optical image stabilisation • • • 28 82 88.5 126.8 840
RF 24-70mm f/2.8L IS USM £2330 Image-stabilised, large-aperture, standard zoom for Canon’s full-frame mirrorless EOS R system • • • 38 82 88.5 127.7 900
RF 24-105mm f/4L IS STM £1120 General-purpose standard zoom with useful range and image stabilisation • • • 45 77 83.5 107.3 700
RF 24-105mm F4-7.1 IS STM £460 Designed to be an ultra-compact and lightweight kit zoom, with an unusual ‘Centre Focus Macro’ option • • • 34 67 76.6 88.8 395
RF 24-240mm f/4-6.3 IS USM £800 4★ Very respectable all-in-one travel zoom with fast AF and effective IS that’s well-matched to the EOS RP • • • 50 72 80.4 122.5 750
RF 28-70mm f/2L USM £3050 Groundbreaking, but huge, full-frame zoom with constant f/2 maximum aperture • • 39 95 103.8 139.8 1430
RF 35mm f/1.8 IS STM Macro £520 Multi-purpose fast prime that includes image stabilisation and 0.5x macro reproduction • • • 17 52 74.4 62.8 305
RF 50mm f/1.8 STM £220 Compact, lightweight standard prime uses new mirrorless-optimised optics, including an aspherical element • • 30 43 69.2 40.5 160
RF 50mm f/1.2L USM £2350 Heavyweight ultra-fast standard prime that promises exceptional low-light performance • • 80 77 89.8 108 950
RF 70-200mm f/2.8L IS USM £2700 5★ High-end constant maximum aperture telephoto zoom with unconventional extending barrel design • • • 70 77 89.9 146 1070
RF 70-200mm f/4L IS USM £1700 Small and light weather-sealed telephoto zoom promises premium optics • • • 60 77 83.5 119 695
RF 85mm f/1.2L USM £2800 Top-of-the-line, ultra-large aperture, short telephoto portrait prime for full-frame mirrorless • • 85 82 103.2 117.3 1195
RF 85mm f/1.2L USM DS £3250 Alternative version of the 85mm f/1.2 that includes special coatings for a Defocus Smoothing effect • • 85 82 103.2 117.3 1195
RF 85mm f/2 Macro IS STM £650 Relatively compact, lightweight image-stabilised short-telephoto that offers half life-size magnification • • • 35 67 78 91 500
RF 100-500mm f/4.5-7.1L IS USM £2900 4.5★ Premium long-telephoto zoom that’s barely any larger than its 100-400mm DSLR counterpart • • • 90 77 94 208 1530
RF 600mm f/11 IS STM £700 Remarkable lightweight ultra-telephoto that employs diffractive optics and a collapsible barrel • • • 450 82 93 200 930
RF 800mm f/11 IS STM £930 Similar design to its 600mm sibling makes it easily the smallest and most affordable 800mm prime • • • 600 95 102 282 1260
FUJIFILM MIRRORLESS
XF 8-16mm f/2.8 R LM WR £1799 Premium ultra-wideangle large-aperture zoom lens with weather-resistant construction • 25 n/a 88 121.5 805
XF 10-24mm f/4 R OIS £849 Wideangle zoom lens, promising minimal ghosting with Fuji’s HT-EBC multi-layer coating • • 24 72 78 87 410
XF 14mm f/2.8 R £729 5★ Wideangle prime with high resolution into the corners, its performance justifies the price tag • 18 58 65 58.4 235
XC 15-45mm f/3.5-5.6 OIS PZ £259 Lightweight retractable power zoom that’s set to be the entry-level kit lens for X-system cameras • • 13 52 62.6 44.2 135
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
XF 16mm f/1.4 R WR £729 5★ Weather-sealed fast prime for X-system users • 15 67 73.4 73 375
XF 16mm f/2.8 R WR £349 4.5★ Attractively priced, weather-sealed, compact and lightweight wideangle prime • 17 49 60 45.4 155
XC 16-50 f/3.5-5.6 OIS II £359 Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range • • 30 58 62.6 98.3 195
XF 16-55mm f/2.8 R LM WR £899 5★ A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance • 60 77 83.3 106 655
XF 16-80mm f/4 R WR OIS £769 4.5★ Good-quality weather-sealed, constant maximum aperture zoom with a useful focal-length range • • 35 72 78.3 88.9 440
XF 18mm f/2 R £430 4★ A compact wideangle lens with a quick aperture • 18 52 64.5 40.6 116
XF 18-135mm f/3.5-5.6 R LM OIS WR £699 4★ Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for the Fujifilm X-T1 • • 45 77 75.7 97.8 490
XF 18-55mm f/2.8-4 R LM OIS £599 Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310
XF 23mm f/1.4 R £649 Premium wideangle prime lens with fast maximum aperture • 28 62 72 63 300
XF 23mm f/2 R WR £419 5★ Compact weather-resistant wideangle prime lens • 22 43 60 51.9 180
XF 27mm f/2.8 £270 A high-performance single-focal-length lens • 34 39 61.2 23 78
NEW XF 27mm f/2.8 R WR £419 Revamped slimline, lightweight pancake prime gains aperture ring and weather-resistant construction • 34 39 62 23 84
XF 35mm f/1.4 R £439 4★ Shallow depth of field and bokeh effects are simple to achieve with this lens • 28 52 65 54.9 187
XF 35mm f/2 R WR £299 5★ A powerful and weather-resistant lens that feels great and has the performance to match • 35 43 60 45.9 170
XC 35mm f/2 £169 4.5★ Simplified version of the 35mm f/2, with plastic construction and no weather-sealing or aperture ring • 35 43 58.4 46.5 130
XF 50mm f/1 R WR £1499 The world’s fastest autofocus lens promises to be a very special optic for portrait photography • 70 77 87 103.5 845
XF 50mm f/2 R WR £449 5★ Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits • 39 46 60 59.4 200
XF 50-140mm f/2.8 R LM OIS WR £1249 A telephoto zoom with a constant maximum aperture and weather-resistance • • 100 72 82.9 175.9 995
XC 50-230mm f/4.5-6.7 OIS II £315 The XC lens range is designed to suit Fuji’s mid-range CSCs, and this lens has optical image stabilisation • • 110 58 69.5 111 375
XF 55-200mm f/3.5-4.8 R LM OIS £599 4★ Telephoto with built-in optical image stabilisation plus aperture control ring • • 110 62 118 75 580
XF 56mm f/1.2 R £899 4★ This wide-aperture portrait lens for X-series cameras has great sharpness and detail and is great value • 70 62 73.2 69.7 405
XF 56mm f/1.2 R APD £1159 4★ Adds apodisation element of 56mm f/1.2 for even more attractive background blur • 70 62 73.2 69.7 405
XF 60mm f/2.4 XF R Macro £599 A short lens designed for macro work with half-life-size magnification • 26.7 39 64.1 70.9 215
NEW XF 70-300mm f/4-5.6 R LM OIS WR £729 Lightweight weather-sealed telezoom that’s compatible with 1.4x and 2x teleconverters for greater reach • • 83 67 75 132.5 580
XF 80mm f/2.8 R LM OIS WR Macro £1249 4★ Fujifilm’s long-awaited 1:1 macro includes weather-resistance and optical image stabilisation • • 25 62 80 130 750
XF 90mm f/2 R LM WR £699 5★ A classic portrait lens that’s sharp, with gorgeous bokeh • 60 62 75 105 540
XF 100-400mm f/4.5-5.6 R LM OIS WR £1399 5★ This superb zoom is both water and dust resistant, and can operate in -10°C temperatures • • 175 77 94.8 210.5 1375
LAOWA MIRRORLESS
4mm f/2.8 Fisheye £249 Lightweight fisheye lens for APS-C and Micro Four Thirds offering a circular image with a 210° angle of view • • • 8 n/a 45.2 25.5 135
7.5mm f/2 MFT £499 4.5★ Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control • 12 46 50 55 170
9mm f/2.8 Zero-D £499 Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion • • • • 12 49 60 53 215
NEW 10mm f/2 Zero-D MFT £399 Tiny wideangle prime for Micro Four Thirds with manual focus and auto aperture control from the camera • 12 46 54 41 125
17mm f/1.8 MFT £189 Inexpensive compact prime for Micro Four Thirds cameras with manual focus and aperture operation • 15 46 55 50 160
50mm f/2.8 2x Ultra Macro APO MFT £409 Manual-focus macro lens for Micro Four Thirds with electronic aperture setting and 2x magnification • 13.6 49 53.5 79 240
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 [email protected]. 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.
A DSLR or CSC is nothing without a lens attached!

Visit Park Cameras where you’ll find hundreds of lenses
available for a wide range of uses, for a variety of budgets.
www.parkcameras.com • Canon • Fujifilm • Nikon • Olympus

• Panasonic • Pentax • Samyang • Sigma
01444 23 70 60 • Sony • Tamron • Viltrox • Voigtlander • Zeiss
SPONSORED BY
FILTER THREAD (MM)

Mirrorless Lenses
MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF
WEIGHT (G)
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
65mm f/2.8 2x Ultra Macro £409 4.5★ Superb manual-focus macro lens that provides unusually high 2x magnification • • • • 17 52 57 100 335
9mm f/5.6 FF RL £869 The world’s widest full-frame rectilinear lens is also available in Leica M mount • • • • 12 n/a 62.4 66 350
10-18mm f/4.5-5.6 £899 The world’s widest zoom for full-frame mirrorless cameras, with manual focus and aperture control • • • • • 15 37 70 90.9 496
11mm f/4.5 FF RL £769 Compact, lightweight ultra-wideangle rectilinear prime for full-frame mirrorless accepts 62mm filters • • • • 19 62 63.5 58 254
14mm f/4 FF RL £599 Smallest of a trio of manual-focus ultra-wideangle rectilinear RL primes for full-frame mirrorless • • • • • 27 52 58 59 228
15mm f/2 Zero D £899 4.5★ Manual-focus fast ultra-wideangle prime for full-frame mirrorless cameras, with minimal distortion • • • • • 15 72 66 82 500
15mm f/4.5 Zero-D Shift £1249 The world’s widest-angle shift lens offers +/-11mm movement in any direction • • • • 20 n/a 79 103 597
LEICA MIRRORLESS
11-23mm f/3.5-4.5 TL £1450 Wideangle zoom lens for Leica’s APS-C mirrorless system • 20 67 77 73 368
18-56mm f/3.5-5.6 Vario-Elmar TL £1280 Relatively large, non-retractable zoom for APS-C mirrorless • 45 52 63.5 61 256
18mm f/2.8 Elmarit TL £1020 Slimline, extremely lightweight pancake prime with fast autofocus • 30 39 61 21 80
23mm f/2 Summicron TL £1410 Compact, lightweight fast prime that offers a classic 35mm equivalent view on Leica’s APS-C CSCs • 30 52 63.5 38.1 153
35mm f/1.4 Summilux TL £1830 High-end fast prime designed to give exceptional image quality • 30 60 70 77 428
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL £1450 Telephoto zoom that eschews image stabilisation in a bid for maximal optical quality • 100 60 68 110 500
60mm f/2.8 APO-Macro-Elmarit TL £1920 Macro lens for Leica’s APS-C mirrorless cameras offers 1:1 life-size magnification • 16 60 68 89 320
NIKON MIRRORLESS
16-50mm f/3.5-6.3 VR Nikkor-Z DX £329 Extremely compact and lightweight retractable kit zoom for Nikon’s DX-format mirrorless • • 30 46 70 32 135
50-250mm f/4.5-6.3 VR Nikkor-Z DX £379 Entry-level telephoto zoom for DX mirrorless featuring retractable barrel design • • 100 62 74 110 405
14-24mm f/2.8 S Nikkor-Z £2499 Pro-spec weather-sealed wideangle zoom that can use 112mm filters via the included hood • • 28 112 88.5 124.5 650
14-30mm f/4 S Nikkor-Z £1349 4.5★ Remarkably compact ultra-wideangle zoom that accepts 82mm screw-in filters • • 28 82 89 85 485
20mm f/1.8 S Nikkor-Z £1049 Weather-sealed large maximum-aperture prime promises ultra-sharp images • • 20 77 84.5 108.5 505
24-50mm f/4-6.3 Nikkor-Z £439 Ultra-compact and lightweight zoom designed to be sold with the entry-level Nikon Z 5 • • 35 52 73.5 51 195
24-70mm f/2.8 S Nikkor-Z £2199 5★ Superb fast standard zoom includes OLED display and customisable control dial • • 38 82 89 126 805
24-70mm f/4 S Nikkor-Z £999 General-purpose standard zoom for Nikon’s full-frame mirrorless system • • 30 72 77.5 88.5 500
24-200mm f/4-6.3 VR Nikkor-Z £849 Billed as the perfect ultra-compact travel zoom lens, with dust- and drip-resistant construction • • • 70 67 76.5 114 570
24mm f/1.8 S Nikkor-Z £1049 Large-aperture wideangle prime that aims to combine edge-to-edge sharpness with attractive bokeh • • 25 72 78 96.5 450
35mm f/1.8 S Nikkor-Z £849 Fast, moderate-wideangle prime designed for optimum optical performance • • 25 62 73 86 370
50mm f/1.2 S Nikkor-Z £2299 Ultra-large aperture weather-sealed standard prime that promises ‘elaborate bokeh’ • • 45 82 89.5 150 1090
50mm f/1.8 S Nikkor-Z £599 Large-aperture prime that promises exceptional edge-to-edge sharpness • • 40 62 76 86.5 415
70-200mm f/2.8 VR S Nikkor-Z £2399 5★ Pro-spec large-aperture telezoom with optical image stabilisation and built-in OLED display • • • 100 77 89 220 1360
85mm f/1.8 S Nikkor-Z £799 4.5★ Portrait prime for Nikon’s full-frame mirrorless system that promises beautiful bokeh • • 80 67 75 99 470
OLYMPUS MIRRORLESS
7-14mm f/2.8 ED Pro £999 4.5★ Super-wideangle zoom lens that’s dustproof, splashproof and freeze-proof • 20 n/a 78.9 105.8 534
8mm f/1.8 Pro Fisheye £799 Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze-proof • 12 n/a 62 80 315
9-18mm f/4-5.6 ED £630 This super-wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms • 25 52 56.5 49.5 155
9mm f/8 Fish-eye Body Cap Lens £89 Slimline lens in a body cap with 140° angle of view • 20 n/a 56 12.8 30
12mm f/2.0 ED £739 5★ A wideangle fixed lens for the Micro Four Thirds system • 20 46 56 43 130
12-40mm f/2.8 ED Pro £899 Weather-resistant standard zoom with top-notch optics and a constant aperture of f/2.8 • 20 62 69.9 84 382
12-45mm f/4 Pro £599 5★ Excellent compact, lightweight weather-sealed zoom that offers 0.5x magnification at all focal lengths • 23 58 63.4 70 254
12-100mm f/4 IS ED Pro £1099 5★ Superb high-end weather-sealed superzoom lens featuring powerful in-lens IS with Sync IS • • 15 72 77.5 116.5 561
12-200mm f/3.5-6.3 ED £800 4★ 24-400mm equivalent superzoom includes weather-sealed construction and decent optics • 22 72 77.5 99.7 455
14-42mm f/3.5-5.6 II R £269 A redesigned variation of the standard kit lens • 25 37 56.5 50 112
14-42mm f/3.5-5.6 EZ £329 Compact kit lens for Olympus PEN and OM-D models with powerzoom control • 20 37 60.6 22.5 93
14-150mm f/4-5.6 II £550 High-powered zoom for all your needs – from wideangle to telephoto – plus weather-resistance • 50 58 63.5 83 285
15mm f/8 Body Cap Lens £69 Strictly speaking an accessory rather than a lens, with basic optics in a tiny plastic housing • 30 n/a 56 9 22
17mm f/1.2 ED Pro £1300 High-end, large-aperture weather-sealed prime designed for documentary or landscape work • 20 62 68.2 87 390
17mm f/1.8 MSC £450 5★ Wide-aperture, wideangle prime boasting excellent peak sharpness and low colour fringing • 25 46 57 35 120
25mm f/1.2 ED Pro £1099 5★ Large maximum-aperture prime combines impressive sharpness with lovely bokeh and fast, reliable AF • 30 62 70 87 410
25mm f/1.8 £370 Compact prime lens with ultra-bright f/1.8 aperture • 25 46 57.8 42 137
30mm f/3.5 ED Macro £249 New in the M.Zuiko Premium range, this macro lens features super-fast AF and weighs only 128g • 9.5 46 57 60 128
40-150mm f/2.8 ED Pro £1299 4★ This powerful 80-300mm 35mm-equivalent focal-length lens offers amazing portability for this pro class • 70 72 79.4 160 760
40-150mm f/4-5.6 R £309 This middle-distance zoom lens has an 80-300mm 35mm-equivalent focal length • 90 58 63.5 83 190
45mm f/1.2 ED Pro £1200 Large-aperture lens designed for portrait photography with premium optics • 50 62 70 84.9 410
45mm f/1.8 £279 5★ Fast-aperture lens for taking portrait shots is sharp, quiet and has no colour fringing • 50 37 56 46 116
60mm f/2.8 Macro £450 High-precision macro lens that’s dustproof and splashproof • 19 46 56 82 185
75-300mm f/4.8-6.7 ED II £499 Update featuring Zuiko Extra-low Reflection Optical coating said to reduce ghosting • 90 58 69 117 423
75mm f/1.8 ED £799 5★ Ultra-fast prime lens ideal for portraits and action shots • 84 58 64 69 305
100-400mm f/5-6.3 ED IS £1100 4★ Large, heavy, weather-sealed optically stabilised ultra-telephoto zoom, compatible with teleconverters • • 130 72 86.4 205.7 1120
300mm f/4 IS Pro £2200 Compact ultra-telephoto prime with optical image stabilisation, compatible with Sync IS • • 140 77 92.5 227 1270
PANASONIC MIRRORLESS
G 7-14mm f/4 £740 5★ For a wideangle zoom, the overall level of resolution is very impressive • 25 n/a 70 83.1 300
G 8mm Fisheye f/3.5 £730 The world’s lightest and smallest fisheye lens for an interchangeable-lens camera • 10 22 60.7 51.7 165
DG 8-18mm f/2.8-4 Leica ASPH £1049 Splashproof, dustproof and freeze-proof ultra-wideangle zoom with premium optics • 23 67 73.4 88 315
DG 10-25mm f/1.7 Leica ASPH £1800 The world’s fastest standard zoom lens, with an unusual 20-50mm equivalent range • 28 77 87.6 128 690
DG 12mm f/1.4 Leica Summilux ASPH £1199 4.5★ Compact fast wideangle quality with excellent optics and built-in aperture ring • 20 62 70 70 335
G 12-32mm f/3.5-5.6 MEGA OIS £270 Very compact with a versatile zoom range and three aspherical lenses • • 20 37 55.5 24 70
G X 12-35mm f/2.8 OIS II £880 Updated fast standard zoom with matte-black finish and improved autofocus and aperture control • • 25 58 67.6 73.8 305
G 12-60mm f/3.5-5.6 OIS ASPH £439 4★ Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design • • 20 58 66 71 210
NEW & COMING SOON! NEW & NOW IN STOCK!

Panasonic LUMIX S 70-300mm Sony FE 35mm
f/4.5-5.6 MACRO O.I.S. f/1.4 GM
£1,259.00 £1,499.00
Expected May 2021. Finance options available!
See parkcameras.com or call us on See parkcameras.com or call us on
01444 23 70 60 to learn more. 01444 23 70 60 to learn more.
Up to
£450 CASHBACK
BUYING GUIDE
FILTER THREAD (MM)

Mirrorless Lenses
MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF
WEIGHT (G)
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
DG 12-60mm f/2.8-4 OIS Leica £880 Premium standard zoom with useful focal-length range and weather-resistant construction • • 20 62 68 86 320
G 14mm f/2.5 II £249 Wideangle pancake lens that should suit landscape photographers • 18 46 55.5 20.5 55
G X 14-42mm f/3.45-5.6 X PZ POWER OIS £369 4★ Powered zoom; impressive results in terms of both sharpness and chromatic aberration • • 20 37 61 26.8 95
G 14-45mm f/3.5-5.6 MEGA OIS £189 A lightweight and compact standard zoom featuring MEGA OIS optical image stabilisation • • 30 52 60 60 195
G 14-140mm f/3.5-5.6 ASPH POWER OIS £599 Metal-bodied zoom featuring company’s POWER OIS optical image stabiliser • • 30 58 67 75 265
G 14-140mm f/3.5-5.6 ASPH POWER OIS II £619 Weather-resistant update to Panasonic’s optically stabilised superzoom lens • • 30 58 67 75 265
DG 15mm f/1.7 Leica Summilux £549 4★ High-speed prime with a compact metal body, includes three aspherical lenses to cut down distortion • 20 46 36 57.5 115
G 20mm f/1.7 ASPH II £249 Ultra-compact fast prime with excellent optics but slower autofocus than more modern options • 20 46 25.5 63 100
G 25mm f/1.7 ASPH £159 4.5★ Inexpensive fast normal prime for Micro Four Thirds that offers very respectable optical quality • 25 46 60.8 52 125
DG 25mm f/1.4 Leica Summilux Asph £550 5★ A fast-aperture fixed focal length standard lens from Leica • 30 46 63 54.5 200
DG 25mm f/1.4 Leica Summilux II Asph £580 Updated version of this lovely fast standard prime adds dust- and splash-resistant construction • 30 46 63 54.5 205
G 30mm f/2.8 Macro MEGA OIS £300 3★ Compact lens offering true-to-life magnification capability for better macro images • • 10 46 58.8 63.5 180
G 35-100mm f/4-5.6 ASPH MEGA OIS £300 Telephoto zoom equivalent to 70-200mm on a 35mm camera • • 90 46 55.5 50 135
G X 35-100mm f/2.8 Power OIS II £970 Premium fast telephoto zoom with matte-black finish and improved autofocus and aperture control • • 85 58 67.4 100 360
DG 42.5mm f/1.2 Leica DG OIS £1399 5★ Mid-telephoto high-speed Leica DG Nocticron lens with 2 aspherical lenses and ultra-wide aperture • • 50 67 74 76.8 425
G 42.5mm f/1.7 Power OIS £349 Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect • • 37 31 55 50 130
DG 45mm f/2.8 OIS Macro Leica £539 Tiny macro lens with 1:1 magnification and optical image stabilisation • • 15 46 63 62.5 225
G 45-150mm f/4-5.6 MEGA OIS £280 4★ Compact, lightweight telephoto zoom comprising 12 elements in nine groups • • 90 52 62 73 200
G X 45-175mm f/4-5.6 X PZ POWER OIS £400 4★ A powered long-focal-length zoom lens • • 90 46 61.6 90 210
G 45-200mm f/4-5.6 MEGA OIS II £380 Telephoto zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS • • 100 52 70 100 380
DG 50-200mm f/2.8-4 OIS Leica £1600 Premium telephoto zoom that completes Panasonic’s Leica f/2.8-4 series • • 75 67 76 132 655
G 100-300mm f/4-5.6 MEGA OIS II £570 4★ Long zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS • • 150 67 73.6 126 520
DG 100-400mm f/4-6.3 OIS Leica £1349 High-quality super-telephoto zoom with weather-sealed construction and Dual IS support • • 103 72 83 171.5 985
DG 200mm f/2.8 OIS Leica £2699 5★ Stunning 400mm-equivalent fast telephoto prime, comes with 1.4x teleconverter in the box • • 115 77 87.5 174 1245
S Pro 16-35mm f/4 £1499 Relatively compact and lightweight premium wideangle zoom with weather-sealed construction • • 25 77 85 99.6 500
S 20-60mm f/3.5-5.6 £619 Compact, lightweight and relatively inexpensive standard zoom with a wider than usual view • • 15 67 77.4 87.2 350
S Pro 24-70mm f/2.8 £2250 Pro-range fast standard zoom includes dust and splash resistance, along with a focus-clutch mechanism • • 37 82 90.9 140 935
S 24-105mm f/4 Macro OIS £1750 L-mount full-frame standard zoom which offers half-life-size magnification • • • 30 77 84 118 680
S Pro 50mm f/1.4 £2300 Premium, fast standard prime for full-frame mirrorless with built-in aperture ring • • 44 77 90 130 955
S 85mm f/1.8 £600 This short telephoto portrait lens is the first in a new line of practical, affordable f/1.8 primes • • 80 67 73.6 82 355
S Pro 70-200mm f/2.8 OIS £2599 Pro-spec fast telephoto zoom incorporating optical image stabilisation and weather-sealing • • • 95 82 94.4 208.6 1570
NEW S Pro 70-200mm f/4 OIS £1300 Image-stabilised, weather-sealed telephoto zoom for L-mount full-frame mirrorless • • • 92 77 84.4 179 985
S 70-300mm f/4.5-5.6 Macro OIS £1260 Relatively lightweight optically-stabilised telephoto zoom featuring dust- and splash-proof construction • • • 54 77 84 148 790
SAMYANG MIRRORLESS
7.5mm f/3.5 UMC fisheye MFT £253 Fisheye manual-focus lens with Ultra Multi Coated lens elements to reduce flare and ghosting • 9 n/a 48.3 60 197
8mm f/2.8 UMC fisheye II £249 Updated version of the Samyang 8mm f/2.8 UMC Fisheye lens, with improved optical construction • • • 30 n/a 60 64.4 290
12mm f/2 NCS CS £330 Fast wideangle prime for APS-C and Micro Four Thirds mirrorless cameras • • • • 20 67 72.5 59 245
35mm f/1.2 ED AS UMC CS £359 Standard-angle manual-focus lens for mirrorless cameras with APS-C sensor size • • • • 38 62 67.5 74.2 420
50mm f/1.2 AS UMC CS £299 5★ Fast telephoto prime that can produce stunning results with a super-shallow depth of field • • • • 50 62 67.5 74.5 380
85mm f/1.8 ED UMC CS £319 Manual-focus medium-telephoto portrait prime for APS-C mirrorless cameras • • • • 65 62 67.5 81 423
300mm f/6.3 ED UMC CS Reflex £249 A compact reflex mirror lens dedicated for mirrorless compact system cameras • • • • 90 58 73.7 64.5 320
14mm f/2.8 AF £629 Autofocus wideangle prime, now available in Canon RF as well as Sony FE mount • • • 20 n/a 85.5 97.5 505
18mm f/2.8 FE AF £350 Compact, lightweight autofocus wideangle prime for Sony full-frame mirrorless cameras • • 25 58 63.5 60.5 145
24mm f/2.8 FE AF £280 4.5★ Small, lightweight autofocus wideangle prime for full-frame mirrorless cameras • • 24 49 61.8 37 93
35mm f/1.4 FE AF £600 Fast autofocus prime designed for maximum sharpness with a Linear Supersonic Motor for AF • • 30 67 75.9 115 645
35mm f/1.8 FE AF £360 Smaller, lighter and more affordable than its Sony equivalent, with a dual-mode manual focus / control ring • • 29 58 65 63.5 210
35mm f/2.8 FE AF £279 4.5★ Compact, lightweight, inexpensive autofocus prime lens for full-frame mirrorless cameras • • 35 49 61.8 33 86
45mm f/1.8 FE AF £350 4.5★ Small standard prime for Sony full-frame mirrorless • • 45 49 61.8 56.1 162
50mm f/1.4 FE AF £499 4.5★ Excellent value for money fast prime for full-frame Sony mirrorless • • 45 67 73.5 97.7 585
75mm f/1.8 FE AF £380 Small, lightweight short telephoto that allows the manual focus ring to be assigned to other functions • • 69 58 65 69 230
85mm f/1.4 AF £599 Large-aperture autofocus, short-telephoto portrait prime for Canon and Sony full-frame mirrorless • • • 90 77 88 99.5 568
SIGMA MIRRORLESS
16mm f/1.4 DC DN | C £450 Large-aperture wideangle lens with dustproof and splashproof design • • • • 25 67 72.2 92.3 405
30mm f/1.4 DC DN | C £300 4★ A prime for Micro Four Thirds and Sony E-mount users, it’s impressively sharp even at f/1.4 • • • • 30 52 64.8 73 140
56mm f/1.4 DC DN | C £400 4.5★ Small, lightweight large-aperture portrait prime for APS-C Sony and Micro Four Thirds • • • • 50 55 66.5 59.5 280
14-24mm f/2.8 DG DN | A £1459 5★ Superb ultra-wide zoom for full-frame mirrorless that’s two-thirds of the weight of its DSLR equivalent • • • 28 n/a 85 131 795
24-70mm f/2.8 DG DN | A £1050 Large-aperture standard zoom for full-frame mirrorless that promises ‘best in class’ image quality • • • 38 82 87.8 122.9 835
24mm f/3.5 DG DN | C I-series £480 Compact metal-barrelled wideangle prime that offers half life-size magnification • • • 10.8 55 64 48.8 225
35mm f/1.2 DG DN | A £1459 World’s largest-aperture autofocus lens for either Sony E or Leica L mount promises top-notch optics • • • 30 82 87.8 136.2 1090
35mm f/2 DG DN | C I-series £550 Everyday walkaround prime that promises premium optical performance • • • 27 58 70 65 325
45mm f/2.8 DG DN | C £549 Ultra-compact full-frame standard prime should be a perfect match for the Sigma fp camera body • • • 24 55 64 46.2 215
65mm f/2 DG DN | C I-series £650 Compact short-telephoto portrait prime designed to deliver sharp images with attractive background blur • • • 55 62 72 74.7 405
85mm f/1.4 DG DN | A £999 5★ Superb large-aperture portrait prime for full-frame cameras that’s a fraction of the size of its SLR equivalent • • • 85 77 82.4 94.1 630
100-400mm F5-6.3 DG DN OS | C £899 5★ Relatively compact, lightweight and affordable long telephoto zoom with optical stabilisation • • • • 112 67 86 199.2 1140
105mm F2.8 DG DN Macro | A £700 Weather-sealed 1:1 macro lens that promises superlative image quality • • • 29.5 62 74 133.6 715
SONY MIRRORLESS
E 10-18mm f/4 OSS £750 4★ Super-wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation • • 25 62 70 63.5 225
E 16mm f/2.8 £220 4★ Pancake lens for APS-C mirrorless, with a circular aperture and Direct Manual Focus • 24 49 62 22.5 67
E 16-50mm f/3.5-5.6 PZ OSS £299 Tiny pancake lens with power zoom, ED glass and Optical SteadyShot image stabilisation • • 25 40.5 64.7 29.9 116
E 16-55mm f/2.8 G £1200 Premium, high-resolution, weather-resistant standard zoom for APS-C mirrorless cameras • 33 67 73 100 494
E 16-70mm f/4 ZA OSS Vario-Tessar T* £839 A lightweight, versatile mid-range zoom with a constant f/4 aperture • • 35 55 66.6 75 308
E 18-55mm f/3.5-5.6 OSS £270 Optical SteadyShot, said to be silent during movie capture, and a circular aperture • • 25 49 62 60 194
E 18-105mm f/4 G PZ OSS £499 Sony G lens for E-mount cameras with a constant f/4 aperture • • 45 72 78 110 427
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
E 18-110mm f/4 G PZ OSS £3300 Constant f/4 maximum aperture powerzoom for video production, for Super 35mm / APS-C cameras • • 40 95 110 167.5 1105
E 18-135mm f/3.5-5.6 OSS £570 Lightweight, compact standard zoom designed to match Alpha 6000-series cameras • • 45 55 67.2 88 325
E 18-200mm f/3.5-6.3 OSS LE £489 Smaller and lighter than comparable lenses, this is an ideal high-magnification travel lens • • 50 62 68 98 460
E 18-200mm f/3.5-6.3 PZ OSS £999 Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies • • 30 67 93.2 99 649
E 20mm f/2.8 £309 Pancake wideangle lens promises to be the perfect walkaround partner for E-mount cameras • 20 49 62.6 20.4 69
E 24mm f/1.8 ZA Sonnar T* £839 Top-quality Carl Zeiss optic ideally suited to Alpha 6000-series bodies • 16 49 63 65.6 225
E 30mm f/3.5 Macro £219 A macro lens for Sony’s APS-C compact system cameras • 9 49 62 55.5 138
E 35mm f/1.8 OSS £399 Lightweight, versatile prime with Optical SteadyShot image stabilisation • • 30 49 62.2 45 155
E 50mm f/1.8 OSS £219 A handy, low-price image-stabilised portrait lens for the APS-C Alpha mirrorless range • • 39 49 62 62 202
E 55-210mm f/4.5-6.3 OSS £289 Lightweight optically stabilised telephoto zoom lens for APS-C mirrorless • • 100 49 63.8 108 345
SPONSORED BY
FILTER THREAD (MM)

Mirrorless Lenses
MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF
WEIGHT (G)
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
E 70-350mm f/4.5-6.3 G OSS £830 High-end long telephoto zoom for APS-C E-mount cameras includes optical stabilisation • • 110 67 77 142 625
FE 12-24mm f/2.8 GM £2900 The world’s widest-angle zoom with a constant f/2.8 maximum aperture promises pro-level quality • • 28 n/a 97.6 137 847
FE 12-24mm f/4 G £1700 4.5★ Compact, weather-resistant super-wideangle zoom with high-quality optics • • 28 n/a 87 117.4 565
FE 16-35mm f/2.8 GM £2300 Premium G Master-series fast wideangle zoom with weather-resistant construction • • 28 82 88.5 121.6 680
FE 16-35mm f/4 ZA OSS Vario-Tessar T* £1289 5★ Zeiss full-frame wideangle zoom lens • • • 28 72 78 98.5 518
FE 20mm f/1.8 G £949 5★ Compact, super-sharp wideangle prime featuring aperture ring and weather-resistant construction • • 18 67 84.7 73.5 373
FE 24-70mm f/2.8 GM £1799 5★ This pro-grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results • • 38 82 87.6 136 886
FE 24-70mm f/4 ZA OSS Vario-Tessar T* £1049 5★ Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation • • • 40 67 73 94.5 426
FE 24-105mm f/4 G OSS £1199 5★ Excellent full-frame standard zoom with optical stabilisation and weather-resistant design • • • 38 77 83.4 113.3 663
FE 24-240mm f/3.5-6.3 OSS £929 3★ Ideal for travel, landscapes and more, with built-in stabilisation. Also dust and moisture resistant • • • 50 72 80.5 118.5 780
FE 24mm f/1.4 GM £1450 5★ Compact, large-aperture wideangle prime includes aperture ring and weather-resistant construction • • 24 67 75.4 92.4 445
FE 28mm f/2 £419 4★ This full-frame wideangle prime with a bright f/2 maximum aperture promises excellent sharpness • • 29 49 64 60 200
FE 28-60mm f/4-5.6 £450 Ultra-compact, retractable kit zoom designed for the rangefinder-style Alpha 7C • • 30 40.5 67 45 167
FE 28-70mm f/3.5-5.6 OSS £449 Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range • • • 30 55 72.5 83 295
FE 28-135mm PZ f/4 G OSS £2379 Constant f/4 maximum aperture powerzoom for video production, for full-frame cameras • • • 95 95 162.5 105 1215
NEW FE 35mm f/1.4 ZA Distagon T* £1559 4★ Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture • • 30 72 78.5 112 630
FE 35mm f/1.4 GM £1499 5★ Stunning large-aperture prime that’s smaller, lighter and focuses closer than its ZA predecessor • • 27 67 76 96 524
FE 35mm f/1.8 £630 4.5★ Lightweight fast prime with fine optics and quick autofocus that’s well-matched to Alpha 7 series bodies • • 22 55 65.6 73 280
FE 35mm f/2.8 ZA Sonnar T* £699 When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver • • 35 49 61.5 36.5 120
FE 50mm f/1.4 ZA Planar T* £1500 5★ Optically stunning premium fast prime, but huge and heavy • • 45 72 83.5 108 778
FE 50mm f/1.8 £240 4★ Features a new optical design with a single aspherical element • • 45 49 68.6 59.5 186
FE 50mm f/2.8 Macro £500 4★ Sony’s budget macro for full-frame CSCs offers decent optics but is slow at focusing • • 16 55 70.8 71 236
FE 55mm f/1.8 ZA Sonnar T* £849 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light • • 50 49 64.4 70.5 281
FE 70-200mm f/4 G OSS £1359 4★ G-series telephoto zoom lens, dust and water resistant, with built-in image stabilisation • • • 100 72 80 175 840
FE 70-200mm f/2.8 GM OSS £2500 5★ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies • • • 100 72 80 175 840
FE 70-300mm f/4.5-5.6 G OSS £1150 Sony has added this lens to its growing range • • • 90 72 84 143.5 854
FE 85mm f/1.8 £550 4★ Relatively inexpensive portrait lens includes dust and moisture-resistant construction • • 80 67 78 82 371
FE 85mm f/1.4 GM £1889 5★ Stunning image quality from Sony’s premium ‘G Master’ portrait lens • • 80 77 89.5 107.5 820
FE 90mm f/2.8 Macro G OSS £1049 5★ Optically excellent dedicated macro lens for Sony’s full-frame E-mount cameras • • • 28 62 79 130.5 602
FE 100mm f/2.8 STF GM OSS £1700 Innovative portrait lens combines optical stabilisation and an apodisation filter for smooth bokeh • • • 57 72 85.2 118.1 700
FE 100-400mm f/4.5-5.6 GM OSS £2500 5★ Premium optically stabilised, weather-sealed telezoom designed to match the Alpha 9 • • • 98 77 93.9 205 1395
FE 135mm f/1.8 GM £1750 5★ Large-aperture portrait prime for full-frame combines exceptional sharpness and attractive bokeh • • 70 82 89.5 127 950
FE 200-600mm f/5.6-6.3 G OSS £1799 Weather-resistant super-telephoto, with easy-to-use internal zoom design • • • 240 95 111.5 318 2115
TAMRON MIRRORLESS
14-150mm f/3.5-5.8 Di III £370 4★ Micro Four Thirds superzoom is a competent performer, and extremely compact • 50 52 63.5 80.4 285
17-70mm f/2.8 Di III-A VC RXD £780 Provides a uniquely useful combination of 4.1x zoom range, f/2.8 maximum aperture and optical stabilisation • • 19 67 74.6 119.3 525
18-200mm f/3.5-6.3 Di III VC £390 Lightweight, compact, all-in-one zoom for mirrorless cameras, to cover practically any shooting situation • • • 50 62 68 96.7 460
20mm f/2.8 Di III OSD M1:2 £399 Widest of a trio of lightweight primes offering half life-size magnification and splash-proof build • • 11 67 73 64 220
24mm f/2.8 Di III OSD M1:2 £399 Compact wideangle prime designed for high-resolution full-frame mirrorless cameras • • 12 67 73 64 215
35mm f/2.8 Di III OSD M1:2 £399 Optimized Silent Drive (OSD) motor promises full compatibility with advanced autofocus modes • • 15 67 73 64 210
17-28mm f/2.8 Di III RXD £899 5★ Small and lightweight fast wideangle zoom boasts excellent optics and fast autofocus • • 19 67 73 99 420
28-75mm f/2.8 Di III RXD £699 4.5★ Fast zoom for full-frame mirrorless is relatively compact and has fine optics • • 19 67 73 117.8 550
28-200mm F/2.8-5.6 Di III RXD £800 4★ All-in-one superzoom with impressive maximum aperture but limited wideangle and no stabilisation • • 19 67 74 117 575
70-180mm F/2.8 Di III VXD £1350 4.5★ Remarkably compact large-aperture telephoto prime includes newly-developed VXD autofocus drive • • 85 67 81 149 810
70-300mm F/4.5-6.3 Di III RXD £650 Lightweight, affordable, weather-sealed telephoto zoom, but lacks optical stabilisation • • 80 67 77 148 545
TOKINA MIRRORLESS
atx-m 23mm f/1.4 X £449 Fast prime for Fujifilm X cameras, with clickless aperture ring for smooth control during movie shooting • 30 52 65 72 276
atx-m 33mm f/1.4 X £399 Affordable large-aperture standard prime for Fujifilm X-mount cameras that gives a 50mm equivalent view • 40 52 65 72 285
Firin 20mm f/2 FE MF £699 5★ Impressively sharp fast wideangle prime for Sony mirrorless, with manual focus and aperture ring • • 28 62 69 81.5 490
Firin 20mm f/2 FE AF £799 Autofocus version of the excellent Firin 20mm f/2 FE MF, featuring ultrasonic focus motor • • 28 62 73.4 81.5 464
atx-m 85mm f/1.8 FE £489 First in a new range of atx-m lenses for mirrorless cameras is a portrait prime for Sony full-frame • • 80 72 93.2 80 645
Firin 100mm f/2.8 FE Macro £579 Relatively affordable autofocus 1:1 macro lens for Sony full-frame mirrorless cameras • • 30 55 74 123 570
VOIGTLANDER MIRRORLESS
10.5mm f/0.95 Nokton £999 Ultra-large aperture super-wide prime for Micro Four Thirds with manual focus and aperture setting • 17 72 77 82.4 585
17.5mm f/0.95 Nokton £799 35mm equivalent wideangle manual-focus prime with exceptionally large aperture • 15 58 63.4 80 540
25mm f/0.95 Nokton II £719 All-metal construction with traditional manual focus and aperture rings • 17 52 60.6 70 435
42.5mm f/0.95 Nokton £749 Largest aperture short-telephoto portrait lens available for Micro Four Thirds cameras • 23 58 64.3 74.6 571
10mm f/5.6 Hyper Wide Heliar £749 Covers a phenomenal 130° angle of view, with optics designed to minimise distortion • • 50 n/a 67.8 58.7 312
15mm f/4.5 Super Wide Heliar III £649 Compact, lightweight ultra-wideangle manual-focus prime that still accepts 58mm filters • • 30 58 66.4 62.3 294
21mm f/1.4 Nokton £1149 Large-aperture wideangle prime specifically designed for Sony full-frame mirrorless cameras • • 25 62 70.5 79.5 560
21mm f/3.5 Color-Skopar Asph £549 Compact wideangle prime with manual focus and aperture operation • • 20 52 62.8 39.9 230
35mm f/1.2 Nokton SE £849 Super-fast yet relatively compact prime, with ‘Still Edition’ design optimised for photography not video • • 30 58 66.5 59.9 387
35mm f/1.4 Nokton Classic £639 ‘Classic’ lens based on symmetrical optical design that only uses spherical lens elements • • 30 n/a 67 39.6 262
40mm f/1.2 Nokton £759 World’s first full-frame lens with a super-fast f/1.2 aperture, promising pleasing bokeh • • 35 58 70.1 59.3 420
50mm f/1.2 Nokton £899 Super-fast manual-focus prime boasts 12 aperture blades for attractive background blur • • 45 58 70.1 58.8 434
50mm f/2 Apo-Lanthar £869 Fully manual lens with apochromatic optics designed to completely eliminate colour fringing • • 45 49 62.6 61.3 354
65mm f/2 Macro Apo-Lanthar £749 High-quality apochromatic macro lens designed for Sony mirrorless offers half life-size reproduction • • 31 67 78 91.3 625
110mm f/2.5 Macro Apo-Lanthar £899 Manual-focus macro lens with 1:1 magnification and premium apochromatic optics • • 35 58 78.4 99.7 771
ZEISS MIRRORLESS
Touit 12mm f/2.8 Distagon T* £959 5★ Designed specifically for Sony NEX and Fujifilm X-series CSC cameras. Very impressive performance • • 18 67 82 68 270
Touit 32mm f/1.8 Planar T* £700 4.5★ Optimised for use with APS-C format sensors, a fast standard lens for Fujifilm X-series cameras • • 23 52 72 76 200
Touit 50mm f/2.8 Planar T* £589 Macro 1:1 lens for extreme close-ups, as well as shooting portraits or panoramas as a light tele-lens • • 15 52 75 91 290
Batis 18mm f/2.8 £990 The Batis range is for mirrorless full-frame system cameras from Sony • • 25 77 78 95 330
Loxia 21mm f/2 £1230 Compact manual-focus wideangle prime purpose-designed for Sony Alpha 7-series cameras • • 25 52 62 72 394
Batis 25mm f/2 £980 5★ A wideangle lens for Sony full-frame users offering unrivalled quality • • 20 67 81 92 355
Loxia 25mm f/2.4 £1190 5★ Gorgeous but ever-so-pricey compact manual focus prime, with absolutely stunning optics • • 25 52 62 69.5 375
Loxia 35mm f/2 £1015 Small wideangle manual-focus prime intended for Sony Alpha 7 users • • 30 52 62 59 340
Batis 40mm f/2 CF £1130 5★ Bridges the gap between Batis 25mm and 85mm lenses and features close-focusing ability • • 24 67 91 93 361
Loxia 50mm f/2 £740 Manual-focus standard prime with premium optics and E mount for Sony Alpha 7 users • • 45 52 62 59 320
Batis 85mm f/1.8 £909 5★ A high-quality medium prime for wedding and portrait shooters, developed for Sony’s Alpha 7 series • • • 80 67 78 105 475
Loxia 85mm f/2.4 £1199 A compact, manual-focus, short telephoto lens for the mirrorless Sony Alpha series • • 80 52 62.5 108 594
York Road, BURGESS HILL,
West Sussex RH15 9TT
53-54 Rathbone Place,
LONDON, W1T 1JR
Experts in photography Unbeatable stock availability Competitive low pricing UK stock
IN
an
Ncom
d
ST
EWing
O
! oon!
45 50.1
CK
8K 8K
s
MEGA 3.15” IS MEGA 3.0” IS
PIXELS 20 fps PIXELS 30 fps
!
Whatever you shoot, however you Sony continues to challenge the
shoot it, the EOS R5 will let you be limits of conventional imaging
creative in ways you simply couldn’t tools with the new Alpha 1
before. Capture sensational 45 offering new dimensions of
megapixel photos at up to 20 frames imaging performance as well as
per second*, or cinematic 12 bit 8K efficient workflow, giving you
RAW video using the entire width of new creative freedom.
the camera’s sensor.
Body only £4,199.00 Body only £6,499.00
24 MONTHS 0% FINANCE Watch our latest EOS R5 video SAVE ON ACCESSORIES! Watch our hands-on first look
Offer available 01.03.21 - 30.05.21 at youtu.be/lfgZqV0TNCs See parkcameras.com for full details. video at youtu.be/GEfJGFQrcwE
Sony Alpha 6600 Sony a7 III Sony FE 12-24mm

20.1 f/2.8 GM
MEGA
20 fps
3.0” 4K
PIXELS 24.2 24.2
MEGA 4K
PIXELS 11 FPS
MEGA
PIXELS 10 FPS
The radical EOS R6 features technology that
will have you falling in love with photography Body only +18-135mm Body only + 28-70mm Our Price
all over again. See and shoot subjects in Body Only £2,499 .00
£1,249 .00
£1,699 .00
£1,699 .00
£1,899 .00
£2,899.00
completely new ways and add a new IN 24 months 0% finance! Receive £100 OFF your next 12 MONTHS 0% FINANCE! Free 2 year warranty
dimension to your story telling. STOCK! Available 01.03.21 - 30.05.21 lens purchase! See website See website to learn more. available. See website!
Canon EOS 90D Canon EOS RP Canon EOS R
an
Ncom
d
32.5 26.2 30.3
EWing
MEGA 0% MEGA 0% MEGA 0%
PIXELS 10 FPS Finance 5 FPS Finance 8 FPS Finance
PIXELS PIXELS
102
3.2” 4K
! oon!
MEGA
Body only +18-55mm Body only +24-105mm Body only +24-105mm
s
PIXELS 2.9 fps
£1,209.00 £1,299.00 £1,049.00 £1,329.00 £1,729.00 £1,999.00

Surpassing the boundaries of what is
24 months 0% finance! 24 months 0% finance! 24 months 0% finance!
Available 01.03.21 - 30.05.21 Available 01.03.21 - 30.05.21 Available 01.03.21 - 30.05.21 possible in making large format
images, GFX100S builds on the
RF 85mm RF 24-70mm RF 100-500mm groundbreaking ideas from the
f/1.2 L USM DS f/2.8 L IS USM f/4.5-7.1 L IS USM GFX100, with a philosophy of mobility
and portability, to create a camera that
0% 0% 0% is positioned to provide you with an
Finance Finance Finance opportunity to take large format image-
making to places it has never been before.
Our Price See website Our Price See website Our Price See website
for latest for latest for latest
£3,219 .00 availability. £2,329 .00 availability. £2,899 .00 availability. Body only £450 TRADE-IN BONUS AVAILABLE! 12 MONTHS 0% FINANCE AVAILABLE!
24 months 0% finance! 24 months 0% finance! 24 months 0% finance! £5,499.00 See website to learn more. See website to learn more.
Available 01.03.21 - 30.05.21 Available 01.03.21 - 30.05.21 Available 01.03.21 - 30.05.21
Fujifilm X-E4
LUMIX S5 24.2
Fujifilm XF 27mm
f/2.8 R WR
Fujifilm XF 70-300mm
f/4-5.6 R LM OIS WR
Moving Images MEGA I.S 3.0” 4K
PIXELS 26.1
Forward MEGA 4K
PIXELS 30 FPS
NEW! NEW! NEW!
The new LUMIX S5 offers Full frame 4K 4:2:2
10-bit internal recording at 30p and 4:2:0 at 60p Body only +27mm WR Our Price Our Price
to give you all the flexibility you need with your
from £1,699 .00 £799 .00
£949 .00
£419 .00
£729.00
video shooting projects. SAVE an extra 5% off EXPECTED MARCH 2021! EXPECTED MARCH 2021! EXPECTED MARCH 2021!
£400 TRADE-IN BONUS AVAILABLE! Call us to learn more Panasonic L-Mount lenses! See website to learn more See website to learn more See website to learn more
Panasonic LUMIX Panasonic LUMIX G9 LEICA 100-400mm

G100 f/4-6.3 Power O.I.S LEICA Q2 47.3
MEGA 3.0” 4K
Accept nothing but perfection PIXELS 10 FPS
20.3 20.2
MEGA
PIXELS
4K MEGA
PIXELS
4K The Q2 takes the original Q’s most exciting
features and turns everything up a notch,
Body only +12-32mm Body only Spread the Our Price Spread the enabling you to achieve unparalleled results in
cost with our cost with our
£589 .00
£679 .00
£899 .00* finance options £1,199 .00 finance options the most accessible way. It’s made for anyone
Add Capture One Pro 21 *Price after £100 cashback. Add a Hoya 72mm NX-10 UV
who wants to focus on getting the best image, In stock at
for only £179 with the G100 claimed from Panasonic. filter for only £32.95 without distractions. £4,500.00
Thank you to all those LEICA SL2-S 24

MEGA 3.2” IS 4K
9 fps
who voted for us in the Two worlds. One choice. PIXELS
GOOD SERVICE
Good Service Awards 2021! Following the footsteps of the Leica SL2, the
AWARD new, fast Leica SL2-S enables photographers and
videographers to achieve the legendary Leica look
We’re delighted to have been without compromise.
In stock at
highly commended. 2021 Limited stock now available! NEW!
£3,975.00
All prices include VAT @ 20%.

Keep up-to-date with all the latest new
All products are UK stock. E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
products and news with Park Cameras!
of Geraint Radford
Image courtesy
Visit our website - updated daily
Call one of our knowledgeable
parkcameras.com sales advisors 7 days a week
or e-mail us for sales advice using

[email protected]
01444 23 70 60 Be inspired with our range of
virtual events coming soon!
www.parkcameras.com/events
UK’s largest independent photo store Award winning customer service Family owned & Run
Samyang 35mm Tamron 70-300mm

f/1.8 AF - Sony E Mount f/4.5-6.3 Di III RXD
This prime lens provides mobility and Developed with the concept of bringing the joy
convenience for shooting a wide range of of easy telephoto shooting to photographers
subjects from everyday snapshots (indoor everywhere, this small and light lens for Sony
& outdoor), food photography, cityscapes, NOW IN STOCK! E-mount full frame mirrorless cameras, delivers NOW IN STOCK!
landscapes and more. £359.00 exceptional image quality. £649.00
Samyang 14mm Samyang 45mm Samyang 50mm Tamron 17-28mm Tamron 18-400mm Tamron 28-75mm
f/2.8 AF - Sony E Mount f/1.8 AF - Sony E Mount f/1.4 AF - Sony E Mount f/2.8 Di III RXD f/3.5-6.3 Di II VC HLD f/2.8 Di III RXD
Our Price Spread the cost Our Price Spread the cost Our Price Spread the cost In stock! Available In stock! Available In stock! Available
with finance with finance with finance in Sony FE in Canon, in Sony FE
£599 .00 options. £349 .00 options. £489 .00 options. £849 .00
Mount £599 .00 or Nikon fits £699.00 Mount
See website to learn Add a Hoya 49mm NX-10 UV Add a Hoya 67mm NX-10 UV Add a Hoya 67mm NX-10 Add a Hoya 72mm NX-10 UV Add a Hoya 67mm NX-10
more about this lens. filter for only £19.95 filter for only £28.95 UV filter for only £28.95 Filter for only £32.95 UV filter for only £28.95
24.6 IN STOCK Tamron 28-200mm Tamron 70-180mm Tamron 100-400mm

MEGA
PIXELS 18 fps
3.1” 4K from £1,799.00 f/2.8-5.6 Di III RXD f/2.8 Di III VXD f/4.5-6.3 Di VC USD
The SIGMA fp is the world’s

smallest and lightest full-frame
mirrorless camera. It employs a In stock! Available In stock! Available In stock! Available in
Canon or
back-illuminated 35mm full-frame £799 .00 in Sony FE
£1,249 .00 in Sony FE
£699 .00 Nikon fits.
Mount Mount
Bayer sensor with 24.6 effective Add a Hoya 67mm NX-10 Add a Hoya 67mm Ultra-Pro Add a Hoya 67mm UV(C)
megapixels for high-quality images. UV filter for only £28.95 UV filter for only £58.00 Digital HMC filter for £19.95
Sigma 85mm Sigma 24-70mm Sigma 150-600mm Epson Expression BenQ SW240 Pro Wacom Cintiq 16
f/1.4 DG HSM | Art f/2.8 DG DN | Art f/5-6.3 DG OS HSM | C XP-8600 24” IPS Monitor Creative Pen Display
A4 Printer
In stock! Spread the In stock! Spread the In stock! Spread the Our Price Our Price Our Price
cost with our cost with our cost with our
£929.00 finance options. £1,049.00 finance options. £779.00 finance options. £198£129.00 .00
£198£390.00 .00
£519.00
Available in Canon EF, Nikon, Available for L-Mount and Available in Canon EF See
Visitwebsite
us in store
to learn
to trymore
this Spread
Visit the
us in costto
store with our
try this See website for even more
L-Mount or E-Mount E-Mount cameras. or Nikon F Mounts. about
tripodthis
outhome
for yourself!
printer finance
tripod options. See web.
out for yourself! Wacom tablets!
Manfrotto 290 Manfrotto Befree Manfrotto Gitzo GT3543LS Gitzo GHFG1 Gitzo GHF3W
Aluminium 3Way Live Advanced2 4-section Carbon Gimbal Fluid 3-Way Fluid Head
3-Section Tripod Aluminium Tripod Backpack Fibre Tripod Head
+ 804 Head
NEW!
MK290DUA3-3W MKBFRLA4BK-3W MB MA2-BP-BF
Our Price Our Price Our Price Our Price Our Price Our Price
£169.00 £249.00 £124.95 £198£599
.00 .00
£198£329
.00 .00
£198£369
.00 .00
See website for even See website for even See in store or online for Not
Visit
what
us in
you’re
storelooking
to try this
for? For
Visit
even
us inmore
storeGitzo
to try
heads,
this Visit
Spreadus in
the
store
costto
with
try this
our
more aluminium tripods! more tripod kits! even more Backpacks! See
tripod
website
out for
for even
yourself!
more! tripod
visitout
our for
website.
yourself! finance
tripod options.
out for yourself!
See web.
Tamrac Jazz Zoom Tamrac Jazz 50 V2.0 Tamrac T0230 Lowepro Fastpack Lowepro Pro Trekker Lowepro Whistler
Holster Bag 23 V2.0 Shoulder Bag Anvil Slim 15 Pro BP250AW III BP 450 AW II 450 BP AW II
Toploader Backpack Backpack Backpack Backpack
Limited stock! See website Our Price See website Our Price See website Our Price See website Our Price See website Our Price See website
for more for more for more for more for more for more
£9 .97 Tamrac bags! £39 .95 Tamrac bags! £134 .00 Tamrac bags! £109 .00 Lowepro bags! £199 .00 Lowepro bags! £269 .00 Lowepro bags!
Ideal for mirrorless cameras Ideal for a compact DSLR Ideal for multiple cameras High-capacity backpack Pro photographer’s backpack: Ultra-resistant backpack
with shorter lenses + extra lenses & accessories with lenses & accessories with All Weather cover Carry-on compatible for outdoor photography
USED USED USED USED USED

Canon Nikon Fujifilm Sony LEICA
EOS 5D Z7 X-T30 a7R III SL2
Mark IV
Available from Available from Available from Available from Available from
£1,709.00 £1,779.00 £549.00 £1,789.00 £4,399.00
Comes with a Comes with a Comes with a Comes with a Comes with a
6-month warranty 6-month warranty 6-month warranty 6-month warranty 6-month warranty
TRADE-IN OR SELL YOUR KIT WITH PARK CAMERAS

FAIR HONEST QUOTES: provided within 24 hours
FREE COLLECTION SERVICE: See website to learn more

FREE HOME
COLLECTION AVAILABLE*
TRADE-IN BONUSES: available on a wide range of products *For equipment valued over £300
Be FIRST to learn about all the latest new products for 2020 by signing up to our newsletter,
following us on Facebook or Twitter, or by visiting www.parkcameras.com.
01954 252352
LEICA 90mm f2.8 TELE ELMAR + HOOD ..........................................MINT- £395.00 mm ................. . OKINA 35mm f2.8 ATX PRO DX MACRO 1:1 LATEST ..........MINT BOXED £245.00
Digital Photography LEICA 5cm f3.5 COLLAPSIBLE ELMAR .............................................MINT- £225.00 MAMIYA M645J COMPLETE WITH 80mm f2.8.................................MINT- £299.0
CANON EOS 40D COMPLETE WITH ALL ACCESSORIES........ MINT-BOXED £125.00 LEICA 90mm f2 SUMMICRON PRE ASP SER No35234XX ................MINT- £945.00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC........................MINT-CASED £365.0 Nikon Manual Focus
FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE......MINT BOXED £295.00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M............................MINT- £275.00 MAMIYA 80mm f1.9 SEKOR C FOR 645 etc ...................................... MINT £299.0 NIKON MD4 MOTOR DRIVE FOR F3/F3HP..............................MINT BOXED £165.00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc..........MINT BOXED £195.00 LEICA 90mm f4 ELMAR M MOUNT...................................................MINT- £165.00 MAMIYA 150mm f3.5 SEKOR C FOR 645 SUPER etc ........................ MINT £145.0 NIKON F3 BODY..................................................................................EXC+ £245.00
NIKON D850 BODY COMPLETE ONLY 4500 ACTUATIONS ..MINT BOXED £1,799.00 LEICA 135mm f2.8 ELMARIT M 11829 WITH CASE...............MINT BOXED £375.00 MAMIYA 150mm F4.5 “G” WITH HOOD FOR MAMIYA 6................... MINT £295.0 NIKON FM2n BLACK BODY.............................................................. EXC++ £325.00
NIKON MB-D18 BATTERY GRIP for D850 + BL5 COVER .......MINT BOXED £295.00 LEICA 135mm f4.5 HEKTOR.................................................................EXC+ £75.00 MAMIYA 180mm F4.5 SEKOR Z W FOR RZ........................................ MINT £199.0 NIKON FM2n CHROME BODY ........................................................EXC+++ £245.00
NIKON D4S BODY WITH BATT AND CHARGER.............................MINT-- £1,495.00 LEICA 90mm FINDER ........................................................................... MINT £99.00 MAMIYA 250mm F4.5 LENS FOR RZ ................................................MINT- £195.0 NIKON FM2 CHROME BODY ............................................................ EXC++ £199.00
NIKON D3000 WITH BATT AND CHARGER......................................... MINT £125.00 VOIGTLANDER BESSA T WINDER...........................................MINT BOXED £149.00 MAMIYA 210mm F4 SEKOR C FOR 645.................................MINT CASED £195.0 NIKON FE CHROME BODY ............................................................... EXC++ £125.00
NIKON D200 BODY WITH BATTERY,CHARGER+MB-D200................MINT- £225.00 LEICA 5cm f2 SUMMAR SCREW .......................................................MINT- £175.00 MAMIYA 180mm F4.5 SEKOR FOR RB............................................... MINT £169.0 NIKON FE CHROME BODY .................................................................MINT- £145.00
NIKON SB900 SPEEDLITE...................................................... MINT-BOXED £145.00 LEICA 90mm f4 ELMAR BLACK SCREW ......................................... EXC++ £145.00 MAMIYA 220 BACK FOR RZ 67...........................................................MINT- £95.0 NIKON FM BLACK WITH MF-16 BACK ..........................................EXC+++ £169.00
NIKON SC28 TTL REMOTE CORD .............................................MINT BOXED £65.00 LEICA 135mm f2.8 ELMARIT M WITH SPECS...............................ECX+++ £299.00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD .............MINT- £199.0 NIKON FM BLACK............................................................................ EXC++ £145.00
NIKON ML-3 REMOTE CONTROL SET..................................MINT-- BOXED £145.00 LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT............................... EXC++ £99.00 PENTAX 55mm F4 SMC FOR 6X7 ...................................................... MINT £175.0 NIKON FE2 BLACK BODY.....................................................EXC++ BOXED £225.00
NEEWER SPEEDLITE 750 MK II FOR NIKON.............................MINT BOXED £55.00 LEICA 135mmf4.5 HEKTOR IN KEEPER.........................................EXC+++ £199.00 PENTAX 55mm F2.8 FOR PENTAX 645..................................MINT BOXED £199.0 NIKON F2 A BLACK BODY .............................................................EXC+++ £245.00
OLYMPUS 45mm f1.8 M ZUIKO DIGITAL M 4/3rds + HOOD .MINT BOXED £225.00 LEICA 135mm f4.5 HEKTOR + HOOD SCREW................................... EXC++ £99.00 ROLLEIFLEX SCHNEIDER 150MM F4.6 MAKRO FOR 6008................MINT- £575.0 NIKON F2 A BODY FULLY WORKING ..................................................EXC+ £199.00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS.........MINT BOXED £145.00 LEICA SF20 FLASH FOR M6 etc...............................................MINT BOXED £89.00 YASHICA 124G TELEPHOTO AUX LENS SET........................................MINT- £69.0 NIKON F2 BODY FULLY WORKING......................................................EXC+ £169.00
SIGMA 30mm F2.8 DN MICRO 4/3RDS..................................MINT BOXED £115.00 LEICA 14472 GRIP FOR M8/M9 etc .......................................MINT BOXED £125.00 YASHICAMAT 124G COMPLETE WITH CASE..........................MINT-CASED £395.0 NIKON F2 PHOTOMIC BODY CHROME............................................. EXC++ £275.00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR............................MINT BOXED £75.00 LEICA FONOR BLACK RANGEFINDER.....................................MINT-CASED £175.00 NIKON F2 PHOTOMIC BODY CHROME................................................EXC+ £199.00
LEICA R7 CHROME BODY..................................................................MINT- £365.00 Nikon Auto-Focus & Digital, Lenses Accessories NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS....................... EXC++ £250.00
Canon Autofocus, Digital Lenses, Canon FD LEICAFLEX BODY CHROME ...............................................................MINT- £195.00 NIKON F5 BODY MINT- £465.00 NIKKORMAT FT CHROME WITH 35mm f2.8 S LENS...........EXC++ CASED £145.00
CANON EOS 1 BODY & E1 BOOSTER NEW UNUSED................NEW BOXED £375.00 LEICA CURTAGON 35mm f4.................................................. MINT-BOXED £395.00 NIKON F100 PRO BODY WITH MB15 GRIP........................................MINT- £275.0 NIKKORMAT FT CHROME................................................................EXC+++ £75.00
CANON 50mm f1.8 MK II.....................................................................MINT- £65.00 LEICA 28 - 70mm f3.5/4.5 VARIO ELMAR R ROM............................MINT- £475.00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ..................EXC++ CASED £165.00
NIKON 10.5 f2.8 “G” IF-ED AF DX FISHEYE...........................MINT BOXED £325.0
CANON 85mm f1.2 USM “L” MK II LATEST MODEL...........MINT BOXED £1,045.00 LEICA 50mm f2 SUMMICRON 2 CAM ...........................................EXC+++ £299.00 NIKON 24mm F2.8 AIS SUPERB SHARP LENS................................MINT-- £199.00
NIKON 28mm f2.8 A/F “D” ....................................................MINT BOXED £225.0
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER...........MINT CASED £599.00 LEICA 90mm f2.8 ELMARIT 2 CAM...................................................MINT- £299.00 NIKON 28mm f2.8 AI.......................................................................... MINT £165.00
NIKON 35mm f2 A/F “D” .......................................................MINT BOXED £245.0
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER...........MINT BOXED £645.00 LEICA 560mm f6.8 TELYT LENS WITH CASE AND........................EXC+++ £399.00 NIKON 45mm F2.8 GN NIKKOR .........................................................MINT- £199.00
NIKON 50mm f1.4 A/F “D” ....................................................MINT BOXED £195.0
CANON 10 - 22mm f3.5/4.5 USM ................................................... EXC++ £295.00 NIKON 50mm f1.2 AIS.......................................................................MINT- £395.00
NIKON 50mm f1.4 “G” AFS....................................................MINT BOXED £265.0
CANON 17 - 55mm f2.8 EFS IS USM WITH HOOD ............................. MINT £445.00
Binoculars NIKON 50mm f1.4 “G” AFS....................................................MINT BOXED £215.0
NIKON 50mm f1.4 Ai.........................................................................MINT- £195.00
CANON 18 - 55mm f3.3/5.6 STM VIBRATION REDUCTION................ MINT £149.00 SWAROVSKI 10x40 SL HABICHT+STRAP AND COVERS...................MINT- £465.00 NIKON 50mm f1.8 AIS SHARP LENS.................................................... MINT £89.00
NIKON 50mm f1.8 A/F “D” .................................................................MINT- £89.0
CANON 28 - 135mm f3.5/5.6 USM IMAGE STAB................. MINT + HOOD £165.00 NIKON 35 - 70mm F3.3/4.5 ZOOM NIKKOR MACRO AIS..................MINT- £169.00
NIKON 85mm f1.8 “G” AF-S + HOOD..............................................MINT - £320.0
CANON 70 - 300mm f4.5/5.6 USM IMAGE STABILIZER .................... MINT £269.00
Medium & Lar e Format NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO............................ EXC++ £119.00
NIKON 300mm f4E PF ED VR AF-S LENS LATEST..............MINT BOXED £1,195.0
KENCO DG CANON FIT TUBE SET 12,20,36MM........................MINT BOXED £99.00 BRONICA ETRSi COMPLETE, BODY,75mm LENS, WLF..........MINT BOXED £425.00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP.........................................MINT- £145.00
NIKON 10 - 24 mm f3.5/4.5 “G” ED DX AF-S...................................MINT- £399.0
HASSELBLA X PAN LEATHER EVER READY CASE............................MINT- £195.00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP.......................................EXC+++ £99.00
CANON 580EX MK II SPEEDLITE............................................MINT-CASED £169.00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S..............................MINT BOXED £395.0
HASSELBLAD 28mm f4 HC FOR H SYSTEM........................MINT BOXED £1,075.00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3................. MINT £145.00
CANON 580 EX SPEEDLITE..................................................... EXC++CASED £99.00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S..............................MINT-CASED £365.0
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2.....................MINT-CASED £115.00
CANON 580 EX SPEEDLITE.....................................................MINT-CASED £149.00 HASSELBLAD 120mm f4 MACRO HC FOR H SYSTEM ................. EXC++ £1,095.00 NIKON 16 - 35mm f4 “G” AF-S ED VR LATEST VERSION .....MINT BOXED £675.0
NIKON SB 16 FLASH FOR F3............................................................. EXC++ £65.00
CANON 550 EX SPEEDLITE...................................................... MINT-BOXED £89.00 HASSELBLAD 150mm f4 SONNAR T* BLACK................................. EXC++ £195.00 NIKON 24 - 85mm f2.8/4 A/F “D” WITH HOOD................................. MINT £225.0
CANON 550 EX SPEEDLITE..................................................... EXC++CASED £65.00 HASSELBLAD 150mm f4 SONNAR CF................................... MINT-BOXED £395.00 NIKON 16 - 80mm f2.8-4EAF-S VR ED DX + HOOD ..............MINT CASED £545.0 Olympus Manual
KENCO DG CANON FIT TUBE SET 12,20,36MM...................................MINT- £99.00 HASSELBLAD 150mm f4 SONNAR SILVER ..................................... EXC++ £175.00 NIKON 16 - 85mm f3.5/5.6 G ED AF-S VR............................ MINT-BOXED £199.0
OLYMPUS OM4 BLACK BODY.......................................................... EXC++ £225.00
KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER...........MINT CASED £99.00 HASSELBLAD 250mm f5.6 SONNAR SILVER .....................................EXC+ £179.00 NIKON 24 - 120mm f4 “G” ED VR .........................................MINT BOXED £425.0
OLYMPUS OM2 SP........................................................................... EXC++ £129.00
SIGMA EX 1.4 TELECONVERTER .......................................................... MINT £75.00 HASSELBLAD HTS 1.5X TILT AND SHIFT ADAPTOR...........MINT BOXED £1,995.00
NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL......MINT BOXED £745.0
OLYMPUS 28mm f2.8 ZUIKO................................................................ MINT £75.00
SIGMA 14mm f2.8 EX HSM ASPHERIC..................................MINT CASED £365.00 HASSELBLAD GIL GPS UNIT FOR H SYSTEM.........................MINT BOXED £399.00
NIKON 35 - 70mm f3.3/4.5 A/F LENS............................................... EXC++ £49.0 OLYMPUS 38mm f2.8 ZUIKO MACRO LENS...........................MINT-CASED £299.00
TAMRON 70 - 300mm f4/5.6 SP Di VC ULTRASONIC............ MINT+HOOD £225.00 HASSELBLAD PM90 PRISM FINDER .................................................MINT- £275.00
Nikon 70-200mm f2.8E AF-S FL ED VR LATEST................MINT BOXED £1,495.0 OLYMPUS 50mm f1.8 ZUIKO LENS.....................................................MINT- £55.00
TOKINA 12 - 24mm F4 IF DX ASPH AT-X PRO + HOOD........MINT BOXED £299.00 HASSELBLAD PME3 METERED PRISM FINDER ................................MINT- £275.00
NIKON AF-S TELECONVERTER TC-14E III.......................................... MINT £395.0 OLYMPUS 50mm f1.8 ZUIKO LENS...................................................... MINT £65.00
HASSELBLAD VFC-6 METERED PRISM..................................MINT BOXED £175.00
SIGMA 1.4x TC-1401 TELECONVERTER.................................MINT CASED £189.0
Contax ‘G’ Compacts & SLR & Ricoh HASSELBLAD A12 BACK CHROME....................................................MINT- £129.00
OLYMPUS 80mm f4 ZUIKO MACRO LENS..............................MINT-CASED £175.00
NIKON DR-6 RIGHT ANGLED FINDER.....................................MINT BOXED £145.0 OLYMPUS 135mm f3.5 ZUIKO LENS........................................MINT-CASED £69.00
CONTAX 35 - 70mm f3.5/5.6 “G” VARIO-SONNAR T*...........MINT BOXED £395.00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS..................... EXC++ £325.00
NIKON TC-17E II TELECONVERTER ........................................MINT BOXED £225.0 OLYMPUS 200mm f4 ZUIKO LENS....................................................... MINT £75.00
CONTAX TLA 140 FLASH FOR G1/G2.......................................MINT CASED £65.00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS ................... EXC++ £295.00
NIKON TC14E III 1.4X AF-S TELECONVERTER .......................MINT BOXED £395.0 OLYMPUS 2x TELECONVERTER................................................MINT-CASED £35.00
YASHICA ML CONTAX FIT 28mm f2.8 ................................................. MINT £99.00 BRONICA AUTO EXTENTION TUBE E-14...................................MINT BOXED £45.00
NIKON TC20E II 2X AF-S TELECONVERTER .......................... MINT-BOXED £175.0 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE...................................... MINT £95.00
CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS .....MINT BOXED £275.00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ..................MINT BOXED £59.00
NIKON DR4 RIGHT ANGLE FINDER...........................................MINT BOXED £89.0 OLYMPUS VARI-MAGNIFINDER................................................MINT CASED £49.00
CONTAX 50mm f1.4 PLANAR MM SUPERB SHARP LENS ................. MINT £255.00 BRONICA PLAIN PRISM FOR ETRS/ETRSI............................................ MINT £75.00
KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ...........................MINT- £75.0 OLYMPUS T32 FLASH UNIT......................................................MINT CASED £35.00
CONTAX 50mm f1.7 AE LENS .............................................................. MINT £95.00 BRONICA PLAIN PRISM FOR ETRS/ETRSI......................................... EXC++ £59.00
SIGMA 300 - 800mm f5.6 EX DG APO HSM .......................MINT-CASED £3,695.0 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST..FOR MACRO, FLASH PHONE
CONTAX 135mm f2.8 SONNAR WITH FILTER .................................... MINT £175.00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC..................MINT- £75.00
TOKINA 11 - 16mm f 2.8 AT-X PRO DX WITH HOOD.............MINT--HOOD £245.0 PLEASE RING FOR DETAILS AND PRICES ALL IN MINTOR CLOSE CONDITION PHONE
YASHICA 135mm f2.8 CONTAX FIT.....................................................MINT- £95.00 BRONICA MOTOR WINDER E...........................................................EXC+++ £89.00
YASHICA 200mm f4 CONTAX FIT........................................................MINT- £90.00 BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi................................. MINT £179.00
CONTAX MAGNIFIER F2 ...........................................................MINT BOXED £49.00 BRONICA 50mm f2.8 PE FOR ETRS/ETRSi......................................... MINT £199.00
CONTAX TLA 30 WITH DIFFUSSER...........................................MINT CASED £69.00 BRONICA SPEED GRIP FOR ETRSW/ETRSi..........................................MINT- £49.00
CONTAX TLA 280 FLASH.....................................................................MINT- £59.00 BRONICA 150mm F3.5 ZENZANON S................................................MINT- £165.00
CONTAX TLA 280 FLASH UNIT.................................................MINT BOXED £75.00 BRONICA PLAIN PRISM FOR SQAi/SQA..............................................MINT- £99.00
CONTAX TLA 360 FLASH..........................................................MINT-CASED £65.00 BRONICA 65mm F4 ZENZANON PS FOR SQ...........................MINT-CASED £145.00
We urgently require your used photographic equipment.
CONTAX GD1 DATABACK FOR CONTAX T3............................. MINT-BOXED £69.00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ ...........MINT-CASED £365.00 We have customers waiting for: Nikon, Canon, Leica,
BRONICA 150mm F4 PS ZENZANON FOR SQ.........................MINT-CASED £145.00 Contax, Bronica, Hasselblad and most other makes of
LEICA “M” , “R” , & SCREW & RANGEFINDER BRONICA 180mm f4.5 PS LENS & CASE .............................. MINT-BOXED £199.00
camera lenses, accessories, binoculars and collectables.
LEICA M2 CHROME BODY (REALLY NICE).....................................MINT- £1,175.00 BRONICA SPEED GRIP FOR SQA/SQAI................................................MINT- £69.00
LEICA M2 CHROME BODY.............................................................EXC+++ £999.00 BRONICA FILMBACK SQ-i220 FOR SQA/SQAi..........................MINT BOXED £79.00
We will buy for cash from you, or we are happy to sell on
LEICA MR METER.................................................................. MINT-BOXED £175.00 METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA..............MINT BOXED £150.00 your behalf on a commission basis. Best prices paid.
LEICA 50mm f2 SUMMICRON RIGID SER No 15933XX ....................MINT- £975.00 MAMIYA 150mm F4.5 “G” WITH HOOD FOR MAMIYA 6................... MINT £199.00 We can arrange collection and even call and collect and
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ..........................EXC+++ £695.00 MAMIYA 135mm f4.5 SEKOR FOR C220/33 etc....................MINT CASED £150.00
pay on the spot if necessary anywhere in the UK.
LEICA 50mm f2.8 COLLAPSIBLE ELMAR..........................................MINT- £299.00 MAM YA 180mm f4 5 SEKOR FOR C220/330 etc M NT CASED £145 0
To advertise here, call Nick Davis: 01233 227763 Email: [email protected]
Equipment
!$"##%&%'(
Equipment to sell? Print & Processing
PROFESSIONAL B/W COLOUR PRINTING
Great news! The global market for quality digital and film Hand Processing all types of films from 35m-5x4
KAREN WILLSON, BRISTOL
cameras, lenses and accessories is stronger than ever! Develop and Contacts £7.00 each Superior quality processing &
2 or more film £6.00 each
Develop, 5x7s @ £15 per roll printing.
With our worldwide network of customers we’re paying
All printed on genuine b/w, colour papers.
Any orders over £30, you will receive a FREE film!!
Tel: 01179 515671
the highest prices for Nikon, Canon, Leica, Fuji, Contax, Phone for price list of all services: www.kwfilmprocessing.co.uk
Olympus, Panasonic, Sony, Zeiss, Voigtlander, Konica, 01442 231993 • www.khwp.co.uk
Send cheque + £2 pp
Minolta, Sigma, Tamron, Tokina, Hasselblad, Pentax, All work sent back first class post.
Karl Howard, 16 Chalfont Close,
Bronica, Mamiya and other top-quality brands. Hemel Hempstead, Hertfordshire, HP2 7JR
Free Collection TO ADVERTISE HERE

Contact Jonathan Harris for an immediate quote: Please contact Nick Davis on 01233 227763
[email protected] or email: [email protected]
or phone 01277 631353
Wanted
Same-day Payment
Looking to buy? Please visit our website: 4*"6&' "211 $&, <,< //13 ,3-;
www.worldwidecameraexchange.co.uk 43 .2- .+/3 %+ #+$ )56 0 !$'+*3(
???790.05+=>72=)
Photo Critique
Final Analysis
Gemma Padley considers… ‘The Tetons and the Snake
River, Grand Teton National Park, Wyoming’, 1942, by Ansel Adams
S
urely the most famous landscape
© ANSEL ADAMS, THE TETONS AND THE SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING, 1942 U.S. NATIONAL ARCHIVES AND RECORDS ADMINISTRATION
photographer ever to have lived,
Ansel Adams (1902-84) had an
extraordinary ability to capture
the sublime in an image. His photographs
of the American wilderness are instantly
recognisable: each one is a masterclass in
how to subtly and skilfully combine tones
of black, white and grey.
As every landscape photographer will
know, Adams developed and used the zone
system to help him achieve tonal balance
across every image, and was an advocate of
‘straight photography’, which privileges
sharp focus and detail. Though Adams tried
his hand at colour photography during his
long career, black & white remained his
first and only love. ‘I can get – for me – a
far greater sense of “colour” through a
well-planned and executed black & white
image than I have ever achieved with
colour photography,’ he once remarked.
By the time Adams, who was also a
committed and passionate
environmentalist, took this photograph of
the Teton Range of the Rocky Mountains
(1942) he had been making photographs
in his beloved wild America since his
teenage years, having regularly visited technique known as visualisation. As he received from the US Department of the
Yosemite National Park since 1916. The wrote in his autobiography: ‘The Interior in the early 1940s to photograph
tonal balance and contrast of this visualisation of a photograph involves the the country’s national parks and produce
photograph is exemplary. The light dances intuitive search for meaning, shape, form, murals to adorn the walls of the
lightly on the water’s surface while the texture… The image is formed in the mind department. It was also one of the 115
sun’s rays begin to break out from behind – is visualised – and another part of the images included on The Voyager Golden
dark clouds and tickle the tops of the mind calculates the physical processes Records carried by the Voyager spacecraft
mountains. The composition, with the involved in determining the exposure and in 1977 (the records contained sounds and
river effortlessly leading the eye through development of the image of the negative.’ images used as examples of human life and
the landscape to the great beyond, is The act of making a photograph was, for culture, should any inquisitive extra-
perfectly judged. As Adams’s business Adams, not about duplicating reality, but terrestrial life want to know).
manager and biographer William Turnage rather to do with the execution of a series In an age where the natural world is
wrote, his images ‘sought an intensification of decisions by the photographer, among being destroyed at a devastatingly rapid
and purification of the psychological them placement of the camera, the lens rate, Adams’s photograph, like many others
experience of natural beauty’. used, the exposure and the way the image he made, is a reminder of how wonderful
was printed. ‘The exhilaration, when and precious the world is. It also reminds
Visualisation anticipation, visualisation, mind, us how diligence, patience and honouring
Adams is a photographer for whom the equipment and subject are all behaving, is the craft of photography can result in
term ‘visionary’ was made. Despite being fantastic,’ he wrote. Anyone who has images that really matter and may
obsessed with technical precision he is waited patiently for the stars to align when stand the test of time.
renowned for capturing how a subject felt making a landscape photo can surely relate.
to him, visualising how he wanted a This image, among his most famous, was The picture is featured in Look at This if You Love Great
picture to look before taking it thanks to a in fact created as part of a commission he Photography (Ivy Press, £14.99), published in March
Gemma Padley is a writer and editor on photography and a former Amateur Photographer Features Editor. Her clients, past and present, include: British Journal of Photography, Elephant
magazine, AnOther Magazine, the BBC, Magnum Photos, Hoxton Mini Press, The Telegraph, Time LightBox and the RPS Journal.
REDISCOVER THE WORLD OF BIRDWATCHING
AND TRY BEFORE YOU BUY!
ZEISS VICTORY SF 8x32 ZEISS VICTORY SF 10x42

For an excellent overview. The most versatile.
TRY ErgoBalance
92% Light
BEFORE YOU Concept
Extremely wide Transmission SmartFocus
field of view BUY Concept
A clear view,
whatever the ZEISS T*
weather Coating
Extremely wide
field of view
True-to-life Light weight,
image quality ergonomic
design
SmartFocus
Concept True-to-life
image quality
TRY
BEFORE YOU
Light weight,
ergonomic 90% Light
Transmission
BUY
design A clear view,
ZEISS T* whatever the
£1,849 Coating weather
£2,049
ZEISS Victory ZEISS Victory ZEISS Victory ZEISS Binocular
Pocket 8x25 Harpia 85 Harpia 95 Comfort Carrying TRY ZEISS
Binoculars TRY Spotting scope TRY Spotting scope TRY Strap & EXPERIENCE
BEFORE YOU BEFORE YOU BEFORE YOU
BUY BUY BUY THE DIFFERENCE
£44.95
ZEISS Ever-ready
carrying case
£589 £2,299 £2,649 For Victory Harpia
Spread the cost with our finance Spread the cost with our finance Spread the cost with our finance Now you can try ZEISS
options. Pay £17.84 a month for 36
months. Deposit 10% , 12.9% APR.
£149 lenses & optics for free,
with no risk.
For even more ZEISS binoculars and scopes Learn more at

www.tryzeiss.com/en-gb
visit our website or call us on 01444 23 70 60
Visit our website - updated daily or call us 7 days a week

www.parkcameras.com 01444 23 70 60
All prices include VAT. All products are UK stock.
E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.

Amateur Photographer - March 6, 2021 UK

Uploaded by

Copyright:

Available Formats

Amateur Photographer - March 6, 2021 UK

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Amateur Photographer - March 6, 2021 UK

Uploaded by

Copyright:

Available Formats

Fujifilm Xo1u0w0ilV

Saturday 6 March 2021

Once you try one yl want

Passionate about photography since 1884

Expert tips for dramatic landscape

FEBRUARY 2020 £2.95

Elizabeth Kazda’s unusual KELSEYmedia

flower-based mandalas KELSEYmedia

FEBRUARY 2020 £2.95

This week in 1971

Equality March by Evening Standard

Each week we choose our favourite picture on Facebook,

Bridge Fog by Jamie Bassett

What will the sequel

MPB makes selling

Sell your used kit to MPB.

Spread the cost

Canon EOS R5 Body Canon EOS R6 Body Selected RF lenses

£349.92 per month† £208.25 per month† from £42.42

Visit wex.co.uk/canon-r-ﬁnance for more details

FOR PHOTOGRAPHERS who predominantly work

Fog makes a city feel cinematic

Rain means puddles

IT COULD of course be argued that there is no such

Get some thermals

Visualise in black & white

Print Production Controller Anne Meader

In next week’s issue

a pair of binoculars, so it inventing the great dream competitions are ‘likely’ to

What does your club offer to new

Image by Tony Hurst

what you see is from ambient

make a living from photography,

The trappings of success

Advice to new film

See more of Louis’ work at www.instagram.com/

Level up Use manual focus Try multiple exposures

Keep still Be patient Banish the dust

presents opportunities to get

I started researching thumb they encourage you to operate

Accessories be tilted to assist with low- or

playback) so I’ve opted to switch

‘When I’m not under pressure to capture a

X100V in a nutshell. It has more thoughtful about getting the

‘Sure it has two lenses,

The meter cell under a flap above the lens and,

LENS PICTURES COURTESY OF WWW.PETERLOY.COM

The Rhino Collection

Stand strong and imagine

@BE N ROLETSGO @BE N ROU K @BE N RO_U K

The Benro ArcaSmart 70 is a well-designed, devices, and its

Ask the Experts

£239 £169 £87

Faces Maestro Trophy

HOW TO ENTER NATIONAL DEADLINE: 1 MAY 2021 INTERNATIONAL JUDGING:

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

Great reasons to subscribe:

Our comprehensive listing of key specifications for mirrorless lenses

OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS

FILTER THREAD (MM)