Amateur Photographer 20 02 2024

Tuesday 20 February 2024
Passionate about photography since 1884
Digitise your film

Scanner vs camera:
which is better? Will
Cheung finds out
Edward
Burtynsky
Celebrating the maestro’s
unique landscape vision
Stalin’s Gulags
Barry Lewis’s project on the
£4.25
Soviet Union’s dark secret KELSEYmedia
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Inside this week’s issue
3 7 days
10
Welcome Digitising film
8 Books and images used to be a
exhibitions chore, but as Will
10 Bearing Cheung explains in
witness: Edward this issue’s cover
Burtynsky feature, it’s now a
© EDWARD BURTYNSKY, COURTESY FLOWERS GALLERY, LONDON

lot easier, with a range of options
16 Photo stories: to explore. It’s a must-read for
Soviet time anyone who shoots film, or has a
22 Film stars film archive they are keen to
preserve for posterity. Don’t miss
31 Accessories our interview with the hugely
33 Tech talk influential Canadian
photographer Edward Burtynsky
34 Software too – as his impressive oeuvre
masterclass shows, you don’t need to follow
36 Scans for the the masses to a beauty spot to
memory:
Digitising film
22 36
create a powerful landscape image.
Meanwhile, John Wade also
reveals how he resurrected a Wray
44 Inbox Farvu camera. Other highlights
46 It’s good to share include a fascinating project on
Soviet-era Gulags by Barry Lewis,
50 Join the club and a test of a strong yet easy-to-
53 Buying Guide: attach-and-remove camera strap
DSLR lenses from Qimera Gear.
Geoff Harris, Deputy Editor
66 Final analysis
MAIN COVER PICTURE © DAN RUBIN / INSET PICTURE, TOP © EDWARD BURTYNSKY, COURTESY FLOWERS
© WILL CHEUNG
© BARRY LEWIS
16
GALLERY, LONDON / INSET PICTURE, BOTTOM © BARRY LEWIS/NETWORK
31 Our cover portrait was taken by leading

analogue photographer and trainer, Dan
Rubin. @DanRubin
THIS WEEK’S CONTRIBUTORS
Connect with us
@ EMAIL US at [email protected] with your
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WEBSITE: www.amateurphotographer.com
TRACY CALDER WILL CHEUNG PETER DENCH JOHN WADE ROD LAWTON ANGELA FACEBOOK: amateur.photographer.magazine
The AP regular In Film Stars, AP’s
NICHOLSON TWITTER: @AP_Magazine
As a major Edward Want to digitise Turning pro?
Burtynsky your photos? The talks to Barry vintage camera Editing authority Regular AP kit INSTAGRAM: @AP_Magazine
exhibition opens, top tutor explains Lewis about his expert tells us how Rod explains how testing specialist FLICKR: flickr.com/groups/amateurphotographer
Tracy secures a which method is book on Stalin’s he – and Mike to produce a Angela reviews a
wide-ranging better, a scanner Siberian prison Rignall – revived a stylish, effective camera strap from
interview with him or your camera camps lost Wray camera business card Qimera Gear
The firmware update adds
some genuinely useful
features to the Nikon Z 8
Canon has confirmed its speaker list at TPVS
Canon at The
Photography Show
CANON has confirmed its attendance
and speaker list for this year’s The
Photography and Video Show (TPVS), which
runs on 16-19 March at the NEC. Speakers
include AP regular Denise Maxwell, plus
Major Nikon firmware fashion photographer Ian Hippolyte,

landscape shooter Jack Lodge and wildlife
specialist Ellie Rothnie. In addition, a Canon
update for Z 8 camera

Creator panel will be sharing tips and
expertise, and there’s a chance to win a
Canon EOS R6 Mark II and RF 24-105mm
f/4-7.1 lens worth over £3,000.
NIKON has released its first major Nikon has also brought out a new version
firmware update for the Z 8 full-frame of its NX Tether software. Additions include a
mirrorless camera. live view display, adding greater versatility
Version 2.00 of the firmware includes a and convenience to remote tethered
dedicated Birds feature, which has been shooting, and control over shooting settings
added to the Z 8’s AF subject-detection unique to Nikon, such as Picture Control and
options. Nikon claims that this boosts Active D-Lighting. In addition, Camera Control
bird-detection performance in a variety of Pro 2 is now totally free.
high-contrast backgrounds, including forests
and mountains and in various states – flying Twilight of the Nikon DX DSLR
or perched. Auto Capture functionality now The news is less positive for Nikon DX DSLR
includes automatic shooting for both stills fans keen to buy new. The D7500, which was
and video by pre-configuring capture criteria, well received when it came out in 2017, was
including motion, distance, and subject the last DX Nikon SLR on sale, but now
detection. These options can be used either appears to have been discontinued. Retailers
separately or together. are still selling D780 and D850 full-frame
Furthermore, there is a new pixel shift DSLRs, but stock appears to be low. The
shooting function, using dedicated software Nikon D500 APS-C DSLR was discontinued
to merge multiple raw files. ‘This is ideal for back in 2022 and Nikon has confirmed that it
capturing the finest details in subjects with had stopped making the D3500 and D5600.
complex designs – such as buildings and art Around 35 Nikon DSLR lenses have already The Instax camera and printer range is
pieces, with precise rendering of the been discontinued. boosting Fujifilm’s bottom line
subject’s colours, textures, and structures,’
the company claimed.
Another new feature for portrait
Fujifilm on a roll
photographers is the Rich Tone Portrait FUJIFILM has reported that revenue
Picture Control, which enhances the tones in from its imaging division grew by nearly
a portrait while retaining fine details. Nikon 14% year on year to ¥368.6 billion
Z 8 users can now assign further functions (approximately £1.9 billion), while operating
and operations to custom control and have income rose by 41.7% year on year to
the option to exit zoom with a half-press ¥88.9 billion (£472 million). The positive
release which improves the camera’s numbers cover the period from April to
general usability. December 2023, with the company citing
To access the free firmware update and brisk sales of its Instax instant photo
find out more about the full range of system as well as more mainstream
enhancements, go to bit.ly/z8firm The Nikon D7500, part of a dying breed cameras and lenses.
4 www.amateurphotographer.com
Jill Furmanovsky’s
award-winning photograph
of Charlie Watts,
taken in 1991
© JILL FURMANOVSKY
Half a century of hits graces The Proud Gallery near London’s Charing Cross Station
until 16 March, with free entry. Selected images will also be on
THIS beautifully executed portrait of the late Rolling Stones display on AP’s stand (K207) at the forthcoming Photography Show
drummer, Charlie Watts, features in a major exhibition by Jill at the Birmingham NEC.
Furmanovsky, who has been shooting musicians on the road or in See www.jillfurmanovsky.com and watch out for a major interview
the studio for 50 years. The exhibition, called, No Music No Life, with Jill in AP’s 12 March issue.
www.amateurphotographer.com 5
Billingham: give me 5 Get a
free
macro
lens if
STORIED British you
camera bag maker cough up
for the
Billingham has revealed Pentax
updated versions of its K-1 Mark
‘5-series’ camera bags, in II DSLR
the shape of the new 225
MKII, 335 MKII, 445 MKII,
and 555 MKII models. Pentax savings
They feature much the PENTAX, which is resolutely sticking
same classic styling and with the DSLR despite the ubiquity of
design as before, but with mirrorless cameras, has announced a range
a few welcome tweaks of offers on its official EU store. Buy the
and improvements. Pentax K-1 Mark II DSLR flagship and you get
Shared features include a free HD Pentax-D FA Macro 100mm F2.8 ED
a large main compartment AW lens. You also get the macro lens if you
for your camera and The new bags are as stylish as ever go for the K-1 Mark II kit with the 24-70mm
lenses, and a front pocket f/2.8 lens, or the kit with the 28-105mm F3.5
into which you can fit a tablet or laptop. Two more ‘dump’ pockets are found on the front, -5.6 lens. Anyone in the market for the
along with a flat zipped pocket on the back. Both the main and laptop compartments have colourful Pentax KF compact DSLR (body only)
zipped closures covered by a generously sized top rain flap. However, the MKII versions gain will also get a DA 50mm F1.8 lens. In
a luggage trolley strap on the back and ship with Billingham’s unique ‘V-Bridge 15’ padded addition, there is 15% off a range of Pentax
divider. The 225 MKII and 335 MKII also benefit from a wider strap and shoulder pad. lenses, which brings the price down to
All four bags will be available in three classic colour combinations: Khaki Canvas/Tan £594.99 for the cheapest glass included, the
Leather; Sage FibreNyte/Chocolate Leather; and Black Fibrenyte/Black Leather. 16-85mm F3.5-5.6 ED DC WR wideangle
Additionally, the mid-size 335 MK II will come in Navy Canvas/Chocolate Leather. The new zoom. The offers are valid until 17 March and
MKII bags are available now from Billingham’s website and retailers, with prices ranging cannot be combined with other discounts or
from £425 to £542. See billingham.co.uk loyalty points. See pentax.eu
. 24
. 03
31
S E
C LO
S
R IE
T
EN
STORIES IN
MOTION
FI LM CO M PE TITI O N
L E A R N M O R E
c v p . co m /s to r i e s- i n - m oti o n
ALL IMAGES © IMAGES PROVIDED BY GETTY IMAGES ARCHIVE, HOME OF THE PICTURE POST COLLECTION, IN SUPPORT OF BERT HARDY: PHOTOJOURNALISM IN WAR AND PEACE
Gorbals Boys, 1948
Bert Hardy: Photojournalism

in War and Peace lived so long in the memories of so many.
The Photographers’ Gallery, London, £8/£5 concessions,
However, Hardy’s career was about more than
23 February – 2 June. Open Mon-Wed 10am-6pm; Thur and Fri only the two small boys, arms linked, in
10am-8pm (Friday free from 5pm); Sat 10am-6pm; Sun 11am-6pm. Glasgow’s Gorbals and the two young women,
See thephotographersgallery.org.uk skirts flying, sitting on Blackpool seafront.
Also featured is his work for the Army Film
The photography of the legendary Bert Hardy and Photographic Unit during World War II, for
which he photographed the D-Day landings in
endures for a reason, as a new exhibition of his 1944 and the liberation of the Belsen
concentration camp.
work reveals, writes Ailsa McWhinnie Some might consider Hardy’s work to be of
less relevance in the 21st century. However, it
The era of Picture Post, which was published at The Photographers’ Gallery in London. covers issues such as child poverty, war,
between 1938 and 1957, is seen as Born in 1913 to a working-class family, antisemitism and even celebrity – all issues
something of a golden age in British Hardy was the eldest of seven. A self-taught that have significance in our lives today, as
documentary photography – and with good photographer, he made his first sale at the they did some 80 years ago.
reason. It established the careers of several age of 23, having photographed King George The exhibition features not only
photographers who are still well-known V and Queen Mary during the king’s Silver photography but also archival material such
names, including Kurt Hutton, Grace Jubilee celebrations. He went on to join as press passes, diaries, and the
Robertson, Thurston Hopkins and, possibly Picture Post in 1941, becoming chief publications that gave his images the
most widely recognised of all, Bert Hardy. photographer and staying until the magazine coverage they so deserved. It’s a real insight
He is the subject of the exhibition Bert Hardy: ceased publication. The exhibition features all into the man behind the camera, as well as
Photojournalism in War and Peace, on show the images you would expect, and which have what he produced with it.
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
© CHRIS PORZ
Paul Smith in 1980 Paul Smith in 2021
Reunions
Assault Craft, 1950 Until 23 March
Peterborough Museum & Art Gallery, 51
Priestgate, Peterborough PE1 1LF
Chris Porsz is a Peterborough-based
paramedic who has been shooting street
photographs for over 40 years. He says
he loves ‘wandering the streets, chatting
to complete strangers, listening to their
potted life stories and recording everyday life.’
This exhibition focuses on some of the people
Chris photographed decades ago, who he has
tracked down to recreate those pictures. The original
shots include toddlers in a pram and teenage girls
on a fairground ride, who now pose in the same
positions as mature adults.
It’s a nice idea for an exhibition and there’s a lot of
fun in these pictures – Chris clearly relates well to
people and everyone looks like they’re enjoying
themselves. It’s fascinating to compare the old and
new pictures and see not just how the people have
changed with the passage of time, but how they’ve
stayed the same. David Clark
Abstractions: Studies of the

National Theatre
Until autumn 2024
Wolfson Gallery, National Theatre, London
SE1 9PX
The brutalist architecture of the National Theatre on
London’s South Bank, with its vast acreage of
concrete, may not be to everyone’s taste. But as this
exhibition of work by Amelia Lancaster reveals, the
building we perhaps barely notice en route to a show
is a great subject for abstracts.
There are 12 prints on display, divided into three
sections: Beautiful Brutalism, Reduction and
Negatives. The images were made over a 20-year
period, mostly on 35mm film. Lancaster makes
effective use of the building’s plain, angular design
and the way light falls on its surfaces.
Lancaster’s photographs might not convince you of
the National Theatre’s aesthetic beauty, but may
make you look at it with a fresh appreciation of its
Nehru’s Flower, 1947 austere geometrical attractions. David Clark
EDWARD BURTYNSKY
Thjorsá River #1, Iceland, 2012
EDWARD BURTYNSKY
To mark the opening of his new

exhibition at Saatchi Gallery, London,
Edward Burtynsky talks to Tracy Calder
about fishing, photography, eco-anxiety
and the benefits of being a perfectionist
W
hen Edward born at the beginning of the Space
Burtynsky was a Race, this odd environment where
child, he grew up humans and technology worked side
to the soundtrack by side must have seemed
of the General Motors plant in St intoxicating. ‘I realised that there
Catharines, Ontario. ‘We would was this whole other world,’ he
drive past and all you could hear says. ‘It was like going into the
was ba-boom, ba-boom,’ he recalls bowels of the machine while
as we settle down for a chat. St knowing that every time we drove
Catharines was a blue-collar city and past, we were riding in the thing the
his father, Peter, had secured work plant was making!’
on the production line at the factory. Edward received his first camera at
‘There was a red brick wall that ran the age of 11 (a gift from his father,
for about half a kilometre and from who was a keen amateur
behind it there came a noise so photographer), but it would be more
loud that you could feel the earth than two decades before the
shake,’ he explains. When Edward ‘man-altered landscape’ became his
was seven, he attended an open primary focus. By then, he had put
day at the plant and was amazed by himself through college and
what he found there. ‘I saw molten university by working in factories,
metal going down chutes, big just like his father. All that changed
presses in action and people wearing in the early eighties. ‘Recently I
aluminium suits that made them came across a journal from 1983
look like Martians,’ he laughs. which contains a paragraph where
All the while, ba-boom, ba-boom I define my life’s work,’ he
rang out like a heartbeat. To a child smiles. At the time, Edward was
‘I decided to find the largest examples of the

human footprint and to make photographing
them my life’s work’
on a solo trip across North all the technology that accompanies Tailings Pond #2, laboratory where he created prints
America (partly funded by an human expansion and I was Wesselton for himself and some of the
arts grant), travelling with a 5x4in thinking how frightening and Diamond Mine, best-known photographers in the
Kimberley,
camera, a stack of film, a tent, unsustainable it was,’ he recalls. ‘I country. ‘I learnt how to print,
Northern Cape,
fishing gear and some money for decided to find the largest examples South Africa, I learnt about what made a good
petrol. ‘I fished and photographed of the human footprint and to make 2018 image, I was the first in line for new
for four months,’ he grins. Halfway photographing them my life’s work.’ optics, and I ran the chemistry,’ he
through the trip he began making says. ‘I knew how it all worked, so I
notes about the trajectory of human Nothing less than perfect became a highly skilled technician
population growth. ‘I was looking at Speaking to Edward, his ambition in the field of printing.’
the scale of resource extraction and is clear. In 1985 he opened a Edward refused to settle for
anything less than perfect, and this
attention to detail still underpins his
work today. ‘I wanted to be at the
‘If you are going to call it a disaster then be leading edge; at the point where you
careful because this is what we’ve created to give couldn’t make it better because there
was nothing better,’ he enthuses.
us the life we want’ He applies the same ‘best of the
EDWARD BURTYNSKY
Salinas #2, Cádiz, Spain, 2013
best’ approach when it comes to

selecting subject matter. Whether
he’s shooting mines, salt pans,
factories, dams or oil refineries, he’s
always looking for the biggest and
the best examples. ‘The largest
example is where extraordinary
things are found,’ he says. ‘It’s where

humans are dwarfed in the theatre
of our own creation. We become bit
players in a world of technology that
we’ve built.’
Bearing witness to the impact of
human industry on the planet is
bound to affect your mental health,
and I’m curious to know if Edward
has ever suffered from eco-
anxiety. ‘Yes,’ he confides. ‘I Uralkali Potash Mine #1, Berezniki, Russia, 2017
EDWARD BURTYNSKY
‘I went from looking at the modernists to looking want to say and do.’
Edward describes himself as an
at abstract expressionism and wondering how I artist (or agent) trying to raise
awareness, but he doesn’t see himself
could marry these guys up’ as a preacher or a judge. None of the
activities he photographs – from
mining to deforestation – are illegal,
for example. ‘I don’t want my work
experienced a kind of grieving war had destroyed everything,’ he to stand as an indictment,’ he says.
in the past, especially towards explains. ‘No tree or mountain was ‘People say that I photograph
the end of shooting in India in 2002. safe. It was a scorched earth.’ disaster aesthetics, but that’s not the
Coming across kids that have been Witnessing such an assault on the case. What I’m photographing is the
born on the streets – nothing land must have been painful, but extension of what it takes to build a
prepares you for that.’ Edward used his grief to sharpen his city.’ Every large settlement is fed
Similar feelings arose when Edward focus. ‘Like any grieving process, and fuelled by ‘a whole world’ of
visited China around the same time. when you come out the other side natural resources and manmade
‘I saw the ambition people had to and go on with life you take the technologies. ‘If you are going to call
rise out of poverty, and it felt like a grieving and you convert it into it a disaster then be careful because
massive train leaving the station. It meaning – that’s the way out, it’s the this is what we’ve created to give us
frightened me,’ he admits. On one only way out,’ he stresses. ‘You the life we want,’ he argues.
occasion, Edward found himself become much more meaningful Oil Bunkering #9, What’s more, there is an
driving for hours on end through a and persistent in your work, and Niger Delta, undeniable beauty to Edward’s work
smouldering landscape. ‘It was like a you become clearer in what you Nigeria, 2016 – colourful organic shapes fill the
EDWARD BURTYNSKY

frame, geometric patterns satisfy the Desert Spirals #4, the natural world. ‘They were frame and make sense of the world.’
eye, blocks of stone create striking Verneukpan, looking down the barrel of When Edward scribbled down a
architectural forms – but if we take a Northern Cape, something scary,’ agrees Edward. paragraph that defined his life’s work
moment to read the captions, any South Africa, In the early days, he was also in 1983, he knew he wanted to make
2018
sense of wonder is soon replaced by inspired by Edward Weston, Emmet pictures that would be felt and
feelings of shock and guilt. ‘What Gowin, Paul Caponigro and understood for generations. ‘I
the work tries to do is to bring us to Frederick Sommer. ‘I was influenced wanted to produce photographs that
a sober and rational understanding by the modernists,’ he reveals. ‘I love had a kind of future forward built
of who we are and what we’re the work that Sommer made in the into them,’ he says. ‘I wanted there
doing,’ says Edward. ‘It’s not trying desert where he flattened space.’ to be something about these pictures
to say who’s right and who’s wrong.’ Edward realised he could take what that meant that they couldn’t be
Sommer was doing and mix it with swept under the rug or ignored.’
Drawing on painting the basic fundamentals of abstract On 14 February Saatchi Gallery
One of the things that makes expressionism. opened the largest exhibition of his
Edward’s work so aesthetically ‘I went from looking at the work to date. Looking at the images
beautiful is an understanding of art modernists to looking at abstract displayed on its walls, it’s clear to see
history, and a knowledge of expressionism and wondering how I that Edward has succeeded in his
painting. ‘Caspar David Friedrich could marry these guys up,’ he mission. ‘I never had a beautifully
was the first romantic painter who echoes. ‘I wanted to use this laid out life plan,’ he concludes.
elevated the experience of nature,’ knowledge to help me organise the ‘I just followed my instincts.’
he says. ‘He demonstrated that there
was more to nature than a pastoral
landscape, a field of cattle or a nice Burtynsky: Extraction/Abstraction runs at Saatchi Gallery until 6 May.
tree. For him, gazing into nature was Edward Burtynsky: New Works runs at Flowers Gallery, Cork Street,
a complete experience.’ Perhaps the London until 6 April. To find out more, visit www.saatchigallery.com,
romantics knew that they were www.flowersgallery.com and www.edwardburtynsky.com. His book,
about to be hit by a wave of Extraction/Abstraction, which accompanies the exhibitions, is
technology that would compromise published by Steidl in June, price £48, ISBN 978-3969993132.
ALL PICTURES © BARRY LEWIS
Photo Stories
Soviet time
A new book of photographs by Barry Lewis journeys into the darkness of
Stalin’s Siberian prison camps. Peter Dench finds out more
‘W
e paid the KGB to be able Boarding the flight, staff warned against Incredible access,’ he says. ‘We’d arrive
to go into a prison. It was eating the boiled chicken feet. In Magadan, around 8.30am and leave by 9pm. I didn’t
a lot then. I think about Barry photographed Asir Sandler, arrested at really want to work with a translator. Better for
£700 but well worth it. We the age of 30, transported and sentenced to him to stick with the writer and me to hang
had a bit of paper and a receipt for the bribe death for treason in 1941 for carrying a book out with prisoners. That really helped. People
so we could claim it on expenses,’ says of forbidden poems. His death sentence didn’t really speak English. They were curious.
photographer Barry Lewis. In 1991, he and was commuted to 25 years in the camps, his It’s less threatening as I wasn’t asking
writer Peter-Matthias Gaede arrived in wife divorced him, and he never saw his son, anything. I had a guard, but he got bored and
Moscow on assignment for German GEO who was later executed for manslaughter. went away. At one point, I was alone with a
magazine. It was the last days of glasnost, a After 11 years he was freed prematurely and murderer for about an hour. There were a
period of openness and transparency in returned to Magadan. couple of times some of the prisoners were a
government institutions and activities of the Barry recalls, ‘We were going to the old bit pissed off. If they’d known we’d bribed our
Soviet Union. prison which was now just a storage place way in they’d have really hated it.’
They planned to interview and photograph and he said, “Do you want to come along?” Further along, with the loan of a caterpillar-
survivors of the Gulag, the system of Soviet We found that his old cell was being used to tracked vehicle and driver from the Mining
labour camps and accompanying detention store the prison archives. He found his original Union, they left Ust-Omchug for frozen
and transit camps and prisons that housed arrest papers in one of the boxes. He was so mountain paths in falling light. Arriving in
the political prisoners and criminals. Of the emotional. I think it probably helped that I Butugychag, Barry went about photographing
18 million who were sent to the Gulag from was a photographer telling him to hold it that the abandoned mine, prison cells and guards’
1930 to 1953, between 1.5 and 1.7 million way. He was shaking, it all came back.’ barracks, keeping an eye on the Geiger
people perished as a result of their detention. Along with translator Vladimir Pyljov, Barry counter the former teacher borrowed from a
Founded in Moscow in 1989, the Memorial and Peter began the slow, slippery and school lab back home in the UK.
organisation had begun building up a difficult drive to Camp AV261/4, in Uptar, one ‘I just wanted to protect my future,’ he says.
database of the victims and helped find of Russia’s 1,000 prison camps, 46km north ‘My family’s future. There were warnings all
them survivors. of Magadan. Criminals had replaced political over. DANGER. They didn’t just mine uranium,
Moscow was the start of their journey; the prisoners, doing brutal labour, working they separated it and had a processing unit.
destination was Butugychag Corrective outside, pouring concrete at temperatures of I found even the walls of the cells were highly
Labour Camp, high in the Kolyma mountains. -30°C. With a wave of KGB endorsement, radioactive. They were desperately trying to
They discovered the camp (which closed in Barry passed the guard towers, barbed wire get the bomb and people knew very little.
1955), marked on the map as agricultural fences and through the formidable gates. That’s why they all died. In one section of
buildings, was in fact a secret uranium mine. ‘The prison was two full days of shooting. the mine we could only stay 20 minutes.’
‘The idea was we’d follow the path of the
original prisoners,’ says Barry. ‘They were
shipped into Magadan and started building a
road up to the mines. There were ways up,
but it was unexplored. There were some
indigenous people, hunters, prospectors. In
the 1930s they started building the Road of
Bones. They used prisoners and a lot of them
Left: Barry Lewis’s
died. You couldn’t bury them in the photo of Asir Sandler,
permafrost so they’d just put the road over in the entrance to his
them. We thought we’d follow this 2000km old cell in Magadan
road as far as Butugychag 300km along.’ prison, holding his
original arrest papers
The journey from 60 years earlier
Leaving Moscow was arguably the most
Right: Prison lunch of
dangerous part of the journey. An internal bread and soup at
Aeroflot flight to the bleak, cold, isolated port Camp AV261/4, also
city of Magadan on the Sea of Okhotsk. photographed by
Aeroflot’s safety record wasn’t first class. Barry in 1991
Spotted in the snow Above: An
‘While we were there, a Soviet helicopter atmospheric
saw us out in the snow. Suspicious about night-time shot
what was going on, we could’ve been showing the entrance
to Camp AV261/4
collecting a dirty bomb, they flew down to
question us. We said we were journalists and
showed the KGB paperwork. They were
relieved. Once they felt safe, they wanted to
talk.’ They were persuaded to give them a lift
back to town after a few low-flying circuits of
the mine so Barry could photograph. ‘The
poor miner had to drive back three and a half
hours on his own at night, but I’d never have
got the context of the isolated mine amongst
the mountains,’ he adds.
Barry had previously worked in Russia’s
cold conditions and knew to keep gear under
his coat. Two Nikon FM2s loaded with Above: Winter
Kodachrome 64 or 200, an 85mm, 50mm, darkness arrives early
24mm and 180mm lens with x1.5 converter. in the bleak Russian
‘You have to listen for the shutter. When it settlement of
gets that cold, the oils in the camera get Ust-Omchug
more viscous. It says it’s 1/125sec but it’s
Left: Young men
really about 1/4sec as it slows down, so you hanging out on their
keep the camera as warm as you can. If Jupiter motorbikes
you’re on a tripod doing a night shot in one of and sidecars in
the camps, you’re listening all the time and Ust-Omchug
you bracket the exposures because it’s going
to be open longer than you want it.’
From around 35 rolls Barry shot in the
three-and-a-half weeks, over 80 made it into
the book, Gulag. It would’ve been less if he
hadn’t found 200 more slides misfiled under
Moscow instead of Magadan in his quarter-of-
a-million-frame archive. The book follows the
rhythm of the journey. The Kodachrome Gulag is published by Fistful of Books. A selection of prints from the book will be on display at Photo North Festival, 12-14 April
seductively delivers tragic undertones. at Carriageworks Theatre, Leeds. Barry will be available to sign books. Visit barrylewisphotography.com
Nikon Wanted for Cash
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scan
me!
Testbench CLASSIC FILM CAMERAS
Cameras of the past from Wray: an early Wrayflex (left)

and one of the very few Owl cameras
FILM STARS
Back from
the dead
How John Wade, with a lot of help from Mike
The first 1930 advertisement that announced
the imminent launch of the Farvu
Rignall, revived a lost camera
C
ollectors are often drawn to the Japanese had arrived to show everyone
particular makes, models or types they could do the job better and cheaper. In
of camera. For some time, I have the end, across the three Wrayflex models,
had a strong interest in, and have only a little over 3,000 cameras were ever
carried out a lot of research into, the Wray manufactured. What shouldn’t be overlooked,
Optical Company that, for many years, was however, is that the Wrayflex was Britain’s
based at Bromley in Kent. They were only really serious attempt at producing a
principally lens makers, respected the world 35mm single lens reflex. That’s why
over for their quality. But they also made a Wrayflexes now appeal to collectors like me,
few cameras which, in all honesty, were not and it’s why the cameras, despite a certain
so well received. unpopularity when they were manufactured
and first sold, now command high prices.
A bit of background But even more intriguing are the cameras
The Wrayflex was one camera that did gain a Wray tried, and failed, to produce in any
modicum of success. Wray made three significant number before the Wrayflex.
models in 1951, 1953 and 1959. But, Following World War Two, around 1946,
partially due to the quirky designs of the first Wray built six prototypes of what would have The 1931 advertisement that gave more
two, they never really made it up there with been Britain’s first 35mm camera. They called information about the arrival of Wray’s new
the Big Boys. By the time they got the design it the Owl and sent their reps out with camera complete with artist’s impression of
more on the right track with the third model, samples to gauge feedback from dealers. how it might look
The reaction wasn’t good and the camera A Wray
brochure from
never went into production. Today, for the late
collectors, those six prototypes have become 1950s
very desirable, rather rare and, when the last announced a
one was sold at auction a few years back, Wrayflex
extremely expensive. (Don’t bother trying to 20.3cm lens
find one. I have two and I know the that never
whereabouts of the other four!) went into
production
So by now you will have realised that the
fewer the number of camera types made by
Wray, and the less successful they were, the
more collectors are likely to clamour for them.
Which brings me to what this story is really
about: namely my pursuit of the very first
camera that Wray made – or didn’t make –
or might have made – or might not.
Where it began
In 1930 the British Journal Photographic
Almanac – an annual publication known to
collectors as the BJ – carried a half-page
advertisement in which Wray announced a
Special Purpose Camera called the Farvu.
‘This is the only camera on the market The slightly battered lens and shutter
specially designed for distance work,’ the assembly that began a doomed quest
advertisement proclaimed, continuing, ‘It is to find the rest of the camera
particularly suitable for Sports Pictures,
Architectural Features and Naturalists’ use.
The camera is of the simplest possible
construction, all metal and is suitable for use
in any climate.’ The price was £18.
The following year, Wray took a full-page
advertisement to explain more about the new
camera, complete with a picture of the Farvu
in the form of an artist’s impression. It
transpired that it was little more than a box
camera with a telephoto lens. The same
issue of the BJ carried a review of the camera

in its New Goods editorial pages. Between
this description and two advertisements,
I now had a comprehensive spec.
The body measured 8½x5x4 inches. It took
glass plates or film packs to shoot 3½x2½in f/3.5 standard and a 20.3cm f/5.6 telephoto
pictures. The lens was a Wray 20in f/10 which were announced but which never went
telephoto anastigmat that used a helical into general production.
screw to focus from 25ft to infinity. This was Now, I have been a collector for a great
fitted with a deep lens hood and mounted on many years. I also have many collector
a Compur shutter speeded 1-1/200sec, friends and acquaintances here in the UK
which was recessed slightly into the body. and, thanks to the wonders of email, all
When not in use, the lens could be removed around the world. On top of that, some years
and stored inside the body with a hinged lid ago, when I was researching a book about the
that closed across the front to protect the Wray company, I had the privilege of meeting
shutter. The body was attached to a cradle two of its past directors and half a dozen or
that enabled the camera to be tripod- so ex-employees. When asked, not one of
mounted and tilted at virtually any angle. these people, absolutely no one, had ever
That was in 1931, and after that – nothing. seen a Farvu. So I came to the conclusion
No mention ever again of the Wray Farvu, that the camera had never been built.
either editorially or in advertisements. Of
course, Wray was not entirely averse to this A clue comes to light
kind of behaviour. Apart from the Owl that But then something strange happened. I had
never passed the prototype stage, I also have a call from a collector/dealer friend in Kent
Mike Rignall, probably the UK’s oldest brochures and advertisements that show (the county where Wray was based,
still active camera builder lenses for the Wrayflex that include a 50mm remember) to say he was having a
Testbench CLASSIC FILM CAMERAS
Two panoramic cameras that previously
gained Mike success in the pre-digital
days: the Wideboy (left) and 360°
rotational camera
PICTURE BY MIKE RIGNALL

Wood offcuts, prepared to size, mark the
starting point of the project
The film pack

clear-out and had discovered the lens holder from an old
Zeiss Ikon camera is
and shutter assembly for a Farvu. He
positioned at the rear
had no idea where he had got it from, but
would I like it? Silly question. Once I had my
hands on it and compared it with the written

spec in the Wray advertisements and details
in the 1931 artist’s impression, I was left in
no doubt. This was the real thing. So had
Wray built a prototype, and was this the lens
and shutter from it? Something at the back of
my mind sent me scurrying back to that 1931
BJ, where I realised that the dimensions,
though not stated in the advertisements,
were described in the editorial review. That
and the fact that the reviewer spoke of the
camera as being an ‘exceedingly well made
apparatus’, led me to believe that the BJ
writer had actually handled a Farvu.
So maybe there had been at least one, and
I had the shutter and lens for it. So I set out
to find the body. And after a few years I gave
it up as a lost cause. But it haunted me. So
one day last year I came to the decision that met, but we have been The shutter is added
maybe I could make one. After all, it was only email buddies for many years. behind the protective lid
a box with a lid on one end, a holder for a film After a professional life in electronics early in the assembly process
pack on the other and a place to screw the and a life-long love of photography, Mike
lens and shutter assembly I already owned. retired in 2002 and set up a workshop to active. Having got him hooked on my Farvu
The problem was that I am totally inept at make cameras. He began by making pin-hole recreation idea, I sent him the lens and
anything practical. I often like to think I can cameras and progressed to building and shutter together with a film pack holder from
do something like this, but experience has successfully marketing two panoramic an old Zeiss Ikon camera found in my loft and
shown that I can’t. Luckily I knew a man who models. One used 120 film coupled with a the spec that I had gleaned from the BJ.
could. Enter Mike Rignall. manually operated swing lens mechanism, Once he was off there was no stopping him.
the other rotated through 360° during He couldn’t make the camera from metal,
And we’re off exposure on 35mm film. Now, aged 90, Mike but he could make it from wood, using
Mike and I have never actually must be the oldest UK camera builder still offcuts from frames built by a local artist
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CLASSIC FILM CAMERAS Testbench
The film
pack holder
from an old The replica Farvu in
Zeiss Ikon camera its finished state
is positioned at the rear
for his highly priced paintings. Then he

proposed to finish it using Hammerite
Hammered Black paint to replicate the
leatherette finish found on box cameras of
the era. As soon as he started, however, Mike
began to discover anomalies between the
theoretical spec and how it might work in
practical terms. Here, summarised in his own
words to me in various emails, are his
thoughts…
1. The shutter must be mounted on the front

of the camera body, not recessed as originally
thought, since that would mean you could not
get at the shutter release or set the speeds.
On the artist’s impression it does in fact
seem to be at the front, not recessed, but
that means that the shutter cover cannot be
a flat plate as illustrated but a hinged box
about 1in deep.
2. Body length will be marginally different

from the spec’s 8½in since the measured moved. In the The camera with
the lens removed
flange to film distance is 182mm (7.12in). image it looks as for storage inside
To accommodate the film holder, an end though the assembly is fixed the body and the lid
plate must be added to allow fitting of the to the bottom of the camera. closed to protect
guide runner for the holder. This will affect the If another fixing was placed on the shutter
overall body size. The end plate must however the long side and the cradle
be removable but light-tight to allow for made wider than shown in the Wray’s spec. I had no argument with any of
storage of the lens unit which can be artist’s impression, this would his comments, so he set to work, and I began
accommodated internally. provide a facility for turning the camera to receive almost daily emails with pictures of
from portrait to landscape orientation. how it was all progressing. Less than two
3. To keep the film holder as authentic as weeks after I’d thrown down the challenge,
possible, a pair of guides will be fitted on the 5. Since there seems to be no viewfinder, the finished camera arrived in the post.
back plate so that it can simply slide on and picture composition would need to be carried Does it work? No, because unlike the real
off. The guide runner could have also located out on a ground-glass screen interchangeable cameras Mike has made in the past, it is
the focusing screen mentioned in the with the film pack holder. So the camera not light-proof and, as already outlined, the
editorial text. would need to be used on a firm support. dimensions are not quite right for accurate
I therefore propose to tap the lower part of focusing. Does it look the part? Absolutely.
4. To keep the camera body as shown in the cradle with a quarter-inch thread so that Thanks to 94-year-old copies of the BJ, but
the artist’s impression, a form of rotating it can be mounted on any tripod. mostly through the genius of my good friend
back would be required for landscape and Mike Rignall, I am now the proud owner of
portrait pictures. However it seems to be Mike also wanted to build a fold-away what I am convinced is the world’s only
inferred by the words ‘a universally focusing screen and even a roll film back. part-genuine, part-replica Wray Farvu.
adjustable cradle’ that the forked But in the end we decided, for the sake of Unless, of course, anyone out there
assembly under the camera could be authenticity, to keep as near as possible to knows different…
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ACCESSORIES Testbench
Qimera Gear Flat Strap

Angela Nicholson tests a camera strap
that’s particularly easy to fit and remove Dyneema
loops
● £49.99 ● www.qimeragear.com The Dyneema loops that
attach the strap have a
The Qimera Gear Flat Strap is designed with ease tensile strength 15x
of attachment and removal in mind. It’s aimed to be greater than steel. No anchors
an alternative to Peak Design’s popular straps, but There are no loops or
it fits onto the camera directly, without any need for anchors on the camera
separate anchor loops. when the strap is
Peak Design’s use of such loops to attach its
removed.
straps to a camera has a couple of drawbacks.
In windy conditions, for example, they can flap
around and create slight vibrations and a clacking
noise. This can be bothersome for videographers
as the sounds are recorded in the audio.
The loops can be fiddly to remove, too.
Qimera Gear’s solution to this problem is clever
and practical. The attachment mechanism employs GOLD
Dyneema loops, or ‘pigtails’, which stay on the
strap when it is removed, rather than on the
camera. These loops are threaded through the
camera’s strap lugs and then hooked onto a plastic
clasp that then screws closed. This makes the
strap quick to attach and detach.
While the plastic lacks the aesthetic charm of
metal, it avoids the likelihood of scratching your
camera during use. The clasps are easy to open
and close, but while I didn’t experience any
accidentally releasing of the loops during my
testing, I’d prefer to have the reassurance of a
locking mechanism.
Dyneema is 15 times stronger than steel of
comparable weight, so the loops are a reliable
mount for the strap. Qimera Gear also provides an
extra pair of red loops that can be swapped for the
fitted black ones with the help of a 1.5mm Allen
key. While the loops are effective and easy to use,
they look a little unconventional.
The main part of the strap is made from a silky Wide
webbing material, which feels strong and is compatibility Quick
comfortable on your shoulder or across your body. The Qimera strap works with attachment
However, as it’s only around 25mm (1 inch) wide, both split-ring and bar-type It only takes a few
it’s not ideal around your neck for carrying a heavy camera strap lugs. seconds to attach or
camera. The strap also has a single sliding fastener
detach the strap.
that allows quick and easy length adjustments from
93cm to 152cm. This flexibility makes it suitable for
various body types and shooting styles.
MOUNTING THE QIMERA FLAT STRAP
Verdict At a glance
The Qimera Gear Flat Strap is thoughtfully designed After slipping the strap loop
and addresses the slow attachment and ● Quick connecting through the camera lug, simply
ALL PRICES ARE APPROXIMATE STREET PRICES
detachment issue of standard camera straps, ● Dyneema loops unscrew the plastic clasp to
without the clacking problem associated with Peak ● Screw-close clasp reveal the hook. Slip the loop over
Design’s Anchor Loops. Its robust Dyneema loops ● Nylon webbing the hook and pull down so the
and adjustable length make it a practical and ● Adjustable length Dyneema sits in the recesses on
reliable choice for photographers and videographers (93-152cm) either side of the hook, allowing
alike, although the unique design is unconventional the knurled clasp cover to be
in appearance. pulled down and screwed tight.
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Tech Talk
BLAST FROM THE PAST

Improve
Minox DD1
John Wade discovers an
your
photography
with a
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unusual digital
subminiature camera
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If you thought you knew what

Minox cameras look like, think
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2.1MP CMOS sensor interpolated
to 3.0MP to serve a 9.6mm f/2.8
five-element glass lens. A single
CR2 3-volt battery drops into a
relatively bulky compartment on
the side, there’s a shutter button The unusual and rarely
just above it and a tiny optical seen Minox DD1
viewfinder on top. Exposure is
automated, but the lens can be without reference to the diamonds around the edge.
manually focused at three instruction book. The first is the Originally sold in a velvet-lined
click-stopped settings for 0.5m, image number which goes up to wooden box, the DD1 is certainly
0.9m and infinity. It doesn’t 99, then the symbols and their an eye-catcher. But the image
accept a memory card, so JPEG explanations run: SP/Fn, super/ quality isn’t great, it’s not easy to
images are stored on internal fine image compression; Hr, high find and, if you do find one, think
32MB flash memory. An resolution; Lr, low resolution; ST, of it more as a fashion item than
SAVE
attachable USB cable transfers self-timer; dL, delete last image; a practical camera.
these to a computer. It’s dR, delete all images; OF, switch
compatible with Windows 98, SE, off (by pressing the shutter What’s good Unusual UP TO
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Turning the camera on by as a webcam) and Lb, low
pressing a minute button on the battery. The shutter release has What’s bad Tends to over- JUST £2 PER ISSUE
back involves an approximately minimal lag but images are not expose, low-resolution images,
five-second wait before it’s ready displayed on the screen either flare with back-lit subjects.
to shoot. A small circular LCD
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before or after exposure.
Shortly after the original 2 EASY
displays a series of abbreviated
symbols which are
camera was launched, a new
version, illustrated here, arrived
WAYS TO
incomprehensible to anyone encrusted with eight synthetic SUBSCRIBE
Left: The tiny LCD screen Visit
on the camera’s back
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co.uk/privacy-policy. You may unsubscribe at any time.
its presentation box
Technique SOFTWARE MASTERCLASS
Make a business Here’s our finished business card,

designed in Affinity Publisher. It’s
basic but effective and took very
little time to put together
card in minutes
If you are selling images, having a business card is
much more professional. It’s easy with Affinity
Publisher, as Rod Lawton shows in a new series
S
ooner or later, anyone who Publisher series of tutorials we’ll show you
is serious about pursuing how to create a letterhead, web banner,
photography as a profession will flyer, leaflet and even an ebook, all using
need a business card. It doesn’t the same building blocks of a standardised
matter whether you are a commercial logo, font choice and colour scheme.
photographer, an event photographer or a This time, we’ll start from the basics, with
fine art photographer building a portfolio a brand new document. In photography
– a business card will spread the word, get you would start with an image, but in
your name about and show people that publishing you start from the document
you are a serious pro. you want to create. This will include both
Creating a stylish and effective business the dimensions of the printed document
card is quite simple, and you don’t have to and its print resolution.
be a professional designer. Our sample Incidentally, in photo editing you might
business card is plain and straightforward be used to working in pixels, but in
and gives potential contacts and clients all publishing and design it’s normal to work
the information that they need. in ‘point’ sizes.
Once you have got used to Affinity
Perfect tool Publisher’s tools you can add your own
Affinity Publisher is the perfect tool for any stylistic flourishes to the card to produce
kind of publishing work associated with something really eye-catching. Our
your photography, especially if you’re business card is a simple project in design
already familiar with Affinity Photo, terms but it introduces some key points in
because the interface and tools will be the Affinity Publisher workflow and for
BACKGROUND IMAGE © GETTY IMAGES
familiar and they are designed to work desktop publishing in general. It’s just the
alongside each other. start, though, because this series will build
There are simpler business card design on this to demonstrate more advanced
tools including some you can use online, publications you can create easily using the
but the advantage of Publisher is that it same basic building blocks, one step at a
does so much more – and in the rest of this time. For more, see bit.ly/serifpubap
HOW TO CREATE A BUSINESS CARD IN AFFINITY PUBLISHER
1 Create a new document 2 Create/add a logo 3 Placing images

Affinity Publisher has a wide selection of We created this logo for a fictional Next, create a container for the logo. Use the
ready-to-go document templates via its File> photographer using Affinity Designer, the third Picture Frame Rectangle tool, and drag out a
New command. You can click the ‘New’ tab in of Affinity’s trio of creative applications. You roughly square frame in the top left corner of
the left sidebar and choose the preformatted can also design logos using free online tools, the business card. With this rectangle
Business Card option. This has standard or you may have a logo already. It’s best if selected, go to File>Place and locate and
dimensions and print resolution, but you can logos are in so-called resolution-independent select our logo. It’s scaled to fit the frame,
check with your print outlet to see if the size format like the .eps, Illustrator or SVG format. but you can make adjustments with the move
requirements are different. These can scale to any size without pixellating. gadget and zoom slider below.
IN PARTNERSHIP WITH SERIF AFFINITY PUBLISHER
Top tip
Embedded vs linked
images
This is an important point with Affinity
Publisher – you can either embed
graphics like our logo directly into the
document or you can store them
separately and link to them. If you use
the File>Document Setup command you
can check how your document is
currently set up in the Document tab and
Image Placement option. Embedding
images might seem the simplest and
most foolproof method, but linking has
important advantages when you go on to
create other documents using the same
graphics. It stops your document files
from becoming big and unwieldy, and it
means that if you decide to modify your
logo you only have to edit the linked file
to have the new version available across
all the documents where it’s been used.
4 Adding frame text 5 Simple lines and graphics 6 Exporting for printing
Now we add our photographer’s name and To add horizontal lines, or separators, Lastly, make sure your business card design
details, and for this we need the Frame Text between the name and contact details, and is ready for sending to your print service. If
tool. Drag out a text frame just to the right of above the list of work, we need the Pen tool. you go to File>Document Setup and click the
the logo and start typing. Text appears in the Click once where we want the line to start, Dimensions tab, you can check the current
document’s default font and size but the top and again where it should stop. Select the dimensions against what your print bureau
toolbar has menus for changing the font, size, shape’s stroke for editing in the Colour has asked for, and enter the new dimensions
alignment and more. We’ll add more frames palette, set the colour to black in the if they are different. Now, use File>Export to
for contact details and the type of work done. Swatches palette and set the Stroke to 1pt. export a version in the format they require.
Technique DIGITISING FILM
Scans
for the
memory
Across this green and pleasant land, precious
photos sit in kitchen drawers, cupboards and
shoeboxes just waiting to be digitised. Whether
with a scanner or your camera, Will Cheung
explains how you can do your bit for posterity
F
ilm is enjoying a revival. Younger It is less likely is that you own a scanner
creators who have only known but if this option appeals, something like
digital have discovered there’s a an Epson Perfection V600 flatbed scanner
© WILL CHEUNG
special pleasure to be had from is in the shops at £299 and can handle
the light-sensitive stuff; and there are different film formats as well as prints and
those who grew up with film, switched to documents. If you use only 35mm format
digital and have rediscovered their love for film, consider the Plustek OpticFilm 8200 accept multiple images so you don’t have
analogue. Whether film’s second coming is Ai while the Kenro Film Scanner KNSC201 to sit there and load individual images.
driven by the technical challenge of getting at £115 is more budget friendly. We’ve already mentioned the Epson
things right at capture, the craft of film We’ll delve deeper into the scanner Perfection V600 and that is a great unit to
photography or the thrill, one thing is for options shortly, but let’s chat through the consider; and if you have more budget and
sure, film is on the up. option of using your camera. Copying need even better results, look at the Epson
You could argue that the medium never prints is one thing and fairly easy, but to Perfection V850 Pro at £859.
truly went away and there is a huge archive get frame-filling copies of 35mm originals a Dedicated film scanners are not as
of memories, history and creativity out macro lens is essential. Also, you need to common as they were in the early days of
there, in drawers, shoeboxes, still stashed in think about your set-up if you want digital when Canon, Minolta and Nikon
their original d&p wallets or neatly high-quality shots, and there are DIY and used to sell high-quality film scanners. If
catalogued in albums. purpose-made solutions. you find a good-condition used one, it’s
So, whether you’re creating fresh images likely to be expensive and just be aware
or working with existing ones, digitising Which scanner? that even if it comes with a software CD it’s
film pictures is very much a good thing. The two scanner types are the flatbed and unlikely to be compatible with current
Once in a digital form, you can clean and the dedicated film scanner. operating systems. So, unless you had the
colour correct them, make endless perfect The flatbed is the more versatile so if you foresight to hang on to your old
copies for your archive and there’s the have different film formats in your archive computers, you will need to buy a third-
multitude of options when it comes to and also want to scan prints and party software. Silverfast and VueScan are
outputting; social media, books, prints, documents, it’s the more sensible option. the names to look out for.
mugs, jigsaws, wall art and so much more. This type of scanner has a mechanism Plustek is probably the best-known brand
similar to a photocopier where the lens supplying film scanners. Its OpticFilm
Next steps and light tracks across the image area, 8200i SE sells at £450 and the brand has
Right, we’ve got you interested, what next? scanning as it goes. options to suit different budgets. The
Of course, there are the commercial Lift the lid and you’ll see a glass plate OpticFilm 8100 is £239, while the
options to consider, but our focus is on where the target image is placed in a film OpticFilm 135i is £450. If you want the
home work where there’s the option of holder. Just use the appropriate holder and option of scanning medium format and
scanning with a dedicated piece of locate it correctly, so the software can 35mm, the OpticFilm 120 with a resolution
equipment or using your camera as a detect the image/s for scanning. In the case of 5300dpi is available but is priced at
‘scanner’. of mounted 35mm slides the holder will £2,400.
KIT LIST
Macro
lens
Whatever
camera
format you
own, a
macro lens
that can get you to lifesize magnification is perfect
for copying film originals. Pictured here are the OM
System 60mm f/2.8 (£449) for Micro Four Thirds
and the much larger Canon RF 100mm f/2.8 L
Macro IS USM (£1,369).
Extension
tubes
Extension tubes
offer a low-cost
method of
focusing in
close. Often
sold in sets,
extension tubes used on a standard or telephoto
zoom can give a useful degree of magnification.
Tubes are optics-free so they are usually nicely
priced and are often AF-compatible.
A steady
support
A tripod with
a realignable
centre
column can
Above: From one of
be mighty
my early photo handy for copying. Check out Vanguard tripods with
projects (over 40 the MACC (Multi Angle Centre Column) feature, or
years ago) featuring the Manfrotto Befree GT XPRO carbon model shown
the Port of Felixstowe here. It sells for £319, with the alloy version at £249.
when, as a keen
amateur
photographer, I asked Get flash
for and got You don’t need
permission to take lots of output or
photographs there fancy features for
this technique.
But you do need
some method of
syncing the flash
off the camera,
whether that is
with a cable or a wireless trigger. This is the Godox
V860 III (£233) with a Sto-fen diffuser (£20) and
XPro trigger (£68).
Right: Pictures with

Buy a
historical relevance scanner
are worth preserving. If you have a
Now a symbol of serious film
Germany unity, the archive, the
Brandenburg Gate is investment in a
Berlin’s most famous film scanner might
landmark and was off
be worthwhile. This is the Plustek OpticFilm 8200i
© WILL CHEUNG
limits to East and

West Germans after SE at £329. For multiple formats a flatbed scanner
the Wall went up might be the better and more versatile option.
37
A matter of resolution Photographs are all about memories and I
What level of resolution you need recall vividly the cold, windy afternoon I took
depends on what you want to do with the this image out from the office window. I shot
results. For sharing with the family, posting a whole 36 exposure roll of film as the sun set
on social media or as a basic keepsake, you and that was very extravagant. Nowadays, I’d
probably run off hundreds of frames
don’t need any more than a low-resolution
scan. A 2400x180ppi scan is big enough for
most needs and printed out at 300ppi will
still give an 8x6in print.
If big enlargements are your aim, you will
need much more. When checking through
scanner specifications the figure to look out
for is the maximum optical resolution, not
the interpolated figure. To work out the
maximum output size, divide the quoted
optical resolution by 300ppi, the generally
accepted level of resolution for photo-
quality prints.
The Plustek OpticFilm 8200i SE is quoted
as being 7200ppi so a scanned image at full
resolution gives a print measuring 24in
(7200 divided by 300 equals 24).
If you’re using your camera as your
scanner, the same sum applies. Using a
24-megapixel camera which gives a
6000x4000pixel image, a full-frame copy
gives a very useful 20x13.3in print.
Factor in image resizing in software
(interpolation) and seriously large prints
are possible. Also, while 300ppi is the
accepted resolution for photo-quality
output, resizing an image to a resolution of
240ppi would result in a larger image
without any interpolation. So, in the case
of a 6000x4000pixel image, changing the
resolution to 240ppi means the resulting
image size is 25x16in.
You might think that the difference
between 300ppi and 240ppi would be
obvious but it isn’t, especially if you are
printing on a textured paper. It is a
comparison you could test for yourself by
© WILL CHEUNG
outputting different resolution files on

your usual printing papers.
WILL’S STEP-BY-STEP GUIDE TO COPYING NEGATIVES AND SLIDES
The shooting stage Flash in the box Adding light

I had the choice of using a lightpad or a To diffuse the flashgun’s output, a Sto-Fen You won’t want to be in the dark when
speedlight as my light source. I decided on diffuser was fitted on the head of the Godox working with a macro lens at around its
flash so needed some method of producing V860II speedlight with extra softening minimum focus. I used an LED light to make
an even light. I used a Clas Ohlson storage provided by a piece of diffuser plastic from an focusing easier and with a manual flash
box, cut a hole in the top for the film and LED light.The flash was fired and controlled exposure of 1/125sec at f/11, its output
removed one side for the flashgun. with a Godox XPro wireless trigger. wouldn’t register on shots.
In favour of the scanner
There are a number of useful features that
give using a dedicated scanner extra appeal.
One of the biggest headaches of working
with film is dust and scratches which
means time spent cleaning up images in
editing. Many scanners can detect and
remove dust and scratches during the scan.
Such features use infrared so works with
colour negatives and slides but not
silver-based monochrome films; the silver
reflects the infrared.
Other software features that are often
available include colour repair or
enhancement controls – a great time-saving
benefit with older, faded images. There also
might be the option of multi-pass scanning
where the scan head passes over the image
several times. This adds to the overall
scanning time and gives a bigger file but
delivers a quality uplift, so it’s worth it for
your prize pictures.
Essentially, if you apply the many
adjustment options upfront, a file emerging
from a film scanner will need much less
work than a camera’s raw file.
Is the camera the easier option?

There’s much in favour of the scanner,
flatbed or film, but the camera route is
potentially the easiest, most convenient
and maybe the cheapest. You already own
a camera so all you need is a method of
getting frame-filling images and a lighting
source. A macro lens and flash are ideal
but, failing that, extension tubes and a
lightpad can work fine and our DIY step by
step below shows what can be done.
If you want to take it to the next level,
there are purpose-designed solutions
available and – as with the DIY approach
– all you have to add is a camera, macro
lens and support. Negative Supply is a
US brand with scanning kit designed
Next, the support Almost there Time to shoot

A Manfrotto Befree GT XPro tripod was used A spirit level placed on the monitor will help The film original was placed on the diffuser
for the support. Its 90° centre column to ensure the camera is parallel to the film sheet, with negs held flat with low-tack tape if
mechanism is ideal for this, taking care that stage. Macro lenses in AF mode can rack in required. Moving the sheet positioned the film
the camera ensemble does not overbalance. and out searching for focus when used close accurately under the lens and after a final
The camera reverse mounted at the bottom up, so switching to manual focus is advised. focus check, it’s time for a test exposure.
of the centre column also works.
© WILL CHEUNG
for 120 and 35mm formats; while Images can gain a sentimental value for
Valoi, a Finnish business, and its unexpected – and very sad – reasons. My
360 system is a modular set-up. Both of Sycamore Gap original was shot on a Holga
these brands are distributed in the UK 120 camera and the colour negative scanned
by Firstcall Photographic (see using an Epson Perfection V750 flatbed
www.firstcall-photographic.co.uk).
With a camera, shoot raw at the base ISO
and fill the frame as much as you can to
mimimise pixel wastage.
The key challenges are getting an even
and consistent light source and a method
of holding the film flat. Low-tack tape,
homemade holders and purpose-made kit
can all work and many older films have the
advantage of lying flat without assistance.
One advantage with the camera scanner
is speed. With a little set-up and some
organisation, you can rattle through a lot
of shots in an evening. Of course, the
images still need to be tidied up in post,
but you could come back to that later.
To be honest, I favour the camera scanner
technique. The process just feels more
active and involving. I make copies, save
them to various locations and put them
into a Lightroom catalogue so that I know
what I have.
Slowly working through archives has
been therapeutic and I’ve enjoyed the
look back, but I am also regularly adding
more new film images, so if your
photography needs a kickstart, film is
a great place to start.
Take the flatbed option
© WILL CHEUNG
For many people, the flatbed scanner might be the more practical
solution compared with the dedicated film scanner. It has the ability
to scan documents and photo prints (usually up to A4 size) and film
of different formats. With smaller formats such as 35mm and 120,
there’s often the ability to scan multiple images or film strips which is
potentially time-saving.
The flatbed’s software will also offer the same sort of skills found in
dedicated film scanners such as image cleaning, colour fine-tuning
and much more.
The Epson Perfection V600 offers an 6400ppi optical resolution
and the ability to scan four mounted 35mm slides or twelve 35mm
images in strips. It’s good value at £299 and if you want an even
better performance then consider the Perfection V850 at £859. It
comes with SilverFast SE professional scanning software and can
reproduce the deep shadows and bright highlights of contrasty
images thanks to its 4.0 DMax optical density.
The original negative was digitised using a Fujifilm GFX 50R and
120mm macro lens using the Clas Ohlson box copying technique
The Epson Perfection V600 Photo described in this feature. The raw was converted in Adobe Photoshop
scanner is an affordable solution by using Edit>Adjustments>Invert (Ctrl+I in Windows, CMD+I in Mac)
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Images are for illustrative purposes only.
Technique
Will’s top
copying tips
Be selective
Go through your archive and only copy the very best or
most important shots.
Shoot raw
For copying, shoot raw. You will definitely need the extra
exposure latitude and white-balance control.
Manage your expectations

© WILL CHEUNG
We’ve grown used to immaculate, noise-free digital

images. Film, even low ISO emulsions, is grainy and not
I had the privilege of meeting my childhood hero astronomer Sir Patrick Moore in as sharp or as detail-rich as digital, so don’t be
1999. It’s an invaluable image to me, so worth digitising surprised if your copies aren’t as good as you might
expect.
Bracket exposures
With very contrasty negatives, it’s worth shooting extra
exposures for merging later in editing. Obviously, don’t
move anything between shots and bracket by varying
flash output so the aperture stays constant.
Work clean
Time spent cleaning your negs and slides as best you
can before scanning/copying, is time well spent. That
said, the odds are that even the most fastidious clean
is going to leave you with cloning and healing work but
Left: Converted in
Photoshop you can minimise this.
Below: Converted Dealing with glass mounts

in Negative Lab Pro In the case of glass-mounted slides, take out the slides
for copying. The extra layers of glass will impact
negatively on image quality, and the mounts might use
anti-Newton glass, which is very slightly textured.
Lay it flat
With not much depth-of-field to play with in macro work,
keeping the negative or slide as flat as possible for
copying is a good thing. Use low-tack sticky tape to
hold the film down, or fashion a film holder from stiff
card or plastic.
Shoot tethered
If you have a suitable camera and software, hook the
camera up to the computer and shoot tethered so you
can immediately check the result on a bigger screen.
Or if you have one, connect an external monitor to
check composition – this can make shooting more
comfortable too.
© WILL CHEUNG
Software skills
If you’re scanning colour negatives, the scanner’s
USING the camera to digitise colour available: Grain2pixel and Negative Lab software will give correct colours. If you’re copying
negative shots with their orange colour Pro. The latter is a Lightroom plug-in and colour negs, you’ll need to learn how to deal with the
mask, you’ll need to do more than just costs $99; a free fully functional demo film’s orange mask. It’s not difficult, just fiddly.
invert the image and tweak the white- version for 24 conversions is available
balance to get the correct colours. This from www.negativelabpro.com. You can Get in the flow
conversion used adjustment masks (two see from the example image above that There’s no getting away from the fact that scanning and
curves and a fill layer) and other tools. it works very nicely, and the result is copying is not especially exciting and it soaks up lots of
Google ‘manual inversion of colour much more neutral than the Photoshop time. Work in batches and take a Henry Ford production
negative film’ for advice. conversion just above it, though it could line approach to your workflow. If you can leave your kit
Conversion softwares are also be improved with more time spent on it. set up, aim to scan/shoot, say, ten pictures every day.
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Our favourite photos posted by readers
on our social media channels this week
AP picture
of the week
Fiery Skies Over
the West Pier
by Michael Steven Harris
Nikon D780, Tamron 24-70mm f/2.8 G2, 240sec at
f/11, ISO 200
‘Countless photos have been taken of Brighton’s West
Pier, so it’s always a challenge to capture something
unique. For this photo, I decided to take an ultra-long
exposure of the final moments of an incredible sunset
– the longer exposure time creating smooth waves of
blended colour across the sky behind the static pier.’
Instagram: @michaelstevenharris
Website: www.michaelstevenharris.com
#appicoftheweek
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We Lookout Across the Grand Canal by Rhys Chidwick
also Sony A7 III, Sony FE 20mm F1.8G, 1/600sec at f/4, ISO 100
‘Taken from the Fondamenta Salute pathway near the Salute in Venice, a local passes by a 1920s
Venetian vessel called The Trabaccolo Il Nuovo Trionfo, while another person rests against a column.
liked...
Across the Grand Canal lies St Mark’s Campanile and The Doge’s Palace. Venice is a mesmerising,
beautiful, and unique city.’
Instagram: @rhys_chidwick_2192
LinkedIn: www.linkedin.com/in/rhys-chidwick/
Website: rhyschidwickphotography.mypixieset.com
Ross Castle by
Goran Loncar
Canon EOS R6 with EF 16-35mm
F4 L IS USM and Canon EF to R
adapter, 1/200sec at f/9, ISO 400
‘As a landscape photographer I am
lucky to live in the city of Killarney,
which is surrounded by beautiful
landscapes. Ross Castle is one of the
most famous locations. Unfortunately,
snow is not a common occurrence in
these parts. I have been waiting for
this opportunity five years and it finally
came this year.’
Instagram: @loncarphotography
Want to see your pictures here? Simply share them

with our Flickr, Instagram, Twitter, or Facebook
communities using the hashtag #appicoftheweek.
Or you can email your best photograph to us at
[email protected]. See page 3 for how to find us.
2
1 Salisbury Cathedral 2 Daisy With Bluebells
Reflected by George by Annukka Lautasalo A
Turnbull George’s shot beautiful cat portrait
uses the reflection in that gains even more
the baptismal font to impact from its narrow
1 striking effect plane of focus
5 Peering From The

5 Snow by Michael
Carrington A delicate
macro study that makes
good use of the splash
of purple in an
otherwise blank scene
and is razor-sharp on
the subject
6 Sipping The Nectar

by Jan Miller Jan has
effectively isolated the
hummingbird and flower
from the background to 6
create a lovely shot
Join
When was the club founded? Above all, we want to give our members the
It was formed in June 1955 as the Aldershot confidence to share their work and grow
Camera & Cine Club and eventually, in 2014, photographically in a welcoming social
it became the ‘Aldershot, Farnham & Fleet environment.
Camera Club’.
Describe a typical club meeting
Club
the What does your club offer to new
members?
We are a small and friendly group of
Members arrive around 7.45pm for an 8pm
start. Meetings begin with a round-up of club
news, followed by a talk, a practical workshop
photographers with a wide variety of interests or competition judging, depending on the
and skills. We have an interesting and diverse evening. We have a 15-minute tea/chat break
programme every season, including talks, around 9pm. It ends by 10pm.
print and projected digital image (PDI)
competitions, practical workshops, social Do you invite guest speakers?
evenings, outings and a monthly photography We host external speakers in person and via
This club is a small but challenge. Prospective members and guests Zoom every season. Presentations on ‘the
are welcome to attend both face-to-face and power of project-based photography’, ‘creating
friendly and active group Zoom sessions so that they can experience powerful images’ and landscape and travel
of photo enthusiasts what the club has to offer before taking out
membership. We can also offer mentoring.
photography are among the subjects
included in this year’s programme.
YOUR PICTURES IN PRINT
3 Bubble Caterpillar 4
by Ana Peiró Muñoz
Ana’s appealing shot
captures an unusual,
caterpillar-shaped
line of bubbles
4 Putting The World To 8 Tutu en Pointe by

Rights by Neil McIntyre David Millard David’s
A very nice shot that well-executed image is
catches two gentleman beautifully lit and posed
in mid-conversation and shows great
while incorporating the attention to detail
colourful furniture and
background
7 Sailing Off Into The Sunset 8

by Nigel Peach Nigel timed this
shot perfectly, just as the vessel
crossed the sun’s reflection in
the sea’s surface
Do members compete in regional or We are a relatively small club and currently enjoyment in the hobby and improve
national competitions? have around 35 members. New members are members’ photographic standards while also
The club is a member of the Southern always welcome. maintaining good comradeship with fellow
Counties Photographic Federation (SCPF) and club members.
we enter the SCPF Inter-club Leagues (Print Are any residential trips or outings
and PDI). This year we have been promoted planned?
to the Print League Division 2 and will also We have several social and photographic
compete in the PDI League Division 4. In outings planned during the year, both for the Club essentials
addition, we compete in friendly events club as a whole and for smaller interest
against other local photography clubs. The groups. Club members have attended Aldershot, Farnham &
club has been successful over the past two early-morning photography sessions at RHS
years in the Yateley Camera Club’s Francis Garden Wisley, photographic exhibitions and
Fleet Camera Club
Spooner 8x8x8 panel competition, in which specific events in London. Club trips to Hale Institute, Wings Road, Upper Hale,
up to eight local clubs present eight images Winchester, Farnborough Abbey and Farnham, Surrey GU9 0HN
from eight different photographers. Once a Brookwood cemetery are being planned. Meets: Alternate Wednesday evenings through the year
year we also participate in a fun Mix and Membership: £50 a year for an individual member and
Match competition with other local clubs, What are the club’s goals for the future? £75 for couples
which is very popular. We want to maintain an enjoyable and
rewarding programme suited to members of Contact: Secretary, [email protected]
How many members do you have? all standards. We aim to maintain members’ Website: www.affcc.uk
THE EISA PHOTOGRAPHY
MAESTRO CONTEST 2024
This year’s theme:
Sports and Games
Scope and Contest Rules:
Entrants should provide 5-8 photographs
on the theme of ‘Sports and Games’. Your
subject matter may include professional and
amateur sports as well as games. All entries
must be in digital format (camera or scanned
film originals) and must be taken by you
between 1 May 2023 and 30 April 2024
(EXIF data will be checked as proof). Older
portfolios and AI-generated images are
excluded.
1st PRIZE
€1500 & EISA
Maestro Trophy
2nd PRIZE
€1000 & EISA
Maestro Trophy
3rd PRIZE
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€750 & EISA

Maestro Trophy
NATIONAL DEADLINE: MAY 1ST 2024 receive a one-year digital subscription to AP

AP is running this EISA contest in and go forward to the International round.
conjunction with Photocrowd. To enter your
portfolio, go to bit.ly/maestrosport INTERNATIONAL JUDGING: JUNE 2024
AP will choose the top 3 and publish them The winning entries from all 16 participating
in a June or July issue. The winner will EISA countries will be judged together at
the Association’s General Meeting in June
ners will also be 2024. The International results will be
National Maestro win
ed on Fac ebo ok at the end of June celebrated at the EISA Awards Gala in Sept
publish
A Pub lic’s Choice 2024 and revealed, online, alongside the
2024 for the EIS
itio n. Pri ze for the winner : €1000. EISA product Awards on 15 August 2024.
compet
Don’t forget to visit bit.ly/eisa-maestro for tips Check out Photocrowd and take part in some great
on creating a successful portfolio. The winning
International photos will be published in the Sept/Oct to get your best work seen
issues of all 16 EISA photo magazines/websites. For and appreciated.
details, terms & conditions, see www.eisa.eu/maestro www.photocrowd.com
192
lenses
listed &
rated
Lens mounts
Each manufacturer has its own
DSLR Lenses lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
Nikon lenses, although you can
a huge array of types for shooting use independent brands if you get
different kinds of subjects them with the right mount.
IN GENERAL, the easiest way to
expand the kinds of pictures
you can take is by buying Built-in focus motor
different types of lenses. For Most lenses now incorporate an internal
example, telephoto lenses motor to drive the autofocus, although
let you zoom in on distant some are still driven from the camera
subjects, while macro body. DSLR lenses often use ultrasonic-
lenses enable close-ups type motors for fast focusing, but some
of small objects. now have video-friendly stepper motors
Large-aperture lenses as widely used in mirrorless systems.
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 aperture
Meanwhile, all-in-one the camera will have Wider apertures mean
superzooms cover a wide range a diameter, in mm, which you can use faster,
of subjects, but usually with will allow you to attach motion-stopping
rather lower optical quality. a variety of filters or shutter speeds.
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
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BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
DIAMETER (MM)
STABILISATION
MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WEIGHT (G)
PENTAX
CANON
SIGMA
NIKON
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
CANON DSLR
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ A superb ultra-wideangle that’s a must-have for anyone shooting landscapes and cityscapes • • 22 67 74.6 72 240
EF-S 10-22mm f/3.5-4.5 USM £990 4★ A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385
EF-S 17-55mm f/2.8 IS USM £795 4★ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture • • 35 77 83.5 110.6 645
EF-S 18-55mm f/4-5.6 IS STM £220 Latest standard zoom for Canon’s APS-C EOS DSLRs, with compact design and updated optics • • 25 58 66.5 61.8 215
EF-S 18-135mm f/3.5-5.6 IS USM £500 Versatile zoom with new Nano USM focus technology and optional power zoom adapter • • 39 67 77.4 96 515
EF-S 24mm f/2.8 STM £165 4★ Bargain price, tiny carry-everywhere size and a highly competent imaging performance • 16 52 68.2 22.8 125
EF-S 55-250mm f/4-5.6 IS STM £265 A compact telephoto lens featuring smooth, quiet STM focusing when shooting movies • • 110 58 70 111.2 375
EF 8-15mm f/4 L USM £1499 Impressive-looking fisheye zoom lens from Canon • • 15 n/a 78.5 83 540
EF 11-24mm f/4 L USM £2799 5★ Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens • • 28 n/a 108 132 1180
EF 16-35mm f/2.8 L III USM £2150 Revamped wideangle zoom includes new optics in a weather-sealed lens barrel • • 28 82 89.5 127.5 790
EF 16-35mm f/4 L IS USM £1199 4★ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full-frame cameras • • • 28 77 82.6 112.8 615
EF 17-40mm f/4 L USM £940 4★ Designed to match the needs of demanding professionals – and does so with ease • • 28 77 83.5 96.8 500
EF 24mm f/1.4 L II USM £2010 Subwavelength structure coating, together with UD and aspherical elements • • 25 77 83.5 86.9 650
EF 24-70mm f/2.8 L II USM £2300 5★ Professional-quality standard zoom lens with a fast aperture • • 38 82 88.5 113 805
EF 24-105mm f/4 L IS II USM £1129 4★ Reworked workhorse zoom for full-frame cameras uses an all-new optical design • • • 45 77 83.5 118 795
EF 35mm f/2 IS USM £799 First 35mm prime from Canon to feature an optical stabilisation system • • • 24 67 62.6 77.9 335
EF 35mm f/1.4 L II USM £1799 5★ An outstanding addition to the L-series line-up • • 28 72 80.4 104.4 760
EF 50mm f/1.2 L USM £1910 Very wide maximum aperture and Super Spectra coatings, and a circular aperture • • 45 72 85.8 65.5 580
EF 50mm f/1.4 USM £450 5★ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy, though • • 45 58 73.8 50.5 290
EF 50mm f/1.8 STM £130 5★ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 35 49 69.2 39.3 130
EF 70-200mm f/2.8 L USM £1540 Non-stabilised L-series optic, with rear focusing and four UD elements • • 150 77 84.6 193.6 1310
EF 70-200mm f/2.8 L IS III USM £2150 Updates Canon’s excellent pro workhorse zoom with water-repellent fluorine coatings • • • 120 77 88.8 199 1480
EF 70-200mm f/4L IS II USM £1300 Upgraded premium telephoto zoom promises five stops of image stabilisation • • • 100 72 80 176 780
EF 70-300mm f/4.5-5.6 IS II USM £499 4.5★ Mid-range telephoto zoom offers really good optics and fast, silent autofocus • • • 120 67 80 145.5 710
EF 75-300mm f/4-5.6 III £300 Essentially the same lens as the 75-300mm f/4-5.6 III USM but with no USM • • 150 58 71 122 480
EF 85mm f/1.4L IS USM £1570 5★ Sublime, highly desirable portrait lens combines large aperture and optical image stabilisation • • • 85 77 88.6 105.4 950
EF 85mm f/1.8 USM £470 5★ Non-rotating front ring thanks to rear-focusing system, as well as USM • • 85 58 75 71.5 425
EF 100mm f/2.8 L Macro IS USM £1060 5★ Stunning MTF figures from this pro-grade macro optic • • • 30 67 77.7 123 625
EF 100-400mm f/4.5-5.6 L IS II USM £1999 4.5★ L-series construction and optics, including fluorite and Super UD elements • • • 98 77 94 193 1640
EF 135mm f/2 L USM £1360 L-series construction with two UD elements and wide maximum aperture • • 90 72 82.5 112 750
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
MP-E 65mm f/2.8 1-5x Macro £1250 Macro lens designed to achieve a magnification greater than 1x without accessories • • 24 58 81 98 710
TS-E 17mm f/4 L £2920 Ultra-wideangle tilt-and-shift optic with independent rotation of the tilt and shift movements • • 25 77 88.9 106.9 820
TS-E 24mm f/3.5 L II £2550 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 21 82 88.5 106.9 780
TS-E 50mm f/2.8L Macro £2500 Tilt-and-shift macro lens for specialist product photography, with 1:2 magnification • • 27 77 86.9 114.9 945
TS-E 90mm f/2.8L Macro £2500 Tilt-and-shift macro lens for specialist product photography, with 1:2 magnification • • 39 77 86.9 116.5 915
TS-E 135mm f/4L Macro £2500 Tilt-and-shift macro lens for specialist product photography, with 1:2 magnification • • 49 82 88.5 139.1 1110
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.
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54 www.amateurphotographer.co.uk
BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WEIGHT (G)
PENTAX
CANON
SIGMA
NIKON
IMAGE
LAOWA DSLR
12mm f/2.8 Zero D £899 Ultra-wideangle lens for full-frame DSLRs that exhibits minimal distortion • • • • • 18 77 74.8 82.8 609
14mm f/4 Zero-D DSLR £499 Relatively compact and lightweight ultra-wideangle manual focus prime that promises low distortion • • • 15 67 72.5 75 320
15mm f/4 1:1 Macro £449 4★ Unusual wideangle lens that offers 1:1 Macro together with vertical shift movements on APS-C cameras • • • • • 12 77 83.8 64.7 410
15mm f/4.5 Zero-D Shift £1249 4★ The world’s widest-angle shift lens offers +/-11mm movement in any direction • • • 20 n/a 79 103 597
20mm f/4 Zero-D Shift £1139 Wideangle shift lens that offers +/-11mm movement and promises zero distortion • • • 25 82 91 95 747
24mm f/14 2x Macro Probe £1599 Unique specialist macro lens with submersible front barrel and built-in LED lights • • • 47 n/a 38 408 474
24mm f/14 2x Peri Probe £2449 Development of macro probe design with swappable straight and 90° periscopic front sections • • • n/a 61.3 408 770
25mm f/2.8 Ultra Macro 2.5x - 5x £399 Unusual lens designed solely for ultra-close-up shooting, with magnification from 2.5x to 5x • • • • 17.3 n/a 65 82 400
60mm f/2.8 2X Ultra Macro £319 3.5★ With 2:1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro • • • • • 18.5 62 95 70 503
100mm f/2.8 2:1 Ultra Macro APO £469 Full-frame macro lens with twice-life-size magnification and apochromatic design • • • • 24.7 67 125 72 638
105mm f/2 (T3.2) STF £649 4★ Designed for full-frame DSLRS, and features an apodisation element that renders lovely bokeh • • • • • 90 67 98.9 76 745
NIKON DSLR
10-20mm f/4.5-5.6 G VR AF-P DX £330 3.5★ Inexpensive wide zoom for DX DSLRs has effective image stabilisation but rather average optics • • 22 72 77 73 230
10-24mm f/3.5-4.5 G ED AF-S DX £834 4★ MTF performance is good from wide open to f/11, only breaking down past f/22 • 24 77 82.5 87 460
18-140mm f/3.5-5.6 G ED VR AF-S DX £579 A compact and lightweight DX-format zoom, this lens is a great all-rounder • • 45 67 78 97 490
18-300mm f/3.5-6.3 G ED VR £849 New DX-format 16.7x zoom with super-telephoto reach – a compact walk-around lens • • 48 67 78.5 99 550
35mm f/1.8 G AF-S DX £208 5★ Designed for DX-format DSLRs, a great standard prime lens • 30 52 70 52.5 200
40mm f/2.8 G AF-S DX Micro £250 5★ A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235
85mm f/3.5 G ED AF-S DX VR £522 DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass • • 28 52 73 98.5 355
8-15mm f/3.5-4.5 E ED Fisheye AF-S £1299 Fisheye zoom for full-frame DSLRs that gives a circular view at 8mm and full-frame coverage at 15mm • • 16 n/a 77.5 83 485
14-24mm f/2.8 G ED AF-S £1670 5★ A remarkable piece of kit, producing sharp images with little chromatic aberration • • 28 n/a 98 131.5 970
16-35mm f/4 G ED AF-S VR £1072 5★ A fantastic lens that deserves to be taken seriously, with very little CA throughout • • • 28 77 82.5 125 685
20mm f/1.8 G ED AF-S £679 A fast FX-format prime lens that’s compact and lightweight • • 20 77 82.5 80.5 335
24mm f/1.4 G ED AF-S £1990 5★ Nothing short of stunning. Aside from its high price, there is very little to dislike about this optic • • 25 77 83 88.5 620
24mm f/1.8 G ED AF-S £629 Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers • 23 72 77.5 83 355
24-70mm f/2.8 E ED VR £1849 5★ Nikon’s latest pro-spec standard zoom looks like its best lens yet • • • 38 82 88 154.5 1070
24-85mm f/3.5-4.5 G ED VR £520 5★ FX-format standard zoom with Auto Tripod detection and VR • • 38 72 78 82 465
24-120mm f/4 G ED AF-S VR £1072 5★ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens • • • 45 77 84 103 710
28mm f/1.4 E ED AF-S £2080 Boasts a dust- and drip-resistant build for reliable shooting in challenging weather conditions • • 28 77 83 100.5 645
28mm f/1.8 G ED AF-S £619 5★ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers • • 25 67 73 80 330
35mm f/1.4 G ED AF-S £1735 5★ A Nano Crystal-coated lens designed for the FX range • • 30 67 83 89.5 600
35mm f/1.8 G ED AF-S £479 Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight • • 25 58 72 71.5 305
50mm f/1.4 G AF-S £376 5★ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 • • • 45 58 73.5 54 280
50mm f/1.8 D AF £135 Compact, lightweight, affordable prime, will stop down to f/22 • • 45 52 63 39 160
50mm f/1.8 G AF-S £200 5★ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs • • 45 58 72 52.5 185
58mm f/1.4 G AF-S £1599 4★ FX-format full-frame premium prime lens with large f/1.4 aperture • • 58 72 85 70 385
70-200mm f/2.8 E FL ED VR AF-S £2650 Latest update to Nikon’s pro workhorse fast telephoto zoom brings electronic aperture control • • • 110 77 88.5 202.5 1430
70-300mm f/4.5-5.6 E ED VR AF-P £750 Nikon’s first full-frame lens to feature a stepper motor for autofocus • • • 67 80.5 146 680
80-400mm f/4.5-5.6 G ED VR AF-S £1899 5★ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects • • • 175 77 95.5 203 1570
85mm f/1.4 G AF-S £1532 5★ Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595
85mm f/1.8 G AF-S £470 5★ Rear-focusing system and distance window in this medium telephoto lens • • 80 67 80 73 350
105mm f/1.4 E ED AF-S £2049 A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture • • 100 82 94.5 106 985
200-500mm f/5.6 E ED VR AF-S £1179 A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras • • • 220 95 108 267.5 2300
300mm f/4 E PF ED VR AF-S £1230 5★ Light, compact AF-S full-frame telephoto lens with ED glass elements • • • 140 77 89 147.5 755
19mm f/4 E ED PC £3300 Super-wideangle tilt-and-shift lens for architecture and landscape photography • • 25 n/a 89 124 885
24mm f/3.5 D ED PC-E £1774 Perspective Control lens with Nano Crystal Coating and electronic control over aperture • • 21 77 82.5 108 730
45mm f/2.8 D ED PC-E Micro £1393 Perspective Control (PC-E) standard lens used in specialised fields such as studio and architecture • • 25 77 82.5 112 740
85mm f/2.8D PC-E Micro £1299 Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography • • 39 77 83.5 107 635
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www.amateurphotographer.co.uk 55
BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WEIGHT (G)
PENTAX
CANON
SIGMA
NIKON
IMAGE
PENTAX DSLR
DA 10-17mm f/3.5-4.5 HD Fisheye ED £499 Updated fisheye zoom lens gains refreshed cosmetic design, new optical coatings and removable hood • 14 n/a 70 67.5 317
DA* 11-18mmF2.8 ED DC AW HD £1399 Premium fast ultra-wideangle zoom, includes all-weather construction and innovative focus clamp • 30 82 90 100 704
DA 15mm f/4 smc ED AL Limited £820 Limited-edition lens with hybrid aspherical and extra-low-dispersion elements • 18 49 39.5 63 212
FA 15-30mm f/2.8 ED SM WR HD £1500 Weather-resistant ultra-wideangle zoom with fast maximum aperture and fixed petal-type hood • • 28 n/a 98.5 143.5 1040
DA* 16-50mm f/2.8 smc ED AL IF SDM £950 3.5★ A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) • 30 77 84 98.5 600
DA* 16-50mm f/2.8 ED PLM AW HD £1500 All-new premium large-aperture standard zoom with updated optics and electromagnetic aperture control • 30 77 84 117 712
DA 16-85mm f/3.5-5.6 ED DC WR £600 Weather-resistant, this zoom features a round-shaped diaphragm to produce beautiful bokeh • 35 72 78 94 488
DA 18-50mm f/4-5.6 DC WR RE £230 Super-thin standard zoom that’s weather-resistant and features a round-shaped diaphragm • 30 58 71 41 158
DA 18-55mm f/3.5-5.6 smc AL WR £229 A weather-resistant construction and an aspherical element, as well as SP coating • 25 52 68.5 67.5 230
DA 18-135mm f/3.5-5.6 DA ED DC WR £600 3.5★ A weather-resistant mid-range zoom lens • 40 62 73 76 405
DA 18-270mm f/3.5-6.3 smc ED SDM £699 15x superzoom for company’s K-mount DSLRs featuring two extra-low-dispersion (ED) elements • 49 62 76 89 453
DA 20-40mm f/2.8-4 ED Limited DC WR £829 With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather resistant • 28 55 68.5 71 283
HD-FA 21mm f/2.4 ED Limited DC WR £1499 Ultra-wide addition to the premium Limited line-up, with aluminium barrel and electromagnetic aperture motor • • 18 67 74 89 416
DA 21mm f/3.2 smc AL Limited £600 This limited-edition optic offers a floating element for extra-close focusing • 20 49 63 25 140
FA 24-70mm f/2.8 ED SDM WR £1149 Full-frame-compatible premium standard zoom – includes a HD coating to minimise flare and ghosting • • 38 82 109.5 88.5 787
FA 28-105mm f/3.5-5.6 ED DC HD £549 Standard zoom lens for the K-1 full-frame DSLR that’s much more affordable than the 24-70mm f/2.8 • • 50 62 73 86.5 440
HD-FA 31mm f/1.8 Limited £1100 Premium aluminium-bodied wideangle prime boasts an aperture ring plus HD and fluorine coatings • • 30 58 69 65 341
FA 35mm f/2 HD £399 Latest version of venerable Pentax fast prime features a multi-layer HD coating • • 30 49 64 44.5 193
DA 35mm f/2.4 smc DS AL £180 5★ A budget-priced prime lens for beginners • 30 49 63 45 124
DA 35mm f/2.8 smc Macro £640 4.5★ Despite slight edge softness, this lens performs excellently and is a pleasure to use • 14 49 46.5 63 215
DA 40mm f/2.8 smc Limited £450 Pancake lens with SMC coating and Quick Shift focusing system • 40 49 63 15 90
HD-FA 43mm f/1.9 Limited £650 Classic full-frame fast prime with perfect focal length for everyday use • • 45 49 64 27 155
FA* 50mm f/1.4 SDM AW HD £1200 Premium fast prime with dustproof, weather-resistant design and electromagnetic aperture • • 40 72 80 106 910
HD-FA 50mm f/1.4 £399 Updated large-aperture prime with HD coatings and refreshed cosmetic design • • 45 49 65 40.5 223
FA 50mm f/1.4 smc Classic £449 Compact fast prime with film-era optics, aperture ring, and coatings designed to give ‘rainbow flare’ • • 45 49 65 37 216
DA 50mm f/1.8 smc DA £249 4★ Affordable short telephoto lens ideal for portraits • 45 52 38.5 63 122
D-FA 50mm f/2.8 smc Macro £550 Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism • • 19 49 60 67.5 265
DA* 50-135mm f/2.8 smc ED IF SDM £1200 4★ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects • 100 67 76.5 136 765
DA 50-200mm f/4-5.6 smc ED WR £210 Weather-resistant construction, Quick Shift focus system and an SP coating • n/a 49 69 79.5 285
DA* 55mm f/1.4 smc SDM £800 4.5★ Despite questions about the particular sample tested, this lens scores highly • 45 58 70.5 66 375
DA 55-300mm f/4.5-6.3 ED PLM WR RE £400 Compact weather resistant telephoto zoom has video-friendly fast and silent autofocus motor • 95 58 76.5 89 442
DA 60-250mm f/4 smc ED IF SDM £1450 4.5★ With a constant f/4 aperture and an ultrasonic motor for speedy focusing • 110 67 167.5 82 1040
DA 70mm f/2.4 smc AL Limited £600 Medium telephoto lens with an aluminium construction and a Super Protect coating • 70 49 63 26 130
D-FA* 70-200mm f/2.8 ED DC AW £1850 Fast telephoto zoom in Pentax’s high-performance Star (*) series developed for best image rendition • • 120 77 91.5 203 1755
D-FA 70-210mm F4 ED SDM WR £1199 Compact telephoto zoom with constant f/4 maximum aperture and weather-resistant construction • • 95 67 78.5 175 819
HD-FA 77mm f/1.8 Limited £800 Renewed version of short telephoto portrait prime that features a traditional aperture ring • • 70 49 48 64 270
D FA* 85mm f/1.4 SDM AW £1999 Upcoming large-aperture short telephoto prime promises premium optics and weather-sealing • • 85 82 95 123.5 1255
D-FA 100mm f/2.8 Macro WR £680 5★ Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340
HD-FA 100mm f/2.8 ED AW Macro £699 Updated 1:1 macro lens boasts improved optical formula and all-weather construction • • 30 49 65 80.5 348
FA 150-450mm f/4.5-5.6 ED DC AW £2000 Super-telephoto lens with weather resistance, designed to produce extra-sharp, high-contrast images • • 200 86 241.5 95 2000
DA* 200mm f/2.8 smc ED IF SDM £1000 4.5★ SDM focusing system on the inside, and dirtproof and splashproof on the outside • 120 77 83 134 825
DA* 300mm f/4 smc ED IF SDM £1300 This tele optic promises ultrasonic focus and high image quality thanks to ED glass • 140 77 83 184 1070
SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II £274 Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors • • • • • 30 n/a 75 77.8 417
10mm f/3.5 XP MF £950 World’s widest-angle rectilinear lens promises 130° field of view with minimal distortion • • • 26 n/a 95 98.1 731
10mm f/2.8 ED AS NCS CS £429 Features a nano crystal anti-reflection coating system and embedded lens hood • • • • • 24 n/a 86 77 580
12mm f/2.8 ED AS NCS Fisheye £430 Fisheye ultra wideangle prime lens for full-frame DSLRs • • • • • • 20 n/a 77.3 70.2 500
14mm f/2.4 XP MF £899 High-end ultra-wideangle prime with premium optics and large maximum aperture • • • 28 n/a 95 109.4 791
AF 14mm f/2.8 £649 4.5★ Samyang’s first AF SLR lens features very decent image quality and weather-sealed construction • • • 20 n/a 90.5 95.6 485
14mm f/2.8 MF Mk II £439 Ultra-wideangle manual-focus prime with weather-sealing and de-clickable aperture ring • • • 28 n/a 87 96.3 641
16mm f/2.0 ED AS UMC CS £389 Fast wideangle lens for digital reflex cameras fitted with APS-C sensors • • • • • 20 n/a 89.4 83 583
20mm f/1.8 ED AS UMC £430 Large-aperture manual focus wideangle lens for full-frame DSLRs • • • • • • 20 77 83 113.2 520
24mm f/1.4 AS UMC £499 Fast ultra-wideangle manual-focus lens comprising 13 elements arranged in 12 groups • • • • • • 25 77 95 116 680
24mm f/3.5 ED AS UMS TS £949 3★ Tilt-and-shift wideangle lens for a fraction of the price of Canon and Nikon’s offerings • • • • • • 20 82 86 110.5 680
35mm f/1.2 XP MF £719 Ultra-large aperture, manual focus prime with premium optics • • 34 86 93 117.4 1106
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
35mm f/1.4 AS UMC £369 4.5★ While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660
50mm f/1.2 XP MF £639 Large aperture manual-focus prime promises 50MP resolution • • 45 86 93 117.4 1200
50mm f/1.4 AS UMC £299 Manual-focus fast standard prime for full-frame DSLRs • • • • • • 45 77 74.7 81.6 575
85mm f/1.2 XP MF £899 High-end manual focus lens sports an impressively fast maximum aperture • • 80 86 93 98.4 1050g
AF 85mm f/1.4 £599 3★ Autofocus fast short telephoto portrait lens for use on Canon or Nikon full-frame DSLRs • • • 90 77 88 72 485
85mm f/1.4 MF Mk II £389 Large-aperture short telephoto manual-focus prime is weather-sealed and the aperture can be de-clicked • • • 110 72 78 72.2 541
100mm f/2.8 ED UMC Macro £389 Full-frame compatible, the Samyang 100mm is a true Macro lens offering 1:1 magnification • • • • • • 30 67 72.5 123.1 720
135mm f/2 ED UMC £399 Manual focus portrait prime has fast aperture for subject isolation and background blur • • • • • • 80 77 82 122 830
56 www.amateurphotographer.co.uk
BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)
DIAMETER (MM)
FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WEIGHT (G)
PENTAX
CANON
SIGMA
NIKON
IMAGE
SIGMA DSLR
12-24mm f/4 DG HSM | A £1649 5★ Premium full-frame wideangle zoom designed to have minimal distortion in its wideangle imagery • • • • 24 n/a 101 132 1150
14mm f/1.8 DG HSM | A £1679 World’s first f/1.8 ultra-wideangle prime lens for full-frame DSLRs • • • • 27 n/a 95.4 126 1170
14-24mm f/2.8 DG HSM | A £1399 5★ Pro-specification fast ultra-wide prime for full-frame DSLRs includes weather-sealed construction • • • • 26 n/a 96.4 135.1 1150
18-35mm f/1.8 DC HSM | A £799 5★ Said to be the world’s first constant f/1.8 zoom; DoF equivalent of constant f/2.7 on full frame • • • 28 72 78 121 810
20mm f/1.4 DG HSM | A £799 5★ An outstanding wideangle fixed-focal-length lens • • • • 27.6 n/a 90.7 129.8 950
24mm f/1.4 DG HSM | A £799 5★ The latest addition to Sigma’s ‘Art’ line of high-quality fast primes • • • • 25 77 85 90.2 665
24-70mm f/2.8 DG OS HSM | A £1399 5★ Latest premium fast standard zoom for full frame includes optical image stabilisation • • • • • 37 82 88 107.6 1020
24-105mm f/4 DG OS HSM | A £849 4.5★ Serious full-frame alternative to own-brand lenses at a lower price, with no compromises in the build • • • • • • 45 82 89 109 885
28mm f/1.4 DG HSM | A £1099 4.5★ High-quality, weathersealed fast wideangle prime for full-frame DSLRs • • • • 28 77 82.8 107.1 865
35mm f/1.4 DG HSM | A £799 5★ Superb large-aperture prime; first lens in company’s ‘Art’ series • • • • • • 30 67 77 94 665
40mm f/1.4 DG HSM | A £1100 5★ Large and heavy prime promising natural-looking perspective and top-quality optics • • • • 40 82 87.8 131 1200
50mm f/1.4 DG HSM | A £849 5★ This lens has a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815
50-100mm f/1.8 DC HSM | A £829 5★ This APS-C-format lens aims to cover the focal lengths of three prime lenses in one • • • 37.4 82 93.5 170.7 1490
60-600mm f/4.5-6.3 DG OS HSM | S £1899 Weathersealed 10x zoom encompasses huge range from standard to super-telephoto • • • • • 60 105 120.4 268.9 2700
70mm f/2.8 DG Macro | A £499 The first macro lens in Sigma’s Art line-up features an extending-barrel focus-by-wire design • • • • 26 49 71 106 515
70-200mm f/2.8 DG OS HSM | S £1349 5★ Superb large-aperture telephoto zoom shows high sharpness and minimal chromatic aberration • • • • • 120 82 94.2 202.9 1805
85mm f/1.4 DG HSM | A £1199 5★ Optically stunning fast short telephoto prime is the ultimate portrait lens for DSLR users • • • • 85 86 95 126 1130
100-400mm f/5-6.3 DG OS HSM | C £799 4.5★ Relatively lightweight telezoom comes with weather-sealing and choice of push-pull or twist zoom • • • • • 160 67 86.4 182.3 1160
105mm f/1.4 DG HSM | A £1499 4.5★ Sigma’s ‘bokeh monster’ super-fast portrait lens is weathersealed and comes with a tripod foot • • • • 100 105 115.9 131.5 1645
105mm f/2.8 EX DG OS HSM Macro £649 4.5★ An optically stabilised macro lens, this super-sharp lens is one of our favourites • • • • • 31.2 62 78 126.4 725
120-300mm f/2.8 DG HSM | S £3599 First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter • • • • • • 150 105 124 291 3390
135mm f/1.8 DG HSM | A £1399 5★ Super-fast portrait prime designed to provide sufficient resolution for 50MP DSLRs • • • • 87.5 82 91.4 114.9 1130
150-600mm f/5-6.3 DG OS HSM | C £1199 Budget ‘Contemporary’ version of Sigma’s long-range telephoto zoom is smaller and lighter • • • • • 280 95 105 260.1 1930
150-600mm f/5-6.3 DG OS HSM | S £1599 This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof • • • • • 260 105 121 290.2 2860
TAMRON DSLR
18-400mm f/3.5-6.3 Di II VC HLD £650 4★ The longest-ranging telephoto zoom yet made turns in a surprisingly decent performance • • • 45 72 79 123.9 710
24-70mm f/2.8 SP Di VC USD G2 £1249 Upgraded fast zoom with improved image stabilisation and moisture-resistant construction • • • • 38 82 88.4 111 905
35mm f/1.4 SP Di USD £930 Premium large-aperture prime with moisture-resistant construction, billed as Tamron’s best-ever lens • • • 30 72 80.9 104.8 815
35mm f/1.8 SP Di VC USD £580 4.5★ Moderately wide prime combines ultrasonic focusing, image stabilisation and a fast aperture • • • • • 20 67 80.4 80.8 480
70-200mm f/2.8 SP Di VC USD G2 £1350 5★ Excellent telephoto zoom with updated autofocus and image stabilisation plus sealed construction • • • • 95 77 88 193.8 1500
70-210mm f/4 Di VC USD £699 4.5★ Lightweight telezoom promises high optical performance, image stabilisation and weather-sealing • • • • 95 67 76 176.5 860
100-400mm f/4.5-6.3 Di VC USD £789 5★ Relatively compact and lightweight telephoto zoom with moisture-resistant construction • • • • 150 67 199 86.2 1135
150-600mm f/5-6.3 SP Di VC USD G2 £1340 Popular long telephoto zoom that produces excellent results • • • • • 220 95 108.4 260.2 2010
VOIGTLANDER DSLR
28mm f/2.8 Aspherical SL II-S Color-Skopar £499 Manual-focus wideangle prime for Nikon F-mount SLRs boasts high-quality metal construction • • 15 52 66.3 32.8 205
58mm f/1.4 SL II-S Nokton £518 Large-aperture manual focus standard prime for Nikon SLRs, inlcuding classic film cameras • • 45 52 67.6 45.5 320
90mm f/2.8 APO-Skopar SL II-S £529 Remarkably small and lightweight manual-focus short telephoto portrait prime • • 90 52 66.3 41 260
ZEISS DSLR
15mm f/2.8 Milvus £2329 This super-wideangle lens has an angle of view of 110° and uses an advanced retrofocus design • • • 25 95 102.3 100.2 947
18mm f/2.8 Milvus £1999 Compact super-wideangle lens with premium optics including a floating focus system for close-ups • • • 25 77 90 93 721
21mm f/2.8 Milvus £1299 Premium wideangle lens with complex optics designed to be free of distortion • • • 22 82 95.5 95 851
25mm f/1.4 Milvus £1999 5★ Optically excellent, large-aperture manual focus wideangle lens with weather-sealed construction • • • 25 82 95.2 123 1225
35mm f/1.4 Milvus £1699 Large aperture, premium-quality manual-focus prime with weather-sealed construction • • • 30 72 84.8 124.8 1174
35mm f/2 Milvus £829 Compact, moderate wideangle manual focus prime • • • 30 58 77 83 702
50mm f/1.4 Planar T* £559 Classic double-Gauss design manual focus standard prime for full-frame SLRs • • • 45 58 71 71 380
50mm f/1.4 Milvus £949 5★ An exceptionally good lens offering sharpness, detail, clean edges and a great user experience • • • 45 67 82.5 94 922
50mm f/2 Milvus Macro £949 Manual-focus macro lens with half-life-size magnification and stunning optics • • • 24 67 81 75.3 730
85mm f/1.4 Planar T* £989 Classic portrait prime designed to give smooth, rounded bokeh effects • • • 100 72 78 88 670
85mm f/1.4 Milvus £1379 5★ Fast 85mm manual-focus prime lens that’s perfect for portraiture • • • 80 77 90 113 1280
100mm f/2 Milvus Macro £1299 A manual-focus macro lens with absolutely superb optics and half-life-size reproduction • • • 88 67 80.5 104 843
135mm f/2 Milvus £1899 Telephoto lens with a large aperture and smooth bokeh, ideal for medium-distance portrait photography • • • 80 77 129 132 1123
www.amateurphotographer.co.uk 57
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
CANON EOS R8 £200 OM SYSTEM OM-1 MARK II NEW!

Make the leap to full frame Available 14.02.24 - 13.03.24 The power of one frame & NOW IN STOCK!
24.2 20.4
MEGA
PIXELS 40 fps
3.0” IS 4K MEGA
PIXELS 120 fps
3.0” IS 4K
Give your creativity a full-frame upgrade The OM SYSTEM OM-1 Mark II is a

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SAVE £275 OFF SELECTED LENSES
BODY ONLY + RF 24-50MM IS STM BODY ONLY + 12-40MM II PRO Purchase the OM-1 Mark II with selected
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£2,199 £2,699 lenses, and receive £275 cashback
claimed from OM System UK. See
when purchasing RF lenses Check out www.youtube.com/@parkcameras website for details. Ends 13.03.2024.
and watch our hands-on, first look video!
CANON EOS R6 CANON EOS R6 II CANON EOS R5 M.ZUIKO M.ZUIKO M.ZUIKO

9-18MM 100-400MM 150-600MM
SAVE SAVE SAVE F/4.0-5.6 II F/5-6.3 ED F/5.0-6.3 IS
£200 £200 £200
NEW! NEW!
BODY ONLY BODY ONLY BODY ONLY

£1,399 £2,779 £3,999 £599 £1,169 £2,499
Normally £1,599. £200 trade-in bonus available! £400 trade-in bonus available! Stock expected March 2024. Spread the cost with our Stock expected February 2024.
See website for details. See website to learn more. See website to learn more. See website to learn more. finance options. See website See website to learn more.
CANON
RF 600MM
CANON
RF 100-400MM
CANON
PIXMA PRO-200
SONY A9 III NEW!
F/11 IS STM F/5.6-8 IS USM A3+ PRINTER
The power of one frame & NOW IN STOCK!
24.6
MEGA
PIXELS 120 fps
3.1” IS 4K
£699
£829 Spread the cost with 12 £459 The a9 III employs a newly developed
Spread the cost with our months 0% finance. Spread the cost with our
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SAVE £200 OFF SELECTED LENSES
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PIXELS
Offer available 15.01.24 – 29.02.24.
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SONY SONY SONY
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BODY ONLY + XF 16-80MM £100 £200 £200
£1,449* £1,849* SPREAD THE COST

12 months 0% finance available! £749* £2,049* £1,359*
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FUJIFILM XF 50MM
F/1.0 R WR
XF 100-400MM
F/4.5-5.6 R LM OIS WR
FUJIFILM
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HASSELBLAD 907X 100C
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All prices include VAT @ 20%.

All products are UK stock. E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
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Scan here
sales advisors 7 days a week to watch!
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UK’s largest independent photo store Award winning customer service Family owned & Run
SIGMA 14MM TAMRON 17-50MM SAVE

f/1.4 DG DN | Art f/4 Di III VXD £50
Embark on an extraordinary journey to From landscapes containing dynamic

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SIGMA SIGMA SIGMA TAMRON TAMRON TAMRON

10-18MM 70-200MM 100-400MM 11-20MM 35-150MM 70-180MM
F/2.8 DC DN | C F/2.8 DG DN OS | SPORTS F/5-6.3 DG DN OS | C F/2.8 DI III-A RXD F/2-2.8 DI III VXD F/2.8 DI III VC VXD G2
£599
Available for Fujifilm X / £1,499 £899 £799 £1,799 £1,329
Sony E / L-Mount Available for Sony E / L-Mount Available for Fujifilm X-Mount Available for Fujifilm X-Mount Available for Nikon Z-Mount Available for Sony E-Mount
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£188 £234 £257 Available in Blue / Darkness Available in Darkness Available in Grey / Darkness
USED USED USED USED

CANON EOS NIKON Z 6 SONY A9 FUJIFILM
5D MARK III BODY ONLY BODY ONLY X-T4
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available from £264 available from £689 available from £999 available from £869
CANON DSLRS NIKON DSLRS SONY MIRRORLESS FUJIFILM MIRRORLESS

EOS 5D Mark IV .............................. from £689 D850 ........................................................ from £959 A7S III ..................................................from £2,759 GFX 100S ..........................................from £2,909
EOS 5D Mark II ................................ from £189 D500 ........................................................ from £779 A7S II ....................................................... from £694 GFX 50R ............................................from £2,239
EOS 80D ............................................... from £429 D810 ........................................................ from £599 A7R V ..................................................from £2,859 X-Pro3 Dura Silver .....................from £1,709
EOS 750D ............................................ from £249 D800 ........................................................ from £399 A7R IV .................................................from £1,479 X-Pro3 Dura Black.....................from £1,369
A7R III .................................................from £1,459 X-Pro3 .................................................from £1,469
CANON MIRRORLESS NIKON MIRRORLESS A7R II ....................................................... from £799 X-Pro2 ..................................................... from £799
EOS R5 ...............................................from £2,399 Z 7.............................................................. from £969 A7 II .......................................................... from £459 X-T5.......................................................from £1,269
EOS R6 Mark II.............................from £2,119 Z 6 II .....................................................from £1,089 A7C ........................................................... from £989 X-E4 .......................................................... from £999
EOS R8 ...............................................from £1,339 Z 5.............................................................. from £759 ZV-E10.................................................... from £509 X-E3 .......................................................... from £699
EOS RP................................................... from £729 Z fc ............................................................ from £559 A6500...................................................... from £529 X-T30 II ................................................... from £639
EOS M50 Mark II............................. from £449 Z 50........................................................... from £419 A6300...................................................... from £409 X-S10 ....................................................... from £709
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Mifsuds Photographic Ltd Est. 1954.
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 [email protected]
Current opening times: - Tuesday - Saturday 10am till 2pm.
Proudly Celebrating 70 Years Of Serving The Photographic Community
As a thank you to the many customers who have supported us during these fabulous years,
we are planning a series of promotions and giveaways throughout 2024,
so be sure to keep checking our website... WWW.MIFSUDS.COM for full details.
Remember too that we have the West Country’s best selection of used & new stock....
DIGITAL (DSLR / Mirrorless) ~ FILM (35mm-6x7)
LENSES (AF / MF) ~ ACCESSORIES Etc.
Or sign up via the website, to receive regular updates on the latest news of what is new and happening at This is the camera used
to photograph weddings
back when the business
MIFSUDS PHOTOGRAPHIC. first opened
THE BEST STOCKED DEALER IN THE WEST COUNTRY

NOW STOCKING
Billingham have been producing camera bags of

distinction for 50 years, and we are very excited to
be stocking a range of the most popular products.
SAVE 50%
On Kenko Teleplus 1.4x, 2x Converters,
Selected Bags, Tripods & Filters
WANTED
YOUR FILM AND DIGITAL KIT

UPGRADE NOW - PART EXCHANGE & COLLECTION AVAILABLE (Subject to postcode)
CALL MATT 0736 828 8126 8am till 8pm daily
Sensor cleaning and Pro equipment hire available
ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 30/01/2024. E&OE.
Website
updated daily www.mifsuds.com The best stocked
dealer in the
inc. promotions Here to help - just call 0736 828 8126 (8am-8pm) or 01803 852400 West Country
QUALITY USED EQUIPMENT - Checked, Tested and Warrantied. More on website - www.mifsuds.com.
Used Canon R6
body
Used Canon 500mm F4
IS USM LII Used Canon 7D MKII
body box
R3 body R5 body 200-400mm 300mm F2.8 400mm F4 USM 5D MKIV body 90D body box
box box box IS USM IS USM LII DO II USM box
£3999 £2799 £1199 £3999 £3499 £4999 £1299 £899 £599

CANON R MIRRORLESS USED CANON DSLR USED CANON AF LENSES USED 24-105 F4 IS USM LII...................... £799 100 F2.8 USM macro box............. £299 50 F1.4 DG HSM Art box .............. £499
R3 body box ...................................£3999 7D MKII body box........................... £599 8-15 F4 L USM.................................. £749 24-105 F4 IS USM L ........................ £499 100-400 F4.5/5.6 LII box....£999/1499 70-300 F4.5/5.6 DG ........................ £139
R5 body box ...................................£2499 6D MKII body ................................... £899 10-18 F4.5/5.6 IS STM EFS ........... £149 28-135 F3.5/5.6 IS USM ................ £199 135 F2 L USM ................................... £499 100-400 F5/6.3 DG OS box.......... £499
R6 body box...£999 R body box £899 6D body box..................................... £599 10-22 F3.5/4.5 USM EFS ............... £149 35 F1.4 USM LII box .....................£1199 180 F3.5 L USM macro box ......... £699 105 F2.8 EX DG HSM OS box...... £299
RF 14-35 F4 L IS USM box..........£1199 5D MKIV body box .......................£1299 11-24 F4 L USM .............................£1399 40 F2.8 STM ...................................... £149 200-400 F4 IS USM .......................£4999 120-300 F2.8 DG OS HSM Sport. £1999
RF 15-35 F2.8 L IS USM box ......£1499 5D MKIII body .................................. £599 14 F2.8 USM LII................................ £799 50 F1.2 L USM box.......................... £599 300 F2.8 IS USM LII.......................£3499 150-600 F5/6.3 DG OS sport....... £749
RF 18-45 F4.5/6.3 IS STM box..... £249 80D body........................................... £599 15-85 F3.5/5.6 EFS.......................... £199 50 F1.4 USM box............................. £249 400 F2.8 L IS USM II......................£4999 150-600 F5/6.3 DG OS contem.. £749
RF 24 F1.8 STM macro box.......... £549 90D body box. ................................. £899 16-35 F2.8 USM LIII ........................ £899 50 F1.8 STM .........................................£99 400 F4 DO IS II USM.....................£3499 TC1401 1.4x extender................... £169
RF 24-105 F4 L IS...........................£1099 760D body ........................................ £369 16-35 F4 USM IS L box.................. £499 55-250 F4/5.6 IS EFS ...................... £149 400 F5.6 L USM box ....................... £699 OTHER CAF USED
RF 35 F1.8 IS STM box................... £399 650D body ........................................ £299 17 F4 TSE box.................................£1199 60 F2.8 macro EFS .......................... £349 500 F4 IS USM LII ..........................£4999 TAM 16-300 F3.5/6.3 II VC............ £399
RF 50 F1.2 L USM box .................£1899 BG-E20..........£149 BG-E7.................£49 17-40 F4 L USM ............................... £299 70-200 F2.8 IS USM LIII ...............£1199 1.4x or 2x extender MKIII each .. £299 TAM 24-70 F2.8 USD VC ............... £399
RF 70-200 F2.8 L IS box ..............£2299 BG-E16 / BG-E14 each......................£99 17-55 F2.8 IS USM box EFS.......... £399 70-200 F2.8 IS USM LII .................. £999 25mm ext tube II ............................ £129 TAM 70-300 F4/5.6 VC................... £249
RF 70-200 F4 L IS box..................£1299 CANON M MIRRORLESS USED 18-55 F3.5/5.6 IS STM EFS ..............£99 70-300 F4/5.6 IS USM L box........ £599 SIGMA CAF USED FLASH/ACCESSORIES USED
RF 85 F2 IS macro box .................. £499 M6 body............................................. £299 18-135 F3.5/5.6 IS EFS................... £149 70-300 F4/5.6 IS USM II Nano..... £499 10 F2.8 EX DC HSM ........................ £199 ST-E3 transmitter box ................... £169
RF 100 F2.8 L IS USM macro .....£1099 M3 + 15-45 F3.5/6.3 IS STM ........ £199 18-200 F3.5/5.6 IS EFS................... £299 70-300 F4/5.6 IS USM.................... £249 10-20 F3.5 EX DC HSM.................. £199 430EXIII.........£199 430EX II. ...........£99
RF 100-500 F4.5/7.1 L IS USM...... £2199 EF-M 11-22 F4/5.6 IS STM............ £299 24 F3.5 TSE II box..........................£1199 75-300 F4.5/5.6................................ £149 12-24 F4.5/5.6 II DG ....................... £399 580EX II..................................................£99
RF 600 F11 IS STM box ................. £499 EF-M 15-45 F3.5/6.3 IS STM ...........£79 24 F3.5 TSE ........................................ £699 85 F1.2 USM LII box ....................... £599 18-270 F5/6.3 Di VCII box ............ £179 600EX RT............................................ £199
RF 800 F11 IS STM box ................. £699 EF-M 55-200 F4.5/6.3 IS STM...... £249 24-70 F2.8 USM LII box................. £999 85 F1.8 USM...................................... £299 20 F1.4 DG Art box......................... £499 Angle finder C.....................................£79
BG-R10 grip fits R5 ......................... £279 EF-M adapter.......................................£89 24-70 F4 IS USM L........................... £599 100 F2.8 IS USM L macro box..... £699 24-105 F4 DG OS box.................... £499 TC-80N3 remote.................................£79
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON Z MIRRORLESS USED NIKON DSLR USED NIKON AF LENSES USED 24-120 F4 AFS VR............................ £499 300 F4 E PF ED VR box.................. £699 180 F2.8 DG OS mac box............. £599
Z9 body box ...................................£3999 D5 body ...........................................£2799 10.5 F2.8 fisheye box..................... £249 28-300 F3.5/5.6 VR box................. £599 400 F2.8 E FL AFS VR serviced .£4999 500 F4 DG OS HSM Sport box .£1999
Z8 body box ...................................£3199 D4 body box..................................... £899 10-20 F4.5/5.6 AF-P DX VR .......... £239 35 F1.4 AFS G box ..............................£799 500 F4 E FL ED AFS VR ................£4999 TC-1401 extender........................... £169
Z7 MKII body box .........................£1799 D850 body Mint box ...................£1999 10-24 F3.5/4.5 AFS box................. £399 35 F1.8 AFS G DX ...............................£99 500 F5.6 E PF VR AFS box ..........£2299 OTHER NAF USED
Z7 body box ...................................£1199 D850 body box..............................£1499 14-24 F2.8 AFS................................. £699 35 F1.8 AFS ED..................................... £299 TC14-EIII box..................................... £299 TAM 15-30 F2.8 Di USD ................ £299
Z6 MKII body box .........................£1199 D810 body box....................... £499/799 16 F2.8 AFD fisheye ....................... £299 35 F2.8 AFD........................................... £329 TC14-EII box...................................... £199 TAM 16-300 F3.5/6.3 II VC............ £399
Z50 body box................................... £499 D800 body box....................... £299/599 16-35 F4 AFS VR box ..................... £399 50 F1.4 AFS G box .......................... £299 TC17-EII box.........................................£99 TAM 24-70 F2.8 USD VC box....... £399
14-24 F2.8 S box............................£1699 D780 body Mint box ...................£1599 16-80 F2.8/4 VR DX ........................ £499 50 F1.8 AFS box..................................£99 TC20-EIII box..................................... £199 TAM 90 F2.8 macro ........................ £149
16-50 F3.5/6.3 S VR DX ................. £249 D750 body box................................ £799 16-85 F3.5/5.6 AFS VR ................... £199 50 F1.8 AFD..........................................£99 SIGMA NAF USED TAM 150-600 F5/6.3 Di VC........... £499
24-70 F2.8 S box............................£1699 D700 body ........................................ £199 18-35 F3.5/4.5 AFS box................. £399 55-200 F4.5/5.6 AFS VR box........ £149 10-20 F3.5 DC box.......................... £199 TAM 200-500 F5/6.3....................... £399
24-70 F4 S.......................................... £399 D500 body box..............................£1299 18-35 F3.5/4.5 AFD ...........................£99 60 F2.8 AFS ....................................... £299 12-24 F4.5/5.6 II HSM .................... £399 FLASH / ACCESSORIES USED
35 F1.8 S box.................................... £599 D7500 body box ............................. £899 18-55 F3.5/5.6 AF VR DX .................£99 70-200 F2.8 E FL AFS box ..........£1399 18-300 F3.5/6.3 OS HSM .............. £299 SB-700................................................. £149
40 F2 box.....£199 50 F1.2 S......£1699 D7200 body box ............................. £649 18-105 F3.5/5.6 VR DX AFS.......... £149 70-200 F2.8 AFS VRII box ............. £699 24-105 F4 DG OS ............................ £499 SB-900....................................................£99
50 F1.8 S............................................. £449 D7100 body box ............................. £449 18-140 F3.5/5.6 AFS VR box........ £149 70-300 F4.5/5.6 E AF P VR............ £499 35 F1.4 DG Art ................................. £499 SB-910................................................. £199
50-250 F4.5/6.3 S DX ..................... £199 D7000 body...................................... £199 18-200 F3.5/5.6 VR DX MKII......... £299 70-300 F4.5/5.6 AFS VR box........ £299 50 F1.4 DG HSM Art....................... £499 SU-800 commander ...................... £199
70-200 F2.8 VR S box...................£1799 D300 / D90 / D80 body each...... £149 18-300 F3.5/5.6 VR DX .................. £599 70-300 F4.5/5.6 AFD.........................£99 70-200 F2.8 EX DG OS HSM ........ £399 DR-6 angle finder ........................... £149
85 F1.8 Z box.................................... £599 MBD-18 (D850)................................ £269 20 F1.8 AFS box............................... £599 80-400 F4.5/5.6 AFS VR box........ £999 85 F1.4 Art box ................................ £799 DR-5 angle finder ........................... £149
100-400 F4.5/5.6 VR S box.........£1999 MBD-17 (D500)................................ £199 20 F2.8 AFD box.............................. £199 85 F1.4 G AFS box .......................... £499 105 F2.8 EX DG HSM OS............... £299 DR-4 angle finder ..............................£79
105 F2.8 VR macro box................. £799 MBD-16 (D750)................................ £149 24 F1.4 G AFS Mint box................ £699 85 F1.8 AFS box............................... £299 120-300 F2.8 DG OS HSM Sport. £1699 MC-36A remote..................................£99
400 F4.5 VR S Mint box...............£2699 MBD-15 (D7000/7100/7200) ........£69 24 F2.8 AFD box.............................. £279 105 F2.8 AFS VR macro................. £399 150 F2.8 EX DG OS HSM box...... £499 MC-30A remote..................................£59
FTZ adapter II box .......................... £229 MBD-12 (D800/810)....................... £149 24-70 F2.8 AFS VR box................£1399 200 F4 AFD macro box................. £999 150-600 F5/6.3 DG OS sport....... £749 SC-19 cable..........................................£49
FTZ adapter box.............................. £179 MBD-80 (D80/90)...............................£49 24-70 F2.8 AFS................................. £399 200-500 F5.6 E ED AFS VR box... £999 150-600 F5/6.3 DG OS contem.. £749 SC-28 cable..........................................£49
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
GITZO CF TRIPODS/HEADS USED 10-24 F4 XF R box........................... £399 SONY DIGITAL USED OLYMPUS MICRO 4/3 USED PANASONIC MICRO 4/3 USED PANASONIC S DIGITAL USED
GT3541LS .......................................... £499 16 F1.4 WR box................................ £599 A1 b/o....£3999 A9 MKII b/o.....£1999 OM-1 body Mint box...................£1599 G9 body......£699 G7 body .......... £299 Lumix S5 + 20-60 F3.5/5.6.........£1199
GT3542 ............................................... £499 16-80 F4 ............................................. £499 A7R MKIV box ................................£1499 EM1 MKII body box........................ £599 GH5 body box.................................. £699 70-300 F4.5/5.6 OIS box............... £699
GT5532S............................................. £499 18-55 F2.8/4 XF Mint- ................... £399 SONY FE MOUNT DIGITAL USED EM10 MKIII S body ......................... £349 GH4 body .......................................... £499 PENTAX DIGITAL USED
GT5540LS .......................................... £499 18-135 F3.5/5.6 WR........................ £399 12-24 F2.8 GM................................£1999 EM10 MKII body.............................. £279 GX-80 body box .............................. £299 K5 II body box....£299 K5 body. £199
GH3750QR head ............................. £299 23 F1.4 XF.......................................... £399 16-35 F4 ZA.....£699 24 F1.4 G... £899 8 F1.8 Pro........................................... £499 7-14 F4 box....................................... £499 16-45 F4 ED DA box....................... £149
GH3780QD head............................. £299 50-230 F4.5/5.7 MKII...................... £239 24 -70 F2.8 GM II...........................£1699 7-14 F2.8 ED Pro box..................... £699 8 F3.5 box.......................................... £449 18-55 F3.5/5.6 AL...............................£49
GH5380SQR head........................... £299 55-200 F3.5/4.8 R box ................... £399 24-70 F2.8 GM.................................. £999 9-18 F4/5.6 ED box......................... £299 12-60 F3.5/5.6 .................................. £299 18-250 F3.5/6.3 DA ........................ £199
GS3750 DQR panoramic head... £149 56 F1.2 R box.................................... £599 24-70 F4 ZA OSS ............................. £499 12-40 F2.8..............................................£399 14-42 F3.5/5.6 .....................................£99 35-80 F4/5.6.........................................£49
FUJI X DIGITAL USED 60 F2.4 R mac................................... £349 24-105 F4 G OSS box........................£69 12-45 F4 Pro box.................................£349 14-45 F4/5.6...................................... £149 50 F1.8 DA............................................£99
XH-2 body Mint box....................£1599 100-400 F4.5/5.6 R ......................... £899 35 F1.4 ZA OSS box........................ £599 40-150 F2.8 Pro ............................... £849 25 F1.7 ................................................ £119 50-200 F4/5.6 WR...............................£99
X-T5 body black Mint box .........£1299 1.4x converter.................................. £329 35 F2.8 box..£499 50 F1.2.........£1499 40-150 F4.5/5.6....................................£149 42.5 F1.2 DG ..................................... £499 55-300 F4/5.6 ED HD WR ............. £299
X-T30 MKII + 15-45 box ................ £799 Samyang 12 F2 man focus.......... £149 55 F1.8.....£499 100 F2.8 GM OSS£899 60 F2.8 mac....................................... £369 45-175 F4.5/5.6................................ £299 OTHER PENTAX AF USED
VG-XT4 grip....£199 VG-XT1 grip .£49 X500 flash.......................................... £349 100-400 F4.5/5.6 OSS D..............£1699 75-300 F4.8/6.7 MSCII ................... £399 45-200 F4.5/5.6 box....................... £149 SIG 10-20 F3.5 EX DC HSM.......... £199
VPB-XH1 grip...£99 VPB-XT2 grip £99 EF-42 flash......................................... £119 200-600 F5.6/6.3 ...........................£1199 MC20 converter .............................. £299 100-300 F4/5.6 MKII....................... £399 TAM 10-24 F3.5/4.5 DiII box........ £199
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA ETR 645 USED BRONICA SQ 6x6 USED BRONICA GS 6x7 USED MAMIYA 645 MF USED PENTAX 645 AF USED PENTAX 6x7 USED
ETRSi + AEII prism + 75 EII SQAi + 80 + WLF +120 box........ £799 150 F4 PG .......................................... £199 645 Pro body.................................... £399 33-55 F4.5 FA.................................... £499 6x7 + meter prism......................... £599
+ speed grip + 120 back.............. £699 SQA + 80 + WLF + 120.................. £599 AE prism............................................. £199 Teleplus 2x conv..£39 WLF ......... £199 45-85 F4.5 FA.................................... £499 35 F4.5 fisheye................................. £599
ETRSi body ........................................ £299 SQAi body.......................................... £399 Speedgrip G box................................£99 WLF Super..............£99 120 back £149 55 F2.8 D FA box ............................. £499 55 F4 early......£399 55 F4 late ... £599
ETRS body ......................................... £199 SQA body .......................................... £299 HASSELBLAD 6x6 USED 120 insert..£29 Ext tube 1/2/3 ea£29 55-110 F5.6 FA ................................. £499 55-100 F4.5 ....................................... £499
40 F4 PE.........£399 40 F4 E......... £199 50 F3.5 PS box ................................. £349 503CW, 80 F2.8 CFE, A12, WLF£2999 MAMIYA TLR 6x6 USED 120 F4 FA macro ............................. £499 75 F4.5 box.....£499 90 F2.8........ £599
50 F2.8 PE.....£299 50 F2.8 E MC £199 110 F4 macro ................................... £299 500CM + 80 F2.8 CF + A12 ......£1999 C330S body + WLF......................... £499 150-300 F5.6 FA ED box ............... £499 90-180 F5.6 box............................... £499
135 F4.............£299 150 F3.5 E.......£99 150 F4 PS ........................................... £299 503CX body...................................... £999 55 F4.5 ................................................ £249 200 F4 FA........£399 300 F5.6 FA £499 105 F2.4 late box ............................ £699
150 F3.5 PE....£199 180 F4.5 PE £299 2x converter PS ............................... £149 500CM body..................................... £499 MAMIYA 7 RF 6x7 USED 400 F5.6 FA........................................ £499 105 F2.4 early................................... £499
200 F4.5 E.......£99 250 F5.6...........£99 2x converter S.....................................£69 500C body......................................... £399 150 F4.5.............................................. £399 PENTAX 645 MF USED 120 F3.5 soft focus ......................... £399
2x extender..........................................£49 SQAi waist level finder.................. £199 135 F5.6 CF + macro bellows..... £699 210 F8 ................................................. £399 45 F2.8.............£299 55 F2.8......... £399 135 F4 macro...£299 165 F2.8 ... £299
ETRSi 120 back RWC late ............. £119 SQAi prism late................................ £399 150 F4 CF........................................... £499 Polarising filter ZE702 box .......... £149 80-160 F4.5....£299 120 F4 mac £399 200 F4 latest ..................................... £299
AEIII prism ......................................... £399 SQAi 120 back late ......................... £199 150 F4 Black T* ................................ £299 MAMIYA RB 6x7 USED 200 F4..............£199 135 F4 leaf . £499 300 F4 latest ..................................... £299
AEII prism .......................................... £199 SQA 120 back early........................ £149 180 F4 CF box .................................. £799 Pro S + WLF + 120 RFH +90........ £699 300 F4 green T*............................... £499 1.4x or 2x rear converter grey ea£199
Ext tube E14 or E28 each................£49 Plain prism S..................................... £199 250 F5.6 CF box............................... £399 Pro SD body...................................... £399 1.4x or 2x converter each............ £199 Plain prism...£199 Chimney....... £299
Speed grip E...£99 WLF............... £149 Polaroid back......£20 WLF........... £199 250 F5.6 black T*............................. £299 55 F4.5 ................................................ £299 Auto ext tube set............................ £149 REF converter angle finder ......... £199
Rotary prism E box......................... £149 SQA speed grip ..................................£99 PM 45° prism.................................... £399 Prism early....£129 Chimney box£149 Helicoid ext tube ............................ £149 Helicoid ext tube ............................ £199
Plain prism E box............................ £149 Lens hoods various.................... £20/50 A12 magazine......................... £199/499 Extention tube 1................................£59 REF converter angle finder ......... £149 Wooden grip .................................... £299
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED MINOLTA AF USED NIKON AF BODIES USED NIKON MF LENSES USED OLYMPUS OM USED
EOS 3 body......£399 EOS 5 body .£99 Dynax 9xi, 7xi or 800Si body each£99 F5 body .............................................. £499 24 F2.8 AIS......................................... £199 OM-2N body chrome .................... £149
EOS 650/50E body each..................£79 20 F2.8...........£299 50 F1.7..............£99 F100 + MB-15 grip ......................... £299 28 F2 AIS............................................ £399 OM-2 body chrome box............... £149
CANON FD USED 75-300 F4/5.6 ......................................£99 F90X body............................................£99 28 F2.8 AIS......................................... £299 OM-1N body chrome.................... £149
T70 body...............................................£69 100 F2.8 macro................................ £299 F801/F801s body...............................£99 28 F4 shift.......................................... £299 OM-40 body ........................................£99
28 F2.8..................£99 50 F1.8........£79 100-300 F4.5/5.6 box .................... £129 NIKON MF BODIES USED 28-85 F3.5/4.5 AIS........................... £299 OM-20 body ........................................£99
50 F3.5 mac......£149 70-210 F4....£99 100-400 F4.5/6.7 ............................. £299 F Photomic FTn Apollo 35 F2.8 shift....£299 35 F2 AIS.... £269 OM-10 body chrome........................£99
100-300 F5.6.......£99 135 F3.5 ......£69 VC700 grip Dynax 700Si/800Si.....£39 chrome body.................................... £399 35-70 F3.5 AIS .....................................£99 24 F2.8 ................................................ £169
500 F8 ................................................. £299 Sigma 50 F1.4 Art box .................. £399 F + plain prism Apollo chr body£399 35-105 F3.5/4.5 AIS........................ £149 28 F2.8 ................................................ £169
FD auto bellows box ........................£99 Tamron 28-75 F2.8 XR Di box..... £199 F + plain prism black..................... £499 50 F1.4 AIS......................................... £299 28 F3.5 ...................................................£99
Leica M and Q LIGHTMETERS USED

Minolta Auto Meter IVF box ....... £149
Minolta Flashmeter V.................... £149
Tamron 90 F2.8 Di macro ............ £199
Sony SAL 1.4 TC converter .......... £299
MINOLTA MD USED
F + plain prism chrome................ £399
F3HP body......................................... £599
F3 body .............................................. £499
50 F1.4 AI........................................... £199
50 F1.8 AIS......................................... £149
55 F2.8 AIS micro............................ £199
35 F2.8 shift ...................................... £299
35 F2.8 ................................................ £149
35-70 F4 ................................................£79
series cameras & Minolta Flashmeter IVF ................ £149
Sekonic L308B ....................................£99
X700 body black ............................. £199
X300 body blk/chrome ...................£99
F2 Photomic + DP-1 chrome...... £399
F2A body black ............................... £399
80-200 F4 AIS ................................... £199
100-300 F5.6 AIS ............................. £199
50 F1.4 ................................................ £149
50 F1.8 ...................................................£99
lenses WANTED. Sekonic L358.................................... £199
LEICA DIGITAL USED
35-70 F3.5/4.5 .....................................£69
35-105 F3.5.....£149 50 F1.7...........£99
FM2N body Black............................ £399
FM2N body Chrome...................... £399
135 F2 AIS.......................................... £399
180 F2.8 ED AIS ............................... £349
80 F4 macro...................................... £199
135 F2.8.............................................. £199
Ring or email MP silver body...............................£1999
LEICA 35mm M USED
50-135 F3.5 ....................................... £149
70-210 F4..............................................£99
FE2 body chrome ........................... £349
F301 body ............................................£99
200 F4 AI..........£149 200 F4 AIS. £199
300 F4.5 ED AIS ............................... £399
135 F3.5.................................................£99
200 F4 ....................................................£99
us now. M6 0.72 chrome body box........£2199
M6 0.72 black body box.............£2199
100 F4 macro + 1:1 tube.............. £199
300 F4.5.............................................. £199
Angle finder F fits FE/FM etc.........£49
DG-2 Eyepiece magnifier................£49
TC200 converter.................................£99
PB-4 or PB-6 bellows each .......... £199
300 F4.5.............................................. £149
Macro bellows box............................£99
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN WE CAN HELP. CORRECT 30/01/2024.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
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Stock Listing Feburary 2024 MINOX Specialists since 1969

Classic film and new Minox optic dealer
Used 35mm Film Cameras & Lenses Condition Price 8x11 Minox Film Cameras & Rare items Condition Price
Zeiss Ikon Kollibri Rare 127 camera "hummingbird" case, filter, strap, hood EXC++ £249 VEF Riga Selection from Serviced £1,600
Pentacon F, instructions Manual, shutter slow EXC++ £149 Minox Riga Enlarger with fitted case, tank Fully working £6,999
Zeiss 127 and Komica 127 copy cameeras 2 x 127 camera with film EXC £199 Minox EC flash tester Factory test part £499
Fuji GFX50R II kit 35-70, 50, extension tubes, outfit case with new Godox Flash MINT- £3,499 Black Minox C EXC++ £225 choice
Contax III Rangefinder/50mm Sonnar 1.5 1937, Serviced EXC+ £499 Black Minox B EXC++ £299
Minox 35 EL Serviced EXC £125 Chrome LX EXC++ £249
Minox 35 PL Serviced EXC £149 Chrome C EXC++ £199 choice
Minox 35 PE Rare with built in flash EXC++ £199 Chrome BL EXC++ £349 choice
Minox 35 PL Serviced EXC £149 Chrome B or A EXC++ £125 choice
Minox 35 GT Serviced EXC £179 Minox EC A0 Blueprint Diagram Original Paper Design Plans £2,999
Minox 35 MB Serviced EXC Sold Black EC EXC++ £79
Minox 35 ML Serviced EXC £199 LX Platinum Boxed as new Japanese version £699
Minox 35 GT-S Upgraded lens EXC- £225
Minox 8x11 film and re-usable cassettes Condition Price
Black Cassette Metal New for C, BL, LX, EC New £65
New Minox Binoculars & Optics in stock Magnification Price Grey Cassette for A, B, C, BL, LX, EC New £95
X-Range Laser Rangefinder to 2.8km 10x42 £1,546 New film in refurbished plastic cassette 400 ASA BW £19.99
Rapid Fixed Focus, Ruggidised 7.5x44 £480 New film in refurbished plastic cassette 400 ASA Colour £19.99
X-HD Made in Germany 10 year guarantee 8x44 £768
X-Active 10 year guarantee 10x44 £288
X-Active 10 year guarantee 10x33 £268 Processing 8x11/110/APS film Price
X-Active 10 year guarantee 8x25 £193 Process/Scan BW or Colour C41 or scan existing negatives only £12.50
X-Lite 2 year guarantee 10x42 £199 Process/Scan/Refill BW or Colour C41 with 8x11mm cassette refill £19.50
X-Lite 2 year guarantee 10x34 £159
X-Lite 2 year guarantee 10x26 £129 Process Disc Film Price
Process/Scan or Scan existing negatives only from £17.50
New Minox Night Vision in stock Process/Scan/Replace with expired film £25.00
NV650 6x optical, 30x digital day/night use £431
MD Monocular with Compass 7x42 £210 Minox Accessories Price
DTC 460 with bark cover day/night use £177 Minox Enlargers From £299.00
Minox Colour Enlarger Diffuser, Curved Lens £399.00
Minox Tripod New model £70.00
To order call 0203 971 8827 or www.https://mshobbies.co.uk Minox 3001 Slide Projector Case, lead £160.00
email: [email protected] Minox Flashes For 35 or 8x11 from £25
MS Hobbies Limited, 132b Putney High Street, Putney SW15 1RG HP 24 AF Very rare UK model £499.00
Registered Company Number: 09901402 HP Minomat/Minotact Cased £299
Professional B/W and Colour
processing and printing service -
from 35m - 5x4 negatives or films
Develop and contact sheet @ £8.00 per film COLLECTABLE CAMERA SPECIALISTS
2 or more films @ £7.00 each
Develop and 6x4 prints @ £13.00 per film
Develop and 5x7 prints @ £16.00 per film
£35
Send cheque + £3.00 P&P
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Equipment for sale?

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Photo Critique
Final Analysis
Tracy Marshall-Grant considers…
The New Bell, Pubtown, 2023, by Jon Tonks
J
on Tonks is the independent pubs
a UK-based that sit at the heart of
photographer them. It is about where
whom I’ve people go in their
worked with several locality, the place pubs
times for exhibitions have as the hub of
and projects from his community and their role
series Empire and The as cultural institutions.
Men Who Would be Tonks captures the
King. Tonks’ pictures are importance of the pub in
a real pleasure to work the fabric of a place and
with; their detail, colour, the people who live and
context, and light make work in it. His project is
for easy installation, and inspired by The Pub and
the audience positivity The People, a book by
is always right up there. Mass Observation. It was
His work intrigues a 1930s study of an
me with its focus on anonymous northern
telling stories about British town that
people’s lives shaped recorded behaviour and
by their history or their pub culture.
geography. It pricks the
curious side of me as well Historic
as the aesthetic. I want This particular image is
to know more – about of The Bell Inn. The pub
the people, the places, is a historic free house
and the contexts. on the edge of Bath city
centre which was
Focus on stories purchased by 500 of its
I’ve selected this picture, customers and workers
from the many I could in July 2013. This is local
have by him, as it to Tonks’ home and was
departs a little from a record of the tenth
those I know so well. It is anniversary of the pub’s
firstly in black & white community buy-out.
©JON TONKS
as opposed to his more Presenting the image
recognisable colour in black & white creates
work, and it is also local a timeless and ageless
to his home, rather than look. On first glance this very heart of the picture period looking at the musicians with banjos
somewhere across the could be 1930s or ’40s. that contemporary details of each of the and saxophones,
globe as is often his The rough sides of the T-shirts and handbags people represented. The people in a cart, men
norm. Yet it still ticks all building almost lend a peeking out show that women and men looking wearing pirate hats,
the normal Jon Tonks ‘post bombed-out’ look the modern era is indeed out of each window, peace signs, waves, and
boxes in its focus on the to the image. represented. their poses, their look, endless smiles, laughs
history and stories of a The timeless nature of What I love most their stance, their and the odd serious look
place and people. the pub front and about this picture, and expressions. A full throughout. You can’t
The picture is from a signage add to that look. I urge the reader to take gambit of life is look without seeing
series, Pubtown, which It’s only when you start time to look closely at it represented in each of something new
draws his lens towards to look closely at the too, is the ability to those pictured. Look each time. Visit
local communities and people who make up the spend a considerable closely and you’ll find www.jontonks.com
Tracy Marshall-Grant is an arts director, curator and producer. She has recently been deputy director of the new Centre for British Photography and director of development for the Royal
Photographic Society. Previously she has worked for the Bristol Photo Festival, Look Photo Biennial 2019, Open Eye Gallery and Belfast Exposed Gallery. Tracy co-curated the award-winning
Chris Killip exhibition which was on show at the Baltic gallery in Gateshead.
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Tuesday 20 February 2024

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