Amateur Photographer

Saturday 10 September 2016
P elly,ntll-afrax K -ou-nt DSLR

Fina a fu me K-m
TESTED but was it worth the wait?
Passionate about photography since 1884
Secrets of
successful
silhouettes
Techniques and ideas for
dramatic backlit photos
How top wildlife Canon

pros are uniting to EOS -300D
save the elephant
Sub-350 DSLR
with Wi-Fi
Scotlands
best landscapes
Award-winning images, plus
how and where they were taken
Fukushima Unique photographic project returns to the no-go zone

7days
COVER PICTURES PHILIP ELLARD/ALAMY STOCK PHOTO, CHRISTOPHER SWAN
A week in photography
Wildlife photographers, like community has united to try to stop the
photojournalists, are often decline. To nd out more, turn to pages 35-37.
witness to scenes of cruelty, Meanwhile, on a very different note, we
suffering and injustice that are want our camera tests to be as informative as
difcult to ignore, whether at possible for our readers so weve made our
In this issue the hands of man or nature. Sometimes they resolution tests easier to read. Weve reduced
12 Taking shape get directly involved, but mostly they let their the magnication of the crops we print, and
Tracy Calder explains pictures do the talking in the hope that they added an overview of the test pattern that they
how silhouettes can will be a catalyst for action. Now, as the worlds come from, to better illustrate what they mean.
add drama, mystery and elephant population continues to be decimated Head on to our camera tests from page 51
impact to your photos by poaching, the wildlife photography onwards. Nigel Atherton, Editor
22 Northern
exposure JOIN US amateurphotographer. Facebook.com/Amateur. ickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
Ian Cameron, Scottish
Landscape Photographer
of the Year 2015, talks to
Oliver Atwell ONLINE PICTURE OF THE WEEK
24 Scenes of
the sublime
We look at some of the
images from the Scottish
Landscape Photographer
of the Year competition
33 The picture that
changed my life
Jeremy Walker discusses
the Reed Cutter, Norfolk,
by Duncan McNicol
35 Never forget
Keith Wilson explains how
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
wildlife photographers are
using their images to help
preserve the elephant
38 When Harry met
How Harry Borden captured
his image of media mogul
Rupert Murdoch
41 Return to the
no-go zone
SHAUN MILLS
Guillaume Bression talks

about photographing
those affected by the
Fukushima disaster Gotta Catch Em All by Shaun Mills
51 Canon EOS 1300D Sony Cyber-shot DSC-RX100 III, 25.7mm, 1/320sec at f/2.8, ISO 100
Audley Jarvis tests Canons Each week we choose our favourite
latest entry-level model
54 Pentax K-1
AP reader Shaun Mills uploaded this
image to our Flickr page and its a
great example of street
give the genre a go, as the Sony is
far less intrusive than my Canon kit. I
walked through a local park as thats
Win! picture on Facebook, Flickr,
Twitter, Instagram or the reader gallery using
Matt Golowczynski puts photography, as well as being a where people playing Pokmon Go #appicoftheweek. PermaJet proudly supports
Pentaxs rst full-frame more-than-familiar scene. seem to hang out. Having wandered the online picture of the week winner, who will
DSLR through its paces This was my rst foray into street around for a while I stumbled upon receive a top-quality print of their image on the
photography, having recently these four boys on a bench all glued finest PermaJet paper. It is important to bring
Regulars acquired a Sony Cyber-shot
DSC-RX100 III as my second
to their phones, and I knew that shot
would sum up the Pokmon fever
images to life outside the digital sphere, so we
encourage everyone to get printing today! Visit
3 7 days camera, says Shaun. I thought Id currently sweeping the nation. www.permajet.com to learn more.
8 Bookshelf
20 Inbox
44 Evening class Send us your pictures If youd like to see your work published in Amateur Photographer, heres how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
48 Accessories CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 21.
61 Tech Support Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
82 Final Analysis Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 21
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
Top guns
UK MOD CROWN COPYRIGHT 2016

An incredible image of a pair
of F-35B Lightning II stealth
fighter jets is among photos
shortlisted in the RAF
Photographic Competition.
Captured by Senior
Aircraftman Tim Laurence,
Strikes of Lightning (above
right) is among nine shots chosen from 645 submitted by RAF
photographers. To vote for the Peoples Choice award, visit www.raf.
mod.uk/photo-of-the-year-2016. The closing date is 11 September.
Street ace dies

Tributes have been paid to Colin
OBrien (left), a photographer
renowned for his candid street
photos of London life. Colin,
who died at the age of 76, will
be especially remembered for
his images of working class
London in the 1950s and 60s.
One of his 1960s black & white
LEICA CAMERA LTD
photos graced the cover of the

first edition of the novel Alfie,
written by Bill Naughton.
McCullin wins US Lucie Award

British photojournalist Don
KATHERINE JANE WOOD
McCullin is among winners of

this years Lucie Awards for
achievement in photography.
The US-based awards were set
up to honour photographers and
cultivate emerging talent. Lucie
Advisory Board chairman David
Clarke said this years winners
have a common gift of tenacity
and determination to achieve
their vision.
TIM WALKER
Canon EOS 1DX Mark II update

Canon will this month add IPTC support
to the EOS 1DX Mark II via a firmware WEEKEND PROJECT
update to boost photographers workflow.
IPTC is a metadata standard used by
1
Set a narrow aperture to
bodies such as news agencies to store
and categorise images and help search for
Getting focused maximise depth of field,
but avoid going smaller
them. For more details visit www.canon.
co.uk/support. landscapes than f/16 to prevent diffraction.
Typically, a narrow aperture will
Sharp focus is important in most photographic slow the shutter speed, so a
genres, but particularly so in landscapes. Even tripod or good image stabilisation
Free street workshops slightly soft landscape images will get marked down is nearly always needed.
Panasonic has announced a new in photo competitions, so be warned. Generally, the
series of free street photography aim with most landscapes is to capture all parts of
workshops, to be hosted by former
2
the scene in sharp focus from the foreground to Use a cable release to
AP Editor Damien Demolder. Aimed mid-ground and background; you are looking for avoid jarring the camera
at photographers of all levels,the maximum depth of field, in other words. Remember, as you press the shutter
day includes a constructive however, that depth of field is also affected by your button. Then, lock up the mirror
critique and a Q&A. Panasonic will lenss focal length and distance at which it is focused. or switch to the rear live-view
provide Lumix G cameras to use, So the longer the focal length, the shallower the screen. Use 100% live-view
and a free SD card to take home. depth of field, and vice versa. Read on for some magnification to check areas
Visit www.panasonic.com. essential tips for sharply focused landscapes. that must be critically sharp.
4 10 September 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

BIG
picture
Photographers and
their cameras featured
in a new exhibition
As we all know, when
photographers get together,
they love nothing more than
discussing the ins and outs of their
kit, specically their cameras and
lenses. Its with this in mind that
Londons Victoria and Albert
Museum is currently holding an
exhibition looking at images of
120 photographers and their
cameras, ranging from the 19th
century to the present day.
In this image by fashion
photographer Tim Walker, we see
model Lily Cole on set while being
dwarfed by a gigantic Plexiglas
reproduction of a Pentax SMC
500 camera designed by Simon
Costin. Soon after, the camera
went to auction along with a large
breglass model of a Kodak lm
role, together fetching 2,500.
The show runs until 5 March
2017. Entry is free. Visit www.
vam.ac.uk/exhibitions/the-
camera-exposed.
Words & numbers
Anybody can
be a great
photographer
if they zoom in
3
Change to manual focus
and focus a third of the enough on what
way into the frame
(a third up from the bottom they love
of the viewfinder), or refer David Bailey
to a hyperfocal distance
calculation chart. Again, check British fashion and portrait
photographer, b1938
all areas for sharpness.
4
At longer focal lengths
150
WWW.ISTOCKPHOTO.COM/ADAM-SPRINTER
its important to choose

a narrow aperture to
ensure everything is sharp from
front to back. A wideangle lens
set to a narrow aperture is Focus carefully and pick a
thousand Top prize in
suitably narrow aperture
generally the most reliable lens for super-sharp scenic shots
Master of Photography
TV series on Sky Arts
to maximise depth of field.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 10 September 2016 5

Is it an ice cream? Andy
Parkinsons winning
shot baffled some, but
delighted the judges
Fuji reveals
23mm f/2
details
FUJIFILM has revealed
full details of its new
wideangle lens, due out at
the end of this month.
ANDY PARKINSON
The Fujinon XF 23mm

f/2 R WR, which weighs
180g and costs 419,
will be available in
Bird Photographer of
traditional black but also,
from next January, an
optional silver nish.
Of a similar size and
the Year ruffles feathers

design to the Fujinon XF
35mm f/2, the weather-
and dust-resistant lens
should deliver the
AN IMAGE of a mute swan years working with local subjects, than 700 billion photographs equivalent of a 35mm
(above), described by judges building an encyclopaedic knowledge each year and, as much as they lens in 35mm format.
as unusual and imaginative, has of behaviour, light and perspective. communicate in many ways, in The 10-element-in-six-
triumphed in the inaugural Bird Im delighted that my endeavours terms of photographic merit the groups optic includes two
Photographer of the Year have been so generously rewarded. vast majority are total rubbish. aspherical elements. A
competition, eclipsing more than But his winning image was not to What we are looking for are those stepping motor aims to
6,500 entries worldwide. However, everyones tastes. Among its critics images which have an instant and deliver fast and quiet AF.
some observers were left confused was Craig Johnson, who remarked enduring wow factor. In 2017, Fuji is due to
over what the shot depicts. on APs Facebook page that it Commenting on the challenge launch two more similarly
Andy Parkinson from Matlock, resembled a scoop of ice cream. presented by photographing styled primes: a 50mm f/2
Derbyshire, beat photographers from Contributor Mayank Gautam wrote: birds, Packham added: They y R WR and a 80mm f/2.8 R
40 countries to claim the 5,000 Cant gure out what the picture is. off, dont listen to a word you say LM OIS WR Macro.
top prize. Describing the win as a However, Sammy Odonnell and are a much favoured subject
massive honour, Parkinson said: I seemed in no doubt: Top of the in the wildlife photography genre
always strive to produce genuinely wings with the head down, aka slow hence there is massive competition,
unique images, revealing familiar syncd shutter when using ash! making it hard to say something new
subjects in different ways. This is Chris Packham, the competitions with an image.
achieved by spending months or head judge, said: We upload more But the winning image exemplies
this art perfectly a much
photographed, familiar and
accessible subject is represented
in an entirely new and fabulously
imaginative way.
The Bird Photographer of the
Subscribe to
Year is organised by the British
Trust for Ornithology and Nature
Photographers Ltd, and the winners
were announced at the recent
Birdfair 2016 in Rutland. To view
more of this years competition
SAVE *
winners, visit birdpoty16.picturk.com/
pages/winners.
The 2017 competition is open for
entries until 30 November 2016.
35%
Visit amateurphotographer
BENCE MATE
A Too Big Bite helped

Bence Mate to Best Portfolio
For details visit birdpoty16.picturk. subs.co.uk/15W (or see p40)
com/pages/rules. * when you pay by UK Direct Debit

Get up & go
The most interesting things to see, to do
and to shoot this week. By Oliver Atwell
HIGHLAND
Wi-Fi set to broaden
HANS KRUSE
appeal of DxO One Hans Kruse: Isle of Skye workshop
THE TINY DxO One The addition of Wi-Fi the revamped One will Heres your chance to hone your photography skills with landscape
camera is set to allow connectivity raises the cost 399 and is due photographer Hans Kruse. He will help you get the best results
remote control from possibility that the camera out in the second half from the Isle of Skye landscape and share his expert advice on
Apple iPhones via a Wi-Fi may one day allow of September. post processing. This jam-packed workshop lasts six days.
connection. Currently, the control from Android The Wi-Fi modication 18-23 September, bit.ly/2c9KUaU
DxO One, which is only smartphones, as it is no will be available to current
compatible with the longer constrained by a owners free of charge by
BRIAN GRIFFIN
LONDON
iPhone, can connect to physical connection. downloading the 2.0
the phone via its Lightning Billed as a pro-quality software update via the
connector. This allows the camera, miniaturised, iTunes store.
TONY RAY-JONES
iPhones screen to be The update also

used to control the introduces Mobile Smart
camera and view images. Lighting to enhance KENT
DxO hopes remote dynamic range, and
shooting via Wi-Fi will improves battery life. Only In England Brian Grifn
widen the appeal of the A new white balance This exhibition at The Beaney in The Magic Gallery in London is
20.2-million-pixel device feature compensates for Canterbury features over 100 showing Brian Griffins project
launched last year and the blue cast on images works drawn from the Tony Himmelstrasse (Heaven
targeted at serious shot underwater. Ray-Jones archive at the Street). It comprises photos of
photographers. A new This is the fourth and National Media Museum, the train tracks cutting through
camera stand accessory most signicant update to alongside 30 black & white the Polish landscape which
and waterproof case the DxO One, which photographs by Martin Parr carried millions to their death
may also attract users Jrme Mnire, DxO titled The Non-Conformists. in Nazi concentration camps.
seeking remote control, founder and CEO, www.canterburymuseums. Until 30 September, www.
including underwater describes as the camera co.uk/events/only-in-england facebook.com/themagicgallery
photographers (see DxO Ones new Wi-Fi feature is that gets better after
next week for details). available to existing users, too you bought it.
SURREY Wildlife Workshop
Nigel Wilson will be conducting a two-day
WIN a dream holiday
JONATHAN GREGSON
workshop at the British Wildlife Centre near

Lingfield in Surrey. The environment
to The Gambia with AP promises unrivalled opportunities to
capture British wildlife and the course
AP AND Lonely Planet Traveller have joined forces
over a Friday and Saturday costs 275.
NIGEL WILSON
to offer one lucky reader the chance to win a

seven-night holiday for two to The Gambia. The 16-17 September: www.photography
Inspired Travel Photographer 2016 competition will courses.org.uk/news_events.php
also give away a Fujilm X-T10 to winners of the three
Leeds Beer
MARK NEWTON
categories: People, Places, and Nature and wildlife. LEEDS

The overall winner will stay for three nights in the
stunning Ngala Lodge and four nights in the Mandina Photography Exhibition
Lodges in the Makasutu Forest. They will be invited to As part of Leeds Beer Week 2016,
photograph the trip, and have their work featured in North Bar, a city centre bar, will host
Lonely Planet Traveller and AP. The closing date is 30 part of a photography exhibition
November 2016. Enter online at amateurphotographer. This and other great subjects celebrating the Yorkshire beer scene.
co.uk/inspiredtraveller. For more details see page 50. await one very lucky winner Featuring photographs by Mark
Newton, it focuses on the people who
make the local beer scene interesting.
For the latest news visit www.amateurphotographer.co.uk
Until 2 October, bit.ly/2bpQsdz

Bookshelf Even without being there you can get a
sense of the factorys scale from mere
description, with miles of railroad tracks,
blast furnaces, coke ovens, a foundry and
Rouge vast storage areas for holding raw

materials. Rouge was the beating heart of
the Ford Motor Company, churning out
the Model A car, the first V8 engine, and a
plethora of aircraft engines and parts
by Michael Kenna during the Second World War. The site

was so large and so densely populated
that it had its own hospital, fire
department and police force. It was an
Michael Kennas Rouge is a haunting study of large- entirely self-sufficient society one
moulded and driven by endless capital;
scale industry fighting to stay alive in the face of the most sought-after; sacred; and at
times, insidious of American Dreams.
economic decay. Oliver Atwell takes a look
Memories and traces
n Dearborn, Michigan, USA, of that dream by architect Albert Kahn The obvious end to this story would be
Published by
prestel
Price 45
192 pages
hardback
I there stands a monument to
human ingenuity and utopic
industrialisation. It was once
considered one of the most advanced
of its kind in the world and represented
that a thronging, almost alive, industrial
Shangri-La was conceived.
The site, a Ford Motor Company
automobile factory complex, was a
modernist dream. Take, for example,
that the Rouge complex collapsed in on
itself and stands as a monument to one of
historys greatest lessons: all utopias will
eventually fall to ruin. However, the
complex, while not exactly the buzzing
ISBN 978-3- the pinnacle of American industrial the glass walls that were lightweight, industrial complex it once was, still
79138-297-5 achievement. Between 1917 and 1928 inexpensive and allowed the sun to somewhat functions. It contains six Ford
the Ford River Rouge complex was the stream in unfiltered, and bathe the factories as well as operations run by US
largest integrated factory the world had factory floor and its 100,000 workers firm AK Steel. In fact, parts of it were
ever seen. Nothing like it had been in brilliant daylight. Upon its construction, recently subject to renovation under the
attempted before, and it was thanks to the the watchwords were efficiency, eye of architect William McDonough. But
vision of Henry Ford and the interpretation economy and balance. truthfully the area is a shadow of its
former self, and one that as time moves
on will likely reduce further and further.
As glorious as the original vision may have
been, its not impervious to the inevitable.
The Rouge complex is now a place
where nature and industry are engaged
in a battle of wills. This is where
photographer Michael Kenna comes in. In
1927, photographer Charles Sheeler was
commissioned to take images that exalted
the Rouge complex, and Kenna uses
these images as his starting point. As he
himself admits, Kenna is a photographer
who often makes pilgrimages to sites
where other photographers have worked.
In this way, he is able to adapt and morph
his own personal vision of a space.
Anyone familiar with Kennas work will
immediately see what that means within
the context of this project. Kenna, who
works exclusively with black & white, is a
name synonymous with minimalism. His
images are notable for their sparse
content and their ability to get to the
heart of a space by using the most
reduced elements available. While some
of Kennas images here in Rouge may
appear busier than usual, a closer look
reveals a series of frames that still employ
his economy of style. Rouges focus is
primarily on memories and traces as
Kenna himself says, it is the evidence of
all pictures michael kenna
human activities. The images show us

the monumental indifference of decay
and of a nature fighting to reclaim its
spaces. Its a project of contrast the
embarrassment of our relics casting a
The Rouge, Study 99, Dearborn, Michigan, USA, 1995 shadow over a site still fighting to function.

Also out now
The latest and best books from the
world of photography. By Oliver Atwell
DAN WINTERS
The Grey Ghost: New York
City Photographs
By Dan Winters, Rocky Nook, 37.71, 176
pages, hardback, ISBN 978-1-68198-083-6
DAN WINTERS, a
photographer who had been
featured in a series of
international publications
such as Vanity Fair, Esquire
and GQ, moved from
California to New York in 1987 at the age of 25. The
Grey Ghost: New York City Photographs is a collection
of more than 100 images taken since his move; they
The Rouge, Study 52, Dearborn, Michigan, USA, 1994 display an artist not only exploring his capability as a
photographer, but also as a man attempting to nd his
place within a sprawling, schizophrenic landscape.
Theres something captivating about these images.
They consist of scenes that many street photographers
would overlook such is their visual quietude. Each
black & white frame almost feels like a whisper. Its an
interpretation apart from previous representations of
New York, and as a result stands well above many
previously seen projects.
Great Pubs of London

By George Dailey and Charlie Dailey, Prestel,
24.99, 208 pages, hardback, ISBN 978-3-
79138-270-8
THERE really is nothing sadder
The Rouge, Study 18, Dearborn, Michigan, The Rouge, Study 5, Dearborn, Michigan, than travelling through a British
USA, 1993 USA, 1992 town and walking past a former
pub with its windows boarded
Every one of the images is about the fragility of ambitious
perseverance in the face of
up. Its a sad fact of todays
economic climate, with its cheap
seems to have been dug up unpredictable economics and a supermarket booze and TV box
landscape unsympathetic to human set, binge-watching epidemic,
from the earth, from a ingenuity. It evokes the same feelings that pubs simply cannot
time neither now nor then one can experience witnessing the compete and are forced to close their doors. So
unearthing of human artefacts and many of these establishments are rich with history.
Every one of the images seems to have structures in the middle of an Thankfully, there are still a lot of pubs hanging in there,
been dug up from the earth from a time inhospitable desert region. It is haunting and this excellent book looks at some of the most
neither now nor then and as a result a and humbling, and in many ways living interesting found in Britains capital city. The images
feeling of ominous inevitability hangs as we do in such uncertain times are more than enough to make you want to get out
over the project. entirely prescient. and explore each and every one. Each pub is given
Rouge is perhaps Kennas most Michael Kenna will also be featured in ample room within the pages, but its so much more
interesting and conceptually fascinating next weeks issue (AP 17 September), than a series of images. What you also get is an always
project to date. Its one with a clear where well be talking to him about his interesting history of how the pub came to be, which
narrative that can be interpreted in a approach to minimalist photography acts not only as an account of the pubs roots, but also
variety of ways. For me, Kennas project and looking at how he does it. as a history of London itself.

Viewpoint Social life
Here are some of our favourite images
John Heywood from the world of social media this week
Man has felt the need to create since the Stone
Age. These days, digital technology fulfils that Twitter
desire more easily than ever before
M
odern man (Homo and rewarding, too. We share billions of
sapiens) evolved with a photographs on the internet every year.
more creative brain than Photography transcends any language
any other species. At the barrier, and a picture can now can be
same time, the conscious mind developed, shared with almost anyone worldwide
so, with his dexterous hands, modern man instantly. And here is a massive choice of
found he possessed the ability to solve daily photographic equipment, from
survival problems creatively. smartphones to agship DSLRs.
LOIS GREENFIELD
As social animals, we love to Once we have mastered the most basic
communicate ideas and experiences. And photographic equipment, its common to
as a species, we have become so want to graduate to more challenging
successful that we have invented gear. Then we will be in a position to Lois Greeneld @Lois_Greeneld
machines to manufacture machines that capture subjects that would have been
allow us to overcome the sort of dangers impossible previously. Our need to nd
Lois captures the graceful art of dance like no other
we faced in the past. As such, most of us new challenges in photography is partly
photographer. Her images are full of life, and the subjects
no longer need to face life-or-death what motivates manufacturers to create
almost seem to jump off the page. Read our interview with Lois
decisions any more, while in schools there new products.
in AP 23 January and at www.amateurphotographer.co.uk.
is less emphasis on creative skills. Now, due to digital technology, Join the conversation @AP_Magazine
As a result, these days we can nd photography has become very democratic.
ourselves sitting around idly while machines In the past, we had to grapple not only with
cater to our survival needs. Yet we nd smelly chemicals, but also complicated
idleness unbearable. We hate having to timings and temperatures. But modern
Flickr
wait. We hate lying in hospitals doing technology has made photography
nothing. Retirement is unbearable unless accessible to more people than ever
we have a hobby or two. We have a need to before. So, for those of us who possess
ddle with something that challenges us a primal urge to learn, to challenge
creatively and to communicate visually with ourselves and to be creative, digital
the results, as well as orally with our family photography fulls that need. We are
and friends. Even Stone Age man felt the limited only by our imaginations.
need to communicate visually, as cave
WILLIAM DORE
paintings testify. John Heywood has been taking photographs since

A creative hobby doesnt only 1953. He was a professional photographer from 1966
soak up our spare time it until his retirement, but he continues to document the
can be both therapeutic positive side of humanity for his own pleasure. William Dore
Williams striking image of waves washing up against craggy
rocks evokes the sounds and smells of the coast. The repetition
of forms in the rocks and sky create a beautifully balanced
composition. This image was taken in Scotland, and if youd like
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
to see more of what Scotland can offer turn to page 22.

Submit your photos to apmag.co/flickr
Instagram
Eric Par @ericparephoto
We featured Eric
Pars extraordinary
light-painting
images in our
6 August issue.
In the article he
ERIC PAR
showed us exactly
From DSLRs to smartphones, there is a huge range of equipment for the photographer how he sets up his
images and provides tips on how you can try it yourself. The
Do you have something youd like to get off your chest? Send us your thoughts in around results, as you can see, are more than worth the effort.
500 words to the address on page 21 and win a years digital subscription to AP, worth 79.99 Follow us at @amateurphotographermagazine

Technique SILHOUETTES
Taking shape
Silhouettes add drama, mystery and impact to your photographs,
says Tracy Calder, so dont be afraid of the dark take your
camera in hand and step into the shadows
Ensuring your
subject has a clear
and defined shape
leads to seriously
impressive results
KIT LIST
Sony A7R II

Nikon D810
A palm-sized camera such as

With a 36.3MP FX-format the Sony Alpha 7R II, with its
sensor and an ultra-wide ISO high sensitivity and 42.4MP
range (64-12,800), the Nikon sensor, is ideal for night
D810 is a great DSLR for Nikon 800mm f/5.6E FL ED VR shoots. One of the main
silhouettes. Make sure When youre shooting silhouettes of skittish (and sometimes benefits is that you can attach
the Active D-Lighting is dangerous) wildlife, its a good idea to keep your distance. The a huge range of Canon and
switched off before you AF-S Nikkor 800mm f/5.6E FL ED VR lens includes a 1.25x Nikon lenses to the camera
start shooting silhouettes. teleconverter that extends the focal length to 1000mm. using lens-mount adapters.

MICHAEL TOPHAM
f youve ever watched the title sequence
I of the 1995 Bond lm Goldeneye, youll

have noticed that the producers (Barbara
Broccoli and her photo-loving half-brother
Michael G Wilson) are big fans of silhouettes as
creative devices. Numerous dancers are positioned
against a ery backdrop swaying their arms to the
title track, creating recognisable shapes that are
completely devoid of detail. Its cheesy, but its also
effective. Moments later the unmistakable prole
of Bond appears, wielding his gun. This short, but
powerful, sequence demonstrates why so many
photographers, and movie makers, use silhouettes
in their work they add drama, mystery and
impact. Whats more, they are easy to create.
Silhouettes are basically gures or objects
positioned in front of a bright light source, which
allows them to fall into deep shadow and create
inky-black shapes. For many photographers the
preferred light source is the sun, particularly
around sunrise and sunset when it sits low in the
sky, but you can also use re, the moon, streetlights
or anything else you can think of. Plain, uncluttered
backgrounds with vibrant colours are ideal for this
technique, because they provide great contrast to
your silhouettes another reason why sunset
backdrops are so popular. Generally, you want to
avoid light illuminating the front of your subject,
so switch off your ash.
Popular subjects for silhouettes include people,
trees, mountains and architecture, but wildlife,
bridges and sculptures can also be effective.
Whatever your subject, you need to make sure that
the outline does not merge with anything else in
the frame we have all seen awkward silhouettes
of people kissing, creating odd, ill-dened shapes
that appear to become part of their torso.
Ultimately, youre aiming for a clearly dened
outline with a little space around it.
Exposing for the background

With the primary light source behind your subject,
you can now turn your attention to overriding some
of the automatic controls on your camera. To
ensure that your subject is reproduced as a pure
black silhouette straight out of the camera you will
need to use a manual-exposure mode
(aperture priority, shutter priority or manual)
NIGEL ATHERTON
Silhouettes,
while featuring
recognisable
subjects, still carry
an air of the
abstract about them

LED Lenser torch
The LED Lenser X21 R.2 torch features seven LEDs, making it a
bright, consistent light source for nocturnal photography. The
beam provides an intense spotlight (from a distance) and a
flawless flood light (up close). Its also robust and rechargeable.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 10 September 2016

Here we see how
the natural light of
NIGEL ATHERTON
the sun behind the

subject can be used
to create silhouettes
Studio silhouettes and preferably shoot raw, as these

settings will allow greater control
bright part of the background
(remembering to avoid looking directly at
Shooting outdoor silhouettes can be a over the end result. If your subject is the sun), you can lock it in by pressing the
challenge. However, working in the studio stationary, then aperture priority is AE-L button (Nikon) or the * button
allows you take charge of the entire process, usually the better option, because it (Canon), and then recompose. (At this
from the backdrop to the strength of the light. gives you some margin for error. point its worth checking that any settings
The next step is to change the metering designed to lighten the shadows, such as
1 The rst consideration is the background

it needs to be plain, light and preferably free
of texture or complex patterns. It might be
mode to spot, which instructs the camera
to take a reading from a very precise area
of the scene you can use a handheld
Nikons Active D-Lighting and Canons
Auto Lighting Optimizer, have been
disabled.) Now is a good time to check
coloured, but you can always use gels on your meter if you prefer. (If youre using a your histogram: naturally, it wont be the
lights to transform a white backdrop into a Nikon DSLR you can change the AF area gentle peaks and troughs youre used to,
wash of green, blue, red and so on. mode to single-area AF and select a but you want to avoid blowing the
specic AF point, as the spot metering highlights completely.
2 The next step is to position your lights

(or off-camera ash) behind the subject,
pointing towards the backdrop. The idea is to
region and the AF area are linked. Canon
cameras use the central AF point when
spot metering is activated.)
You might nd that, despite your best
efforts, you can still see unwanted detail
in your silhouettes, in which case you
create a wide ood of light that will bounce Now is a good time to separate the way can always dial in a few stops of
off the background. You may need to play that exposure and focusing are obtained. underexposure using the exposure-
around with the distance between the light and Normally, when you press the shutter- compensation dial. Creating silhouettes
the background in order to achieve the effect release button halfway the camera locks goes against quite a few natural
you desire. The closer they are, the more both the focus and the exposure at the photographic instincts, so be prepared to
immediate the fall-off. same time. On this occasion, however, experiment and dont hesitate to bracket
you want a well-exposed background exposures if you think its necessary.
3 Once youve got the basics you might

like to experiment with partial silhouettes
(allowing a small amount of light to hit the front
and an accurately focused subject and
both of these elements reside in different
parts of the frame.
Refining your focus
We know that autofocus systems need
of your subject to reveal select details) or rim To overcome this problem, you need to light, contrast and detail to work
lighting (creating a thin line of light around use AE lock. Once you have obtained a effectively, but when shooting silhouettes
your subject, highlighting its outline). spot-meter reading from an especially one of these elements detail is

SILHOUETTES Technique
TOM DEMPSEY/PHOTOSEEK.COM
Its impossible not to marvel at the photogenic Wrather Arch in Paria Canyon, northern Arizona, USA
Travel
Tom Dempsey
Tom bought his first camera in 1978, and in
2009 he wrote Light Travel: Photography on
the Go, a paperback sharing what he had
learned from more than 30 years on
the road. You can see more of Toms
photography at photoseek.com
This tree, with its
For me, silhouettes turn a photograph into a kind of exposed roots,
distinctly lacking. Thankfully, there are Rorschach test, says Tom. Details are reduced made for a great
several ways to guarantee sharp shots. down to a stark black outline, and the viewers eye sunrise silhouette
at Bryce Canyon
One option is to set a relatively small switches rapidly from positive to negative space, National Park in
aperture, such as f/11, which will adding a sense of atmosphere, mystery and drama. Utah, USA
provide enough depth of eld to allow Subjects with recognisable outlines, such as human
for small errors in focusing. (Using a and animal gures, make the strongest silhouettes,
small aperture also helps to limit but its important not to let the shapes overlap.
chromatic aberration, which is To obtain a good exposure, I take a meter
especially obvious in high-contrast reading from a medium tone in the bright
scenes.) If you do use a small aperture, background, being careful not to blow the highlights.
try to keep the ISO as low as possible Focusing is simply a case of training the lens on the
because noise is more noticeable in edge of the silhouette, taking a shot, and then
shadow areas, which is essentially reviewing it on the LCD screen at 100%. Toms top tips
what your subject comprises. The equipment I use for creating silhouettes 1 Expose for the background.
Another, much more precise method is really tends to depend on the subject Im shooting, 2 Focus on the edge of the silhouette.
to switch the camera to manual focus but the Sony Cyber-shot DSC-RX10 III is now my 3 Experiment with different points of view.
and train your lens on the point where ultimate travel camera. Its weather-sealed body
the outline of the silhouette meets the includes a f/2.4-4 lens thats super-sharp
bright backdrop in other words, the throughout the 24-600mm equivalent range.
area where contrast is at its greatest. For Unless the subject is moving, I tend to use aperture-
the best results, combine the methods. priority mode, and shoot raw to give me plenty of
Silhouettes make a bold statement, scope in post-production. I leave the ISO set to
adding mystery and drama while also auto, for convenience, but I try not to let it get above
suggesting solidity and permanence. 640, and if I think Im onto a real winner I will drop it
Including a prominent black shape in to 100. I dont tend to bracket, because I know that
the frame also draws attention to the the raw will give me plenty of dynamic range to play
space that surrounds it, offering plenty with later. It should go without saying that cameras
of opportunities for playing with do not see the way humans do, so its essential to
balance and scale. Silhouettes are carry out some work in Adobe Lightroom so the
more than just a novelty. les match your original vision. Trekkers against the face of Fang in Nepal

Wildlife
Laurent Baheux
Laurent has travelled the world shooting some
of the planets last remaining protected areas.
Laurent is a UNEP Goodwill Ambassador, and
also a supporter of WWF and the GoodPlanet
Foundation. You can see more of his
photography at www.laurentbaheux.com
Most of my work captures simple, everyday scenes shot
in atmospheric locations, says Laurent. I enjoy shooting
silhouettes because they allow me to focus purely on
light, contrast and shadow the very essence of black &
white photography. Big mammals, such as elephants and
giraffes, make perfect subjects because their shapes are
so distinctive. In my line of work I have to be an
opportunist every safari is seen as a new adventure,
even if I have been to the same location many times.
One thing that remains the same is my approach: I
keep at least 20 metres from most of my subjects to
avoid any disturbance. I like to have complete control
over my pictures, so I tend to shoot in manual mode and
use manual focus autofocus can be a bit hit and miss
with silhouettes anyway. I take a spot-meter reading from
an especially light part of the scene, lock it in and turn my
attention to composition.
All my wildlife work is shot using a Nikon D4 or a Laurents top tips
D800, and my favourite lens is an AF-S Nikkor 800mm 1 Shoot early in the morning for fog and sweet light.
f/5.6 VR. I like high contrast and deep blacks (Im 2 Ignore details and colours, and concentrate on forms.
LAURENT BAHEUX
inspired by Sebastio Salgado), so I carry out quite a bit 3 Where possible, include trees in your silhouettes;
of work in Adobe Lightroom mainly boosting contrast they almost always improve the composition.
and counteracting the effects of fog or glare.

LAURENT BAHEUX
Successful silhouettes Getting down low can
require subjects with
distinctive outlines, like
Street increase the separation
between the background
trees and giraffes and the subject
Erwin Vindl
Based in the city of Innsbruck, Austria, Erwin
has plenty of raw material on his doorstep, but
he also likes to travel to gain fresh inspiration
and meet other photographers. If youd like to
see more of Erwins photography, visit www.
ERWIN VINDL/WWW.WHYNOTART.AT
whynotart.at
The technique of creating silhouettes in an image appeals
to me because I know that the viewers attention will be
taken directly to the main subject, says Erwin. Of all the
things you can shoot, my preferred subjects tend to be
people, but I believe that every photograph should tell a
necessary story. With that in mind, I try to put people into
some sort of context. Sometimes I will nd the perfect
location but there are too many people milling about, so I
have to wait for things to settle. Patience is incredibly
important in this respect. Id say the main thing is to make
sure that the background is uncluttered as this will help to
create separation between the two elements.
Im a big fan of passages as they make excellent
framing devices, and I often get down low for maximum
impact. Its also important to remember that you dont
have to limit yourself to shooting in daylight; you can use
streetlights and shop windows as your main source of
light. To obtain a dark silhouette I take a meter
reading from the brightest part of the background but, Pictures should tell a story,
so I try to give my subjects
for me, its more important to catch the moment than to
some sort of context
worry about settings, so I tend to use program mode
as a result, I will often need to dial in a few stops of
exposure compensation. Erwins top tips
Personally, I dont nd the act of focusing to be a 1 Find a good location and wait for an interesting subject
problem, because there is plenty of contrast in my shots. to enter the scene.
My camera of choice is an Olympus OM-D E-M10 Mark 2 Get down low, as it can often help to separate the
II with an M.Zuiko 17mm f/1.8 lens. I crop, adjust contrast subject from the background.
and increase sharpness in post-production. 3 Keep it simple less is sometimes more.
Passageways make
excellent framing devices,
and the light entering
them can highlight
architectural details
The sun created perfect

rim lighting in this
baboon portrait, bringing
out the texture of its fur

Chriss top tips

1 Use a ashgun to freeze the silhouette.
2 Always use a tripod for light-painting portraits.
3 Ask your model to try a few different poses.
Portraits
Chris Thompson
Chris can often be found in abandoned buildings
and tunnels in the middle of the night. When
hes not waving lights around in the dark he
works as a self-employed interior design
consultant in Nottinghamshire. Visit
www.flickr.com/people/fastchris
For me, silhouettes provide a frame to ll with other

lighting effects, says Chris. The human form makes ideal
subject matter, but Im also a fan of sculptures
although it can be hard to access these at night. First I
work out what I want to place inside the silhouette, then I
decide how to pose the main subject. As with traditional
silhouettes, I expose for the background, but this is
where the similarities end. For one, I have my camera in
manual mode, but with the shutter speed set to bulb. I
control the exposure for the different intensities of light
using the aperture and, sometimes the ISO value. Once I
have captured enough light in the background I replace
the lens cap without ending the exposure, and prepare
for the next part of the shot this is called the lens-cap
trick. Whats more, my main light source is not the sun:
I use torches, ashguns with coloured gels and lasers.
I use a Sony Alpha 7 with a Zeiss 16-35mm lens and
various old Nikon full-frame lenses, but my rucksack is
packed with light-painting tools most of them
handmade. My torch of choice is the LED Lenser
CHRIS THOMPSON
X21R.2. Like most light painters, I aim to get everything

right in-camera, so my post-processing is usually limited
to cropping, basic adjustments to levels and sharpening.

CHRIS THOMPSON
ENHANCING SILHOUETTES WITH LIGHTROOM
Wildlife photographer Ben Hall shows how to edit your silhouettes
1 Colour balance 2 Setting the white point

First, set the white balance. For precise To set the white point, drag the slider named
control, use the Colour Temperature slider to White to the right. For best results, hold down
make the colours in the image appear warmer the Alt key as you adjust the slider youll see
or cooler. It is also possible to alter the amount the image turn black. Continue dragging and
of green and magenta in the image by using stop just before you see the rst sign of colour
the tint slider. appearing (this indicates loss of detail).
The human form,

and bare trees,
make ideal subjects
due to their
distinctive shapes
The light spilling

onto the roof and
sides of the cave
picks up the texture
of the rock
3 Setting the black point 4 Adjusting midtones
Perform exactly the same action as above, this Once you have set the white and black points
time using the Black slider and sliding it to the its now time to judge the brightness of your
left. Loss of shadow detail is not as important image. At this point it may look correct, but if
when it comes to silhouettes, and in most the overall image appears too light or dark, you
cases a jet-black silhouette is preferable. With can just use the Exposure slider to adjust the
this in mind, holding the Alt key down is not midtones and tinker until youre satised with
always necessary. the results.
BEN HALL / WWW.BENHALLPHOTOGRAPHY.COM
5 Colour saturation 6 Target adjustments

There are two sliders that can help to bring The Targeted Adjustment tool lets you alter
the colours to life Saturation and Vibrance. specic tones and colours. Click on the small
Saturation increases the intensity of all the circle in the top left window of the Develop
colours by an equal amount, while Vibrance module, then Saturation. Now, click on the
only affects the more muted colours. But tone you would like to edit and drag up or
make sure you dont overdo it! down to change the intensity of that colour.

Inbox
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D No, I dont have a pet 38% experience. As a group with 17 adults Paul Harper, Stafford
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What you said cameras but only two use them. The Theres no doubt that when it comes to
IdonjoakinghoosofourhoognicdogEddi, remaining 15 take their photos on mobile recording our daily lives, camera phones
buhisarucansubjcandhasanuncannknack phones or tablet-style devices. Reasons for have almost entirely replaced the
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Woudoubuafu-framDSLRik Univrsa les in Adobe DNG format, any solutions. One of my PCs
In Viewpoint (AP 11 June), and the fth backs up images runs an old Windows XP. So I
hPnaxK-1? Mike Smith wrote about the Im working on. I also print my put the disc through programs
Vote onlinewww.amaurhoograhr.co.uk archiving and preservation favourite images. Like Mike, on that Photoshop CS2 and
(conservation) of our digital Ive always thought that a PSP X3, and there I got it! In
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photography the JPEG is you can get, until recently. Ive re-saved them all as TIFFs.
Top lens reviews about as safe as it gets. It isnt! been salvaging and repairing So what was the problem?
Now, Im a bit paranoid about photographic media for over A little thing called lossless
Whats trending on the AP website this, as I have repeatedly 40 years, so I still get the odd JPEGs is my best guess a
moved my archived images as job that others have given up format used in the early to
media is replaced. I currently on, and here it is. mid-2000s. Its a JPEG, but
use ve separate hard disks It is a CD, and it appears to not as current media knows
two back up the raw les, have been burned in June it. The lesson here has to be
two contain copies of all the 2004 with 26 JPEG images the obvious one of regular
of copied slides. Although back-ups, but dont put your
one can open the disc and list faith in one format just to save
the les, no one could open space. And start checking all
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I tried FastStone, Lightroom, Bruce Baker-Johnson,
PaintShop Pro (PSP), Hampshire
1 Laowa 105mm f/2 (T3.2) PhotoDirector,
STF review and so on. Even I think its fair to say that
2 Sigma 150-600mm f/5-6.3 DG OS the internet the standard JPEG format is
HSM S Field Test could not provide about as universal as any
3 Sigma 105mm f/2.8 EX DG OS le type can get, despite
HSM Macro review your experience with an
4 Panasonic Leica DG Summilux Backing up files in unusual variant from its
12mm f/1.4 Asph review different formats is earlier years. The current
5 Nikkor AF-S 50mm f/1.8G review a good practice version is standard on

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Test Reports
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hitherto widely supported Earlier this year, Google made its Nik Collection free to download
Advertising
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le type goes out of fashion Inserts
Andy Westlake, Google made to Niks original I regularly use Silver Efex Call Mona Amarasakera, Canopy Media, on 0203 148 3710
technical editor programs, but I am impressed Pro 2 to apply b&w presets Editorial team
by the power and ease of use the warm split tone is one Group Editor Nigel Atherton
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As an extremely enthusiastic Efex Pro 4. I have recently would be very disappointed Deputy Technical Editor Michael Topham
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ScottiSh LandScape photographer of the Year
Northern
exposure
all pictures ian cameron
Ian Cameron has been crowned the Scottish Landscape

Photographer of the Year 2015. He talks to Oliver Atwell
eteran photographer entered a total of seven images into produces superb reflections of Ben
V Ian Cameron, who still

prefers to shoot in film
rather than digital,
was named Scottish Landscape
Photographer of the Year this year.
the competition, and a number of
weeks later I was informed that
three had been shortlisted.
The first image (below right) is of
an old house that stands on a high
Loyal at either end of the day.
During the summer and during
appropriate weather, the mountain
peak lights up. On this particular
morning, the clear, cold night air
We find out more about his winning moorland road between Braemore had chilled the water, and at the
images and what inspires him. Junction and Dundonnell in first warm kiss of sunlight, wraiths
Wester Ross. The second (above) is of mist lifted off the surface,
Can you tell me how your of Ben Loyal one of Sutherlands adding immeasurably to the
winning series came about, most shapely peaks. It is atmosphere of this classic scene.
and where you shot the images? spectacularly situated in the far The third image is of Loch A
Below left: Caramel
Three strong scenic images are north of Scotland close to the lovely Chroisg near Achnasheen (below
Ice by Ian Cameron
required to make up a portfolio to village of Tongue. There is a left). The loch lies in an east/west
meet the requirements to win the colossal estuary nearby with a Below: Ceciles direction and is surrounded by high
overall title of Scottish Landscape massive tidal excursion and the House by Ian mountains on both the northern and
Photographer of the Year. I think I attractive Loch Hakel, which Cameron southern shores, effectively
protecting it from the wind. On the
morning I took the shot the
temperature was -26C and a thick
crust of hoar frost covered every
blade of grass, branch and twig so
much so that they bowed under the
sheer weight of ice that had built up
over three days of sub-zero
temperatures. A thick blanket of
freezing mist had lifted off the loch
and hung suspended in the air. Out
of nowhere, a brilliant beam of
amber sunlight appeared at the far
end of the loch, traversing toward me
and eventually striking my position.
What do you look for in back to the scene as I remember it, Above: Awakening photographic courses. When Im
a landscape? so I can relive the perfection of that Ben Loyal by Ian with clients, I prefer to work in
I look for light, composition and moment and experience the same Cameron conditions that inspire them
subject matter. This is what I call emotion I felt when I pressed the generally this would be broken
the Holy Trinity of landscape shutter. That picture needs to match cloud and sunlight, little wind and
photography. These three things as accurately as possible the hue, no rain. Seemingly, I have a much
working in perfect harmony will saturation and contrast that I more masochistic demeanour. I
provide the defining moment, perceived when I was there. It has to enjoy the challenge of managing
regardless of the duration of that be completely believable and totally ridiculous conditions, and I achieve
moment. But above all else, and realistic. The problem is, when you an enormous amount of satisfaction
with everything being adequate, seek and photograph extraordinary in salvaging something wonderful
light its quality, colour, strength light and the impact it has on a from an apparently lost cause.
and direction has the greatest scene, your believability in the eyes
influence on the success or of others takes a severe bashing. What are some of your
otherwise of the pictures I take. I Perhaps this is why I still insist on favourite locations?
firmly believe you can make a rusty shooting with film, as it tends to lend In Scotland it would be the islands
nail sticking awkwardly out of a credibility to an image. I dont of Lewis and Harris, with their
piece of wood look good in great pretend that the colour palette of stunning pristine beaches; the sheer
light. Its also worth mentioning Fujifilm Velvia is entirely accurate, variety and emptiness of Inverpolly;
that I dont believe great light exists but it is at least repeatable and the beaches, mountains and lochs; and
exclusively at either end of the day. results satisfy me. Ian Cameron is a the wild immediacy found in the
Great light can be soft and landscape photographer mountainscapes of Torridon. I also
directionless, colourless or colourful Are you someone who makes based in Scotland. enjoy the Lofoten Islands in Norway
it merely needs to be appropriate the best of a location whatever for their sheer drama and exquisite
He offers various
to the mood you want to convey. the weather, or do you have light, and for a complete change, the
preferred working conditions? workshops, and is the warmth and colour in the lavender
What should be the aim of good Out of necessity and in a author of Transient Light, fields of Provence.
landscape photography? professional capacity I have to make which can be purchased
I can only answer that question for the best of the weather and the through his website for Turn over the page to see more
myself, but I would hope that other circumstances I am dealt, although 15. To learn more, visit amazing images from the 2015
photographers empathise similarly. I I tend to optimise my choice of www.transientlight. Scottish Landscape Photographer
want my pictures to transport me location accordingly. I run co.uk. of the Year competition.

Scenes
The Crack
Gerhard Aust
commended portfolio
The Fairy Pools near Glenbrittle
offer so many waterfalls that I
could stay there for hours and hours,
says Gerhard. Here, I liked the contrast
between the brown and green, with the
of the
white stone in the foreground and the
mountains in the background. This is a
scene that really utilises the natural
composition of the land to great effect.
Loch Dochard, Argyll

Paul Holloway
commended overall
After an overnight camp I awoke
to see light snow had formed
wonderful patterns on the ice of the
partially frozen loch, says Paul, of this
We take a look at some of the most breathtaking shot commended in the overall
and impressive images from the 2015 Scottish category. As the sun rose, the
mountains turned gold creating a
Landscape Photographer of the Year competition wonderful backdrop to the loch.
paul holloway

gerhard aust

SCottiSh LandSCape photographer of the Year
Plodda Falls
Colin Campbell
Commended
Landscape
This image was taken in early May
at the bottom of Plodda Falls near
Tomatin in the Highlands, says Colin
of this long-exposure shot. Its a
relatively easy walk down, but quite
steep when you get off the tourist
path Usually the spray from here
colin campbell
makes it difficult to get a decent

shot, but I managed to succeed
and this is what I came away with.

michael prince
Ruthven Barracks
Michael Prince
Commended Portfolio
This scene is often glimpsed from
the A9, says Michael of this
intensely atmospheric image taken in
the Highlands. Ruthven infantry
barracks at Kingussie built in 1719
and subsequently burnt to the ground
by the Jacobites never fails to stir my
imagination. I used infrared black &
white film to provide the kind of
dramatic impact that a location like
this truly deserves.
Rhythm of the End of

the Day
Mikuni Uehara
Commended Seascape
Mikuni took this shot in
Inverkirkaig. Its a genuinely
captivating shot that benefits from the
painterly quality of its bleeding colours.
Its the kind of shot you can only find at
sunset in just the right location. I took
this shot on my holiday in the northern
Highlands, says Mikuni. After sunset, I
saw this interesting cloud shape floating
over the small island offshore. This was
the last shot of the day.
grant ritchie
mikuni uehara
Moon and Bank which unfortunately meant Grant

Building Statue foregoing the festivities. However, it was
Grant Ritchie worth it in order to catch the moon in
this particular position. Its a seriously
Winner Urban considered and executed composition
Grant took this image in Edinburgh that goes to show that a bit of careful
on Christmas Day in 2014. It was planning can render the most
the result of a lot of intensive planning, intimidating scenes manageable.

scott robertson
Loch Tulla Trees
Scott Robertson
Commended Portfolio
Loch Tulla in Argyll is one of my
favourite freshwater lochs, says
Scott. Its beauty never fails to impress
me no matter what time of day or year
Im standing there. As dawn broke, first
light provided just the right amount of
warmth to lift the dense mist revealing
two of the numerous attractive trees
populated around the lochs shore.
tom drysdale
Winters Light, Gone Fishing

Bidean Nam Bian Tom Drysdale
Jason Baxter Commended Portfolio
Winner Landscape If youre wondering where this
After a dark and exhausting climb strange scene can be found youll
on a Scottish winter morning, I have to travel to Cramond Causeway in
was able to get myself into position to Edinburgh to find it. Thats what Tom
capture this shot, says Jason. An hours did, and this is what he came back with.
patient waiting ensued, and for just one What you can see here is a beautiful
brief fickle moment the morning light still sunrise at the old Second World
flowed across the landscape towards War defences in Cramond, June 2015,
the Bidean Massif as it loomed out of says Tom. It was made all the better for
the morning darkness. the fact that you can just about see a
jason baxter
heron under the sun in the distance.

SCottiSh LandSCaPe PhotograPher of the Year
maciej wojcik
Bass Rock Resist
damian shields
Maciej Wojcik Damian Shields
Commended Commended
Seascape Portfolio
Bass Rock is the I have spent many days
largest single-rock scrambling among the
gannetry in the world, rocks that protrude from and
described as one of the channel the flow of the
wildlife wonders of the wonderful River Orchy in
world, Maciej says of this Argyll, says Damian. I framed
image that looks like it could this shot to exclude any point
have been drawn from a of reference to the
major film. When viewed surroundings to create an
from the mainland, large ambiguous idea of scale, and
regions of the surface appear timed the exposure to
white because of the sheer contrast the fluid movement
number of birds. to the static weight the stone.
Winding back in
time towards the sea
Ann M Holmes
Commended Portfolio
Theres something Hobbit-like
about this strangely lit image from
Ann M Holmes. You can actually find
this location in Gearrannan Blackhouse
Village in Carloway, Isle of Lewis. A
gritted track winds downhill under
twilight between traditional thatched
blackhouses bordering the sea. Its a
simple image that wisely allows the
location to do all the work. The area
itself would be enough of a good
photograph, but Ann chose to shoot in
the twilight hour, instilling in her image a
real sense of narrative and magic. The
ann m holmes
light on the wall of the house is

especially inviting and mysterious.
The scottish landscape Photographer of the Year Book Collection 2 is full of breathtaking images of scotlands land, sea and urban places, captured by the winning and commended photographers
that took part in the 2015 competition. if you would like to pre-order a copy, visit www.slpoty.co.uk. This years competition opens on 23 september and closes on 14 november 2016

AnAladdins CaveofSecond-handNikon
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info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
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Nikon D810, Nikon 24-70mm @ 35mm,
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Most photographers shooting land or seascapes would choose to work at either end of
the day when the light is soft. This is also generally the time when the addition of a 6 or 10
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and cloud motion.
But sometimes things dont work out that way. It might be a question of tide or timing,
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Jonathan Chritchley
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Moving image
changed my life
DUNCAN MCNICOL 1993

Jeremy Walker on Reed Cutter, Norfolk, by Duncan McNicol
T
his image by renowned London weathers and conditions. I love the simplicity Duncan McNicol
advertising photographer Duncan of the composition, and Im sure that if you In the 1990s,
McNicol won a prestigious award in were to post analyse the image, various Duncan was one
1994. This was about the same time elements would fall into the rule of thirds. of Londons
I was taking my rst tentative steps into the Now, after more than 20 years as a location top advertising
world of freelance location photography. The photographer, I know that thought would not photographers. An
original print was a hand-crafted, split-toned even have entered McNicols mind. He would advertising hoarding or Sunday
silver print. I have been lucky enough to see the have just seen the angle and instinctively supplement were more than
original close-up, and it oozes pure quality. known that it was right, as great likely to contain his images. His
The image summed up everything I aspired to photographers do. favourite tools were wooden
shoot an interesting subject in a great location Another hugely inuencing factor that gives 5x4 and 10x8 Gandol eld
with fantastic light. At the time of the award the Reed Cutter image such a strong effect is cameras and a number of
this image was published extensively, and every the quality and direction of the light. Shooting Polaroid lm boxes. Visit
time I saw it I just thought: Wow! I want to do into the light, capturing the texture and www.duncanmcnicol.com.
work like that. It red my imagination, desire patterns in the reeds, but having the reed cutter
and determination to shoot great location in his own shadow, was a brave decision to
images. I was being very nave, of course. make, as was using a slow shutter speed to Jeremy Walker
Having been a regional commercial studio capture the blur and motion of the scythe. So Jeremy is an
photographer for several years, I still didnt fully much could have gone wrong when shooting award-winning
understand what went into the taking and this image. location
making of a great location image. The planning The stormy conditions have certainly helped photographer, with
and preparation; working conditions; with the mood and feel of the image, but the over 25 years
cooperation and understanding of the sitter; working conditions were not exactly ideal. experience in the photography
and of course, a little bit of luck with McNicol was using a 5x4 Linhof plate camera industry. In 2015 he was invited
the weather. with a 120-roll lm back shooting on Kodak to be a Nikon Ambassador in
Tri-X. There was no margin for error, or no recognition of the quality of his
Why does this image appeal to me? playing around on a computer when he arrived Landscape work. To see
It is an image that tells a story that of a back at his studio. He had to get this right, Jeremys stunning location work,
traditional reed cutter who works in all rst time around. And he did. visit www.jeremywalker.co.uk.

Winner of the TIPA Award
Best Photo Lab Worldwide

Awarded by the editors of 28 leading international photo magazines
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SAVING ELEPHANTS
Never
forget
A new book titled Remembering Elephants
highlights the serious consequences of
elephant poaching in Africa. The books
editor, Keith Wilson, tells Oliver Atwell
a very worrying story
ROSS COUPER
An elephant calf feeds from its mothers milk. Image by Ross Couper
saving elephants
A closer look at the

prize the poachers
so value ivory
tusks. Image by
Marius Coetzee
Marius coetzee
n just the past 16 years The spectre of elephant
Federico Veronesi
I around 14 species of animals
have become extinct,
including the eastern cougar
and baiji dolphin. While extinction
may seem like the narrative device
poaching has been with us
for some time. Were now
immersed in the long-term
consequences of poaching.
Where are we now with this? than 95%! On average, one elephant
of literature and cinema, the threat How exactly has it affected the is poached every 15 minutes. Thats
is all too real. Now imagine, if you elephant population? more than 30,000 every year. As
can, waking up one morning to Youre right, elephant poaching for with rhinos, more elephants are
find that the elephant population in ivory has a long history, and each being killed by poachers than
Africa no longer exists. Does it seem time it has resulted in elephant [elephants] being born, so extinction
like a faraway fantasy, something populations being decimated. in our lifetime is a very real
that couldnt possibly occur in your However, the current crisis poses the possibility. In fact, elephants are
lifetime? Does it perhaps help to greatest-ever threat to African already extinct in some African
read that around 30,000 elephants elephants. Why? Never have countries. Elephants are herbivores,
are wiped out every year as a result elephant populations been so low. so are great consumers of vegetation,
of poaching? Or that one elephant is Conservationists agree that the total but they are also dispersers of
killed every 15 minutes? number of elephants is a little more important seeds through their dung
These are the statistics driving a than 400,000. Compare this and therefore fertilizers of plants. In
An elephant bathes
new publication hoping to help fight in the cooling [number] to the 10 million that were short, elephants are Africas wild
the demon of elephant poaching. waters of a river. estimated to roam Africa at the gardeners, so their loss can have
The book is edited by former AP Image by Will beginning of the 20th century devastating consequences on
Editor Keith Wilson, and represents Burrard-Lucas thats a population decline of more biodiversity and the landscape.
the action by wildlife photographers
to use their images to help preserve
elephants for future generations. All
proceeds from the sale of this book
will be used to protect elephants
and fight ivory poaching via their
partner, the Born Free Foundation.
There will also be a free exhibition
titled Remembering Elephants,
which will open on 19 September
and run for two weeks at Londons
La Galleria Pall Mall. Then, on the
evening of 22 September, the Royal
Geographical Society will host a
special evening devoted to elephant
conservation, with speakers
including Virginia McKenna OBE,
Ian Redmond OBE and an exclusive
presentation by the celebrated
Will Burrard-lucas
wildlife photographer Art Wolfe.

See www.bornfree.org.uk/
campaigns/elephants/action/
remembering-elephants.
36 00 Month 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

saving elephants
Royal Geographical Society. Margot

met me there and was so impressed
by the book that she told me her
idea for Remembering Elephants.
She asked me if I would be the
books editor. I said yes. I must add
that the quality and success of this
book owes just as much to my
colleague and collaborator Eddie
Ephraums. This is the fourth
wildlife or landscape photography
book we have produced together.
How will the proceeds of

this book be used?
Im pleased to say that some of
the proceeds have already been
allocated! Through our charity
partner Born Free, we purchased a
pair of night-vision goggles for the
rangers at Meru National Park in
Kenya, to help them track poachers
at night. Money has also been
allocated to the repair and
maintenance of vital equipment to
help park surveillance. We have
agreed [on a budget] with Born
Free for all the money we hope to
raise to directly benefit elephant
We have managed to enlist 65 of the worlds Three elephants
stride across the
conservation in several countries
where funding is most needed.
leading wildlife photographers, including eight African plains.
Image by Federico
winners of Wildlife Photographer of the Year Verones What role can wildlife
photography play in assisting
Why exactly are these elephants Can you tell me whos involved the conservation of species?
being poached? and what part they play in A very good question. Many
Purely for the decorative value of this project? photographers already help wildlife
elephant ivory, as an ornament or The whole project is the brainchild conservation charities, usually by
intricate carving. Ivory has no of Margot Raggett, a wildlife donating their images to the charity
pseudo-science value for traditional photographer who spends a lot of they support. Beyond that, their
Chinese medicine, as is the case her time in Kenya leading photo input and influence seem to
with rhino horn, tiger bones and tours, mostly in the Maasai Mara. diminish, which is unfortunate. I
other animal parts. But the ivory Between us we have managed to think we need a more collaborative
tusk of an elephant is prized so enlist 65 of the worlds leading approach. Its about the
much as a prestigious gift or piece of wildlife photographers, including effectiveness of a whole being
art when carved, that people will eight overall winners of Wildlife greater than the sum of its parts.
pay vast sums of money for it, Photographer of the Year. They have More than ever, wildlife
particularly in China. So theres a all donated a print for the book and photographers are trying very hard
lot of money to be made down the most of these are included in the to use their images to create greater
supply chain, and the gangs who accompanying exhibition in public awareness about endangered
hunt elephants are well armed, London, and theyre for sale too as species, and supporting the
ruthless and merciless. limited edition prints! Land Rover conservation groups in the best way
has very generously sponsored the they can. But creating greater public
What is the purpose of exhibition it could not have awareness has no lasting impact
Remembering Elephants and happened without them. The without generating a response that
how exactly did it come about? unique thing about Remembering leads to action. Photographers need
Remembering Elephants has two Elephants is that it marks the You can order a copy of to be more active in this regard;
purposes. The first is to serve as a first time so many wildlife Remembering Elephants they need to think beyond creating
photographic memorial to these photographers have united behind from give.bornfree. awareness and have a bigger say in
incredible and highly intelligent a single conservation cause in one org.uk/products/ how awareness can result in direct
animals, should they become book. Thats why for the authors remembering- action, either through the
extinct. The second and primary name on the cover it says: Wildlife conservation charity they support,
elephants-916. The
reason is to raise much-needed Photographers United. or maybe as a like-minded group
funds from sales of the book and
book, priced 45, is with their own agenda, such as
the exhibition prints, I hasten to How did you become involved? supported by an exhibition Wildlife Photographers United, as
add in order to fight ivory Two years ago I was the editor of (sponsored by Land Rover) suggested by this book. After all,
poaching and protect elephants another wildlife photography art at La Galleria, Pall Mall, wildlife photographers often see the
for the future, working with our book As Long As There Are London SW1Y 4UY from realities of the situation long before
partner charity, the Born Animals by David Lloyd. We had 19 September-1 October anyone else has a clue that
Free Foundation. the launch and exhibition at the (www.lagalleria.org). theres a serious problem.

When Harry Met...
Rupert Murdoch
A spontaneous moment of inspiration resulted in
Harry Borden capturing a striking image of the
billionaire media mogul Rupert Murdoch
n June 2007, I was portrait commission, you dont modernist apartments in
I commissioned to
photograph Rupert
Murdoch, the billionaire
founder, chairman and CEO of
international media company
get much better than that.
I was invited to photograph
him at his house in St Jamess,
London. It was an
extraordinary building, a real
which each oor was allocated
to one of his children. At the
top of the house, he had a
retractable glass roof which
opened at the press of a
News Corporation. The shoot billionaires house. It backed on button. It was like something
was for the front cover of Time to St Jamess Park and hed had out of Dr No.
magazines global edition. For a it converted into a series of Murdoch was then 76 years
old and married to his third
wife, Wendi Deng. As well as
his four older children from
previous marriages, he had
two young daughters, Grace
and Chloe, who I met when
I was there.
Meeting Murdoch
I knew Murdoch could be
unpredictable in front of the As with the previous time
camera. I had photographed Id met him, I found him a
him in 2006 for his Sky annual detached and distracted
company report and was told person, but as sharp as a tack.
that the previous year, the I mentioned to him that I had
photographer had set up a recently photographed
shot but only got one frame Margaret Thatcher. As they
before Murdoch stood up were both part of a powerful
and walked off. elite I assumed they were
My brief this time was simply friends, but his only comment
to shoot a head-and-shoulders was, Shes gone a bit gaga,
portrait, so I arrived at the hasnt she?
house equipped with a
backdrop. I was let in the Getting the shot
house for the appointed time of I quickly did the head shot,
the shoot, but Murdoch was which was very simply shot
over an hour and a half late, with one-directional lighting
which gave me plenty of time against the backdrop. That
to get really stressed. was all Time needed, but I also
Eventually he arrived. He wanted to take the opportunity
had his business advisors with to shoot something different.
A family shot of him. Being photographed, Im always looking for a picture
Rupert Murdoch even for the cover of Time I hadnt anticipated getting,
ALL PICTURES HARRY BORDEN
in 2007 with his magazine, wasnt a very one that gives the photo a time
wife Wendi and important part of his agenda and a place, rather than simply
children Chloe and he was running his a head shot against a backdrop.
and Grace business even while I was Its nice to get something
shooting his portrait. environmental that will stand

Harry noticed this
pool of light spilling
onto a wall of
Murdochs home
and decided to
create a portrait
containing striking
graphic elements
been midday the sunlight but the picture editor would

Often when Im shooting a portrait would have been too intense have seen all the others.
I find a pool of light and a composition to take this shot. Getting something above and
All the frames shot on the beyond what I was expected to
that has a graphic tension stairs show him looking to his get on a shoot creates a good
left because all the graphics in impression of me as a
the test of time and make the just put someone into that that picture indicate that he photographer. And nine years
picture intriguing. space. In this case, I saw the has to look that way. Being a later, the picture of Murdoch
I decided the best way to do potential for the picture on the good photographer is about on the stairs is still one Im still
this was to get him out onto staircase and said to him, noticing these things when incredibly proud to have in my
the roof of his house and do Hang on, hold that. Then I youre in a really stressful portfolio of work.
something with daylight. I had quickly took a few shots with situation, rather than noticing As told to David Clark
previously photographed his my Canon EOS 1DS Mark II, them later when youre
son James, and daughter handheld. I exposed for the downloading the pictures at
Elisabeth, and handed highlights so its quite dark home. You have to retain that Harry Borden
Murdoch prints of them and moody. kernel of calm in your mind Harry is one
both. This gave me more so you can coldly and of the UKs finest
time and helped to create Perfect timing dispassionately look through portrait
enough good feeling for me This scene, with its diagonal the camera and make those photographers
to finesse him onto the stairs lines and areas of light and small but vital adjustments and his work has
and up to the roof. shade, would have made an to someones position, stance been widely
As we were walking up I interesting abstract or expression. published. He has
noticed there was really nice composition even without a At the end of the shoot, which won prizes at the World Press Photo
light coming down on the person in it. Murdoch was took about 15 minutes in total, awards (1997 and 1999) and in 2014 he
staircase. Often when Im standing in direct sunlight, but I asked Wendi if we could get was awarded an Honorary Fellowship by
shooting a portrait I find a pool it was taken just before 5pm, so the kids together and shoot a the Royal Photographic Society. The
of light and a composition that the light was a bit softer. This family portrait. National Portrait Gallery collection
has a graphic tension and then was lucky, because if it had Time only used the head shot, holds over 100 of his images.

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Photo
Essay
Return to the Ayesta, was closely involved in the
no-go
The infamous
Fukushima story as it broke, and
abandoned
subsequently came up with a unique
supermarket. The
and moving style to demonstrate
smell was terrible,
the legacy of the catastrophe: the
Bression recalls
pair moved former residents back
to their offices, shops, restaurants
zone
and hangouts in Fukushima, and
then photographed them in the
untouched ruins and decay.
Battling bureaucracy
Retracing the steps of evacuees was
one of several strands that made up
the duos Fukushima No-Go Zone
project, as Bression explains.
Finding the subjects was the
Guillaume Bression has created a unique hardest part of the project, Bression
recalls. We worked with a fixer for
photographic project about the damaged two months, although I knew some
Fukushima Daiichi Nuclear Power Plant in of the people from previous news
interviews. The first job was to
Japan. He talks to Geoff Harris about it identify the locations the old
offices, boutiques, supermarkets,
ne of the most difficult tsunami and subsequent accident and so on. Then it was about trying
O things about being

caught up in a national
disaster, apart from the
daily grind of survival, must be how
quickly your story gets forgotten as
at the Fukushima Daiichi Nuclear
Power Plant in Japan were
headlining global news. Today, its
an old story, although not for the
people who lived in the area. French
to find people related to that place.
Wed call the city office and
sometimes the officials said they
didnt have the details of who used to
work or live there, or they just
the news moves on. Think back to photographer Guillaume Bression, refused to help us. So wed try
March 2011, when the earthquake, together with his colleague Carlos asking former neighbours.

When we eventually tracked the
evacuees down, some didnt
When we got into the supermarket the smell
want to return to be photographed. was terrible and there was hardly any light
Bression and Ayesta eventually got
enough subjects for the project. Its
important to point out that about
half the number of people were
directly connected with the places,
says Bression. The other half were
inhabitants of the region who used
to frequent a particular store,
supermarket, hairdresser or caf.
We never had to use actors/models.
Mixed feelings
Many of the subjects featured had
mixed feelings about returning.
Some of them really wanted to go
back to their old haunts, and for
some it was the first time theyd been
back since the nuclear accident,
Bression adds. Most are strongly
against the idea of returning
permanently, as despite the
government spending money on

decontamination, the radiation levels the owner of this portable lights were a regular of a record store

can still be high. Nobody has the abandoned hair salon picked used to lift this subject. which was abandoned, stock
confidence to reopen for business. up her scissors again for lights were often essential and all, when the Fukushima
Bressions favourite image is that bressions camera as there was no power disaster unfolded
of the printing company owner (far available in the buildings
right), with whom he feels a strong
personal bond. But he can
understand why the supermarket
shopper image (page 41) is popular.
When we got into the supermarket
the smell was terrible and there was
all pictures guillaume bression and carlos ayesta
hardly any light, he says. Hence, the

need for artificial light in most of the
shots, which we sometimes also used
to replicate sunlight.
The response to the project has
been very positive, although its
better known overseas than in
Japan. [The pictures have] been
published in many European
countries and in the USA, says
Bression. On 23 June, we [had] a
major one-month exhibition in
Tokyos Ginza shopping district,
funded by Chanel.
After the exhibition, Bression and
Ayesta planned to start work on a
project about the decontamination
workers who are engaged in the
clean-up operation at the stricken
nuclear reactors. Bression says: We
want to show, through portraits,
what life is like inside a no-go zone
now. Three years ago it was empty,
but then the clean-up workers
arrived so a supermarket and gas
station opened. Ironically, five
years after the accident, the
area is still dependent on the
nuclear industry.
in 2009, guillaume founded the photography collective

trois8 with carlos ayesta and audrey boehly, with
whom he has collaborated on several projects. Visit
www.fukushima-nogozone.com and www.trois8.fr.

Photo
Essay
The print shop
owner, with whom

Bression developed
a particular rapport
The normality of
the subjects poses

belies the devastation
around them
Evening Class
Photoshop guru Martin Evening sorts out your photo-editing and post-processing problems
How to apply a lens profile

I THINK I recognise this as the pedestrian When editing such images in Camera Raw
bridge at Edgware Road station in London. or Lightroom, you can apply lens-prole
Graham Borthwick shot it using a Canon EOS corrections to the perspective. A sheye-lens
5D Mark II with a Canon EF 15mm sheye photograph can also be edited using the
lens. As the name suggests, this lens captures Adaptive Wide Angle lter in Photoshop to
a non-corrected sheye-view image where create more natural-looking wideangle views.
straight lines will appear curved.
It is an interesting lens to use if you want to Submit your images
capture a distorted look and can be useful for
Please see the Send us your pictures section on page 3
capturing panoramic shots that can be merged
for details or visit www.amateurphotographer.co.uk 1 Basic panel adjustments
to produce a composite 360 image. First, I applied a +1.7 Exposure adjustment to lighten
the photograph. To compress the dynamic range, I
AFTER dragged the Highlights slider nearly all the way to
the left and the Shadows slider to the right. This
adjustment softened the overall contrast to the point
where it was necessary to add a positive amount of
Clarity to include some midtone contrast in the image.
2 Apply a lens-profile
correction to the photo
In the Lens Corrections panel I could see this photo
was shot with a Canon EF 15mm fisheye lens. I
checked the Enable Profile Corrections option,
and this applied a profiled lens correction that
straightened the lines to produce a corrected
perspective view. I then applied a crop to the
image to achieve a symmetrical composition.
BEFORE
3 Guided Upright
adjustments
I clicked on the Transform tool in the toolbar at the top
to open the Transform panel options (this is a recent
change), and selected the new Guided Upright option.
This allowed me to add two vertical and two horizontal
guides to achieve a perfect perspective correction.

EVENING CLASS
How to lighten
the exposure
THIS is a ne example of a long-exposure shot
Lens prole corrections
In the Lens Corrections panel there is the option to apply proled lens
of burning wire wool that captures the beautiful corrections. If the lens you are using is included in the Adobe lens
pattern created by the sparks. Darren Flynn prole database, checking this option will apply a proled lens
photographed it with the light reecting in what correction that automatically corrects for geometric distortion and
looks like the edge of a pond, so capturing a lens vignetting. If you dont see your lens listed, you can set the
mirror image of the reections. However, be camera make, model and prole menus. The sliders allow you to
careful when photographing re. Some decrease or increase the Distortion or Vignetting corrections. If the
photographers have damaged the landscape result doesnt look right, you can compensate using these sliders.
or buildings trying to capture this type of effect.
BEFORE
AFTER
1 Basic panel adjustments 2 Straighten the horizon 3 Final tone adjustments
I opened the raw image in Camera Raw and went In this step, I selected the Straighten tool and dragged In reviewing the adjustments I had applied so far, the
to the Basic panel. Here, I set the Exposure slider across the image to straighten it. I then fine-tuned the scissor shape that was so strong in the original was
to +3.10 to lighten the image and reveal more Whites and Blacks sliders. I dragged the Whites slider now lost. I therefore chose to reduce the Exposure
detail in the trail of sparks. I also darkened the to the right to allow the brightest portions to hard clip. slider setting to -1.80 to darken the exposure. At the
Highlights slightly and increased the Shadows Similarly, I dragged the Blacks slider to the left to hard same time, I boosted the Clarity and Vibrance to add
slider amount. clip the blacks. more definition and colour to the spark trails.
Martin Evening is a noted expert in both photography and digital imaging. He is well known in London for his fashion and beauty work, for which he has won several awards. Martin has worked
with the Adobe Photoshop and Adobe Lightroom engineering teams over many years and is one of the founding members of a software design company. Visit www.martinevening.com

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Used Canon 500mm f4 LI IS USM - 4499 Used Nikon 200-400mm f4 AFS VRII - 3499
n Excellent++ condition. n Mint- condition, minimal signs of use.
n Supplied with box and case. n In full working order.
This is a very serious pro quality lens. It has n Supplied with lens soft case, hood,
Canons acclaimed image stabilisation system tripod mount, front lens cover, rear lens cap.
on board and incorporates Canons Ultrasonic
Motor (USM). This was the worlds first lens n Sold with a 3 month warranty.
based motor to harness ultrasonic oscillation This lens covers a very popular range of focal lengths so saving space
energy. Electronic vibrations created by a piezoelectric element power and weight for photographers on the move. It has a fast f4 maximum
the mechanical action of the lens. This technology makes focusing aperture which will be particularly useful for action, sports, wildlife
precise, virtually noiseless and incredibly quick. photographers etc.
BRONICA ETRS 645 USED 70-200 F4 IS U L ................599 WLF chrome late.................99 MINOLTA/SONY AF USED 28 F2.8 AFD..............................129 Nikon bellows II box..........89
Used Canon ETRSi + 75 F2.8 PE + RFH 399
40 F4 MC..............................149
70-200 F4 U L .....................299
70-300 F4/5.6 L IS USM...799
WLF early...............................49
Sports viewfinder ...............69
Dynax 9 body box............299
800Si body ............................69
28-100 F3.5/5.6 AF G............. 69
28-300 F3.5/5.6 AFS VR ......649
OLYMPUS DIGITAL USED
11-22 F2.8/3.5 M-..............379
Used Nikon
EOS 1DX 50 F2.8 E...............................149 70-300 F4.5/5.6 IS USM ..279 Chimney.................................89 7xi body .................................49 35 F1.8 AFS DX box.............129 12-60 F2.8/4 SWD.............379 D4s
body 105 F3.5..................................99 75-300 F4/5.6 MKII .............99 A12 chrome latest............299 7000i body............................39 35-70 F3.3/4.5 AF .................... 59 14-42 F3.5/5.6 ......................49
135 F4 PE M- box..............249 85 F1.8 M-............................199 A12 late blk/chr.................129 300Si body ............................19 40 F2.8 AFS DX M- box.......149 14-45 F3.5/5.6 ......................79 body
box 150 F3.5 E ..............................99 100 F2.8 USM box.............319 Polaroid back .......................79 20 F2.8 ..................................199 50 F1.8 AFD...........................99 14-50 F3.8/5.6 ....................199
150 F3.5 PE M- Box...........149 100-400 F4.5/5.6 L IS U... 799 Winder Cw...........................229 20-35 F3.5/4.5 M- box.....249 50 F1.8 AF..............................79 14-54 F2.8/3.5 ....................149
200 F4.5 PE..........................199 135 F2 M- box....................549 50 F4 CF FLE .......................849 24-50 F4 .................................99 55-200 F4/5.6 AFS VR ........99 35 F3.5 ....................................99
3399 E14 ext tube .........................49 300 F2.8 LI IS U..................2799 50 F4 CF ...............................599 28 F2......................................299 55-200 F4/5.6 AFS ..............79 35-100 F2 box ................. 1099 2999
120 RFH..................................69 300 F4 L IS USM box......... 649 80 F2.8 CF............................479 28 F2.8 ....................................99 55-300 F4.5/5.6 AFS VR...199 40-150 F4/5.6 .......................49
Polaroid Back .......................39 400 F4 DO...........................2199 100 F3.5 CF .........................549 28-80 F4/5.6..........................39 60 F2.8 AFD.........................249 50 F2 macro........................279
Used Canon Plain prism ............................59
Rotary prism.........................99
400 F5.6 L box..................... 699
500 F4 LI IS USM...............4499
100 F3.5 Black T*...............399
140-280 F5.6 CF.................799
28-85 F3.5/4.5 ......................99
28-100 F3.5/5.6 D ...............49
60 F2.8 AF............................199
70-200 F2.8 AFS VRII..... 1299
25mm ext tube....................79
OLYMPUS PEN USED
Used Nikon
1D MKIV Angle viewfinder E...........129 2x extender MKII................ 199 150 F4 chrome...................199 35 F1.4 ..................................399 70-300 F4/5.6 AFD ...........129 Stylus 1S compact............299 D4
body Winder early .........................79 2x extender MKI................169 250 F5.6 CF .........................399 35-70 F4 .................................39 70-300 F4 G...........................79 OMD-EM1 body M- box .499
Speed Grip E.........................39 Teleplus 2x DG conv..........89 Ext tube 21, 55 each..........39 35-70 F3.5/4.5........................... 25 80-200 F2.8 AFD................299 OMD E-M5 MKII body .....599 body
box Tripod adapter E .................39 Kenko ext tube set DG......... 89 Vivitar 2x conv .....................49 35-80 f4/5.6................................ 25 85 F1.4 AFD.........................499 OMD E-M5 body box.......299
Winder early .........................49 LC-4 wireless kit ..................89 Pro shade 6093....................99 35-105 F3.5/4.5 ........................ 99 85 F1.8 AFS .........................349 OMD-EM10 MKII body....369
box
Metz SCA 386.......................49 PB-E2 drive fits EOS1/3...149 Lens hoods various..... 20/50 50 F1.4 AF .................................169 85 F1.8 AFD.........................249 OMD-EM10 body..............299
1699 BRONICA SQ 6x6 USED SIGMA CAF USED LEICA M COMPACT USED 50 F2.8 macro .........................149 85 F3.5 DX M- box............269 Pen E-PM1 + 14-42 M- ....129 2499
SQA + 80 + back + prism .249 10-20 F4/5.6 HSM box .219 IIIg body chrome ..............849 75-300 F4.5/5.6 ........................ 99 105 F2.8 AFS VR.................549 Pen E-PM1 body..................99
SQB complete....................399 12-24 F4.5/5.6 EX DG ..........399 5cm F3.5 ..............................299 85 F1.4........................................549 105 F2.8 AFD ......................369 7-14 F2.8 Pro ......................699
Used Canon 40 F4 S ..................................299
50 F3.5 PS ............................299
17-70 F2.8/4 DC OS..............179
17-70 F2.8/4 DC.....................129
50 F1.4 6 bit..................... 1199
CF flash...................................49
100-300 F4.5/5.6 APO.........149
500 F8 mirror...........................349
180 F2.8 AFD M- box.......449
200-400 F4 AFS VRII...... 3499
12-40 F2.8 Pro....................599
12-50 F3.5/6.3 ....................149
Used Nikon
EOS 5D MKIII 50 F3.5 S...............................149 18-125 F3.8/5.6 OS DC .....149 LEICA SLR USED VC700 grip.................................. 39 300 F2.8 AFS VRII M-..... 3199 40-150 F2.8 Pro .................999 D3
body 110 F4.5 PS macro............399 18-200 F3.5/6.3 HSM OS..199 R7 body black ....................399 RC1000S/L cord ....................... 15 300 F2.8 AFS VRI ............ 2699 40-150 F4/5.6 .....................119
135 F4 PS M-.......................229 24-35 F2 DG Art M- box...599 R5 body black ....................199 AW90............................................. 49 300 F2.8 AFS.................... 1699 1.4x converter....................249 body
150 F3.5 S ..............................79 24-70 F2.8 HSM....................469 LEICA BINOCULARS USED MD90 + BP90-M...................... 79 300 F4 AFS M- box ...........699 Samyang 7.5 fisheye........149 box
150 F4 PS ................... 149/199 50 F1.4 EX DC........................249 Trinovid 10x42...................799 Angle finder VN........................ 79 300 F4 AFS box..................599 HLD-7 grip box..................119
180 F4.5 PS..........................399 50 F2.8 EX macro ............... 149 Ultravid 8x32 HD ..............999 SONY LENSES USED 400 F2.8 AFS VR.............. 5499 VF-2 viewfinder .................199
1699 200 F4.5 PS M- box ..........199 70-200 F2.8 EX DG mac....349 LIGHTMETERS USED 16-50 F2.8 DT SSM................279 500 F4 AFS VR ................. 4499 OLYMPUS OM USED 1199
2x PS converter M-...........179 70-300 F4/5.6 DG................79 Minolta Flashmeter V......199 16-80 F3.5/4.5 ZA DT...........449 600 F4 AFS VR ................. 4999 OM-4Ti body ......................249
S36 ext tube .........................79 120-400 F4/5.6 DG ...........399 Minolta Spotmeter M......199 18-55 F3.5/5.6 SAM................ 59 600 F4 AFS II non VR..... 3499 OM-1n body chr................169
Used Canon 135N back ...........................119 150 F2.8 EX DG HSM mao . 399 MAMIYA 645 MF USED 18-200 F3.5/6.3 DT ...............199 TC14EII box .........................269 OM-2SP body.....................149 Used Nikon
SQA Polaroid back..............59 150-500 F5/6.3 HSM..........499 Plain prism (645 Super)....39 55-200 F4/5.6 DT SSM .......... 69 TC17EII..................................249 OM-2n body .......................149 14-24mm f2.8 AFS
SQAi 120 RFH .......................79 180 F3.5 EX DG HSM mac.349 Polariod Back HP401 .........29 70-300 F4.5/5.6 G SSMII box 549 TC20EIII M- box .................249 OM-1n body .......................149 M- box
EOS 7D MKII SQA 120 RFH ........................49 1.4x EX conv .............................. 99 Polaroid back .......................29 85 F1.4 ZA.................................699 TC20EII..................................199 24 F2.8 ..................................169
body SQAi prism late..................299 2x EX conv.................................. 99 120 Insert...............................20 SIGMA MIN/SONY AF USED TC20E ....................................149 28 F3.5 ....................................49
45 Prism box .....................129 Kenko Pro 300 1.4x conv..... 99 HA401 120 RFH Box...........49 28-135 F3.8/5.6......................79 SIGMA NAF USED 35-70 F3.5/4.5 ......................79
Plain Prism S Boxed ...........69 OTHER CAF USED 120 Back.................................39 28-300 F3.5/6.3 macro..... 149 12-24 F4.5/5.6 EX DG ..........379 35-105 F3.5/4.5....................79
AE Prism Early ......................79 TAM 28-75 F2.8 XR Di......199 Winder ....................................79 50 F1.4.................................... 149 18-50 F2.8 EX DC Mac.........199 50 F3.5 macro ......................79
899 ME Prism Finder ..................69 TAM 28-300 F3.5/6.3 Di 50 F4 shift............................299 50 F2.8 EX DG macro ....... 169 18-200 F3.5/6.3 DC OS......199 200 F4 .....................................79 1099
Metz SCA 386.......................49 VC PZD .......................................399 55-110 F4.5 box.................299 55-200 F4/5.6 .........................69 28-300 F3.5/6.3 early..........129 300 F4 ...................................169
Pro shade S ...........................59 TAM 28-300 box................149 120 F4 macro .....................269 70-300 F4/5.6 DG OS ...... 169 30 F1.4 EX DC ........................199 PANASONIC DIGITAL USED
Used Canon Lens Hood 65-80.................20 TAM 45 F1.8 Di VC...............379 150 F2.8 A............................199 70-300 F4/5.6 APO DG ...... 99 50 F1.4 Art M- box...............499 G6 body black....................199 Used Nikon
11-24mm f4 L U M- box SQAi Motorwinder ...........149 TAM 70-300 F4/5.6 ............... 99 150 F3.5 N .............................79 150-500 F5./6.3 DG ..........499 50 F1.4 DG Mint ......... 199/239 G3 body box.......................129 300mm f2.8 AFS VRII M-
Speed grip S .........................69 TAM 90 F2.8 ...........................179 210 F4 N M- ..........................79 170-500 F5/6.3...................299 50-500 F4/6.3 DG..............399 G1 body box.........................99
CANON DIGITAL AF USED CANON FLASH USED Ext Tube 1, 2, 3S each .......29 1.4x EX conv .........................99 70-300 F4/5.6 APO DG......99 GX1 body box....................149
1DX body box ................. 3399 CP-E3 batt pack...................49 Teleplus 2x converter........49 TAM 10-24 F3.5/4.5 DiII ..239 120-400 F4/5.6 DG ...........399 GF7 body box ....................199
1D MKIV body box ........ 1699 ST-E2 transmitter ................79 Vivitar 2x converter............39 TAM 18-200 F3.5/6.3..........99 150-500 F5/6.3 DG OS........499 GF3 body black ...................99
1D MKIII body box............499 430EXII..................................169 MAMIYA TLR 6x6 USED TAM 70-300 F4.5/5.6 150-600 F5/6.3 OS Sport...999 GF1 body ................................. 79
1Ds MKIII body box....... 1199 430EZ non digital ...............39 C330 F Body + WLF ..........149 Di box......................................79 500 F4 EX DG .......................1999 12-32 F3.5/5.6 ....................149
2299 7D MKII body .....................899 580EX box ...........................179 55 F4.5 ..................................199 TAM 90 F2.8 .............. 179/249 1.4x EX DG M-.........................119 14 F2.5 ..................................199 3199
7D body ...............................399 600EX RT box .....................279 65 F3.5 box late .................199 Teleplus 1.4x conv..............69 2x EX DG box ..........................149 14-42 F3.5/5.6 ......................79
6D body ...............................899 CANON FD USED 65 F3.5 serviced.................149 Teleplus 2x conv .................79 TAMRON NAF USED 14-45 F3.5/5.6 ....................149
Used Canon 5D MKIII b/o box............ 1699 A-1 body ................................99 80 F2.8 late serviced ........139 Kenko 1.4x Pro 300DG....149 10-24 F3.5/4.5 DiII.................239 25 F1.4 ..................................329 Used Nikon
5D MKII body ..............599/899 28 F2.8 ....................................49 180 F4.5................................149 Min 5200i...............................29 11-18 F4.5/5.6.........................219 LVF2 box ..............................149 300mm f2.8 AFS VRI
5D MKI body box ......399/499 35-70 F3.5/4.5 ......................49 250 f4.5 late serviced.......249 Min 3600HSD .......................39 16-300 F3.5/6.3 VC PZD .....319 BG-GH3 grip .........................99
16-35 f2.8 700D body M- box..............349 35-105 F3.5 .........................129 250 f4.5 early serviced .179 Min 5400HS ..........................39 18-250 F3.5/6.3 ......................149 PENTAX DIGITAL USED
USM 550D body .............................199 50 F1.4 ...................................99 Prism .......................................99 Min 5600HSD M-.................99 70-300 F4/5.6............................ 79 K5 body box .......................299
450D body box ....................149 70-200 F4...............................79 Paramender ..........................49 NIKON DIGITAL AF USED OTHER NAF USED PENTAX 35mm AF USED
LII 400D body ............................... 99 100-300 F5.6.........................79 Porrofinder............................59 D4s body box.................. 2999 SAMYANG 14 F2.8 ............199 MZ5N body...........................69
350D body ............................... 99 135 F2 ...................................399 MAMIYA 7 RF 6x7 USED D4 body box.................... 2499 TOK 10-17 F3.5/4.5 ATX..249 10-17 F3.5/4.5 ED .............239
849 300D body ............................... 79 2x extender B.......................49 50 F4.5 L + VF.....................699 D3 body box.................... 1199 TOK 11-18 F2.8 ATX Pro..329 16-45 F4 ...............................199 2699
70D body box.......................549 299T flash ..............................25 80 F4.5 L M- box................699 D810 body box............... 1799 TOK 12-24 F4 ATX pro.....299 17-70 F4 SDM M- box .....299
60D body................................399 300TL flash............................25 150 F4.5 M- .........................399 D800 body ....................... 1199 TOK 12-28 F4 ATX DX......399 18-55 F3.5/5.6 ......................29
Used Canon 50D body................................299 CONTAX 645 AF USED Panoramic kit .......................49 D700 body box..................599 FLASH / ACCESSORIES USED 28-80 F3.5/5.6 ......................49 Used Nikon
70-200mm f2.8 LI 40D body................................169 45 F2.8 ..................................799 MAMIYA RB 6x7 USED D610 body box..................899 SB-24..........49 SB-25.............49 50-135 F2.8 SDM...............379 300mm f2.8 AFS
BG-E2...........39 BG-ED3..... 39 CONTAX AF USED Pro S + 90 + RFH + WLF .449 D300 body box..................299 SB-28 ............................................. 69 50-200 F4/5.6 .......................99
IS USM BG-E4 box..79 BG-E6 ........ 89 45 F2......................................399 Pro SD comp M-................649 D200 body box..................149 SB-80DX....................................... 79 55 F1.4 SDM M- .................469
BG-E7.......................................... 89 90 F2.8 ..................................299 Pro S body...........................149 D7200 body box ...............699 SB-500 box...............................149 55-300 F4/5.8 ED box......229
BG-E8.......................................... 69 CONTAX MF USED Pro S body scruffy ..............99 D7000 body.............. 299/349 SB-700 box...............................199 70 F2.8 Limited..................349
BG-E9 box................................. 79 28-70 F3.5/4.5 MM ...........199 WLF..........................................79 D5100 body........................249 SB-900.........................................269 70-300 F4/5.6 .......................79
BG-E13 .....................................139 40-80 F3.5 AE .....................149 Chimney...............................179 D5000 body........................169 SB-910 box...............................289 100-300 F4.5/5.6 .................89
899 BG-E16 .....................................159 FUJI DIGITAL USED 120 645V back .....................99 D3200 body black box ...199 SD-8 batt pack.......................... 49 SIGMA PKAF USED 1699
G10 compact box ...............149 S5 Pro body box................229 90 F3.5 KL ............................249 D80 body.............................149 SU-800........................................179 10-20 F4/5.6........................229
G9 compact...........................119 X-T1 body graphite box .699 127 F3.5 KL..........................299 MBD-15 grip .......................149 DR-5 angle finder box.........149 18-250 F3.5/6.3..................199
Used Canon EOS M + 22 F2 + 18-55.....199 X-T1 body black.................599 Ext tube 2.................................... 49 MBD-12 grip .......................229 DR-3 angle finder.................... 59 24-70 F2.8 EX DG mac ....249 Used Nikon
300mm f2.8 L IS USM CANON AF USED X-M1 body blk box...........149 MAMIYA RZ 6x7 USED MBD-10 grip M- box........149 GP-1A box.................................149 PENTAX 645AF USED 400mm f2.8 AFS VR
EOS 650 body ......................39 14 F2.8 R XF box..................529 RZ ProII + 90 + WLF MBD-10 grip .........................89 MB-10 (fits F90)........................ 29 645N body ..........................399
EOS 600 body ......................39 16-55 F2.8 XF R WR ..........699 + 120 RFH............................499 MBD-200 box .......................69 MB-23 (fits F4)........................... 69 45 F2.8 FA ............................399
EOS 50E/300V body each 29 18 F2 R..................................199 RZ Pro body ........................149 MBD-100................................39 MC-30 remote .......................... 39 AF500FTZ flash....................99
EOS 500N/1000 b/o each 29 18-135 F3.5/5.6 R..............449 120 RFH Pro II.......................99 NIKON AF USED MF-23 (date back F4) ............ 79 PENTAX 645MF USED
10-18 F4.5/5.6 IS STM......169 23 F1.4 R box......................529 120 RFH Pro I........................49 F4 body ................................349 Coolscan LS-50 box .............349 645 + 75 F2.8......................249
10-22 F3.5/4.5 U................299 27 F2.8 XF box ...................199 WLF..........................................79 F4E body..............................299 NIKON MF USED 645 body + insert .............199
2799 11-24 F4 L USM M- box2299 50-140 F2.8 XF ...................949 Winder II.................................69 F801 body ...................... 29/59 F3 body ................................199 55 F2.8 ..................................249 4499
16-35 F2.8 USM LII............849 56 F1.2 XF............................599 50 F4.5 W .............................199 F100 body + MB-15 .........199 FM2n body chr box..........349 150 F3.5 EX++....................149
Used Canon 17-40 F4 L............................399
17-55 F2.8 EFS IS USM ....399
60 F2.4 macro ....................369
1.4x converter....................269
65 F4 box M- ......................399
90 F3.5 W M- box..............299
F601 body .............................29
F55 body................................25
FM2n body chr ..................249
15 F3.5 AIS...........................799
200 F4 ..................................149
120 Insert M- box................49 Used Nikon
300mm f4 L IS USM 17-85 F4/5.6........................179 Samyang 8 F2.8 fisheye..179 127 F3.5 box.......................299 10.5 F2.8 AFS DX...............419 28 F3.5 AIS.............................99 PENTAX 67 USED 500mm f4 AFS VR
box 18-55 F3.5/5.6 IS EFS .........89 Samyang 12 F2..................199 180 F4.5 W box..................199 10-24 F3.5/4.5 AFS DX ....529 28 F2.8 E box........................69 135 F4 macro late .............249
18-55 F3.5/5.6 IS STM............ 99 Samyang 21 F1.4 ..............199 Pro shade...............................49 12-24 F4 DX ........................399 28-85 F3.5/4.5 AIS.............199 200 F4 latest .......................169
18-55 F3.5/5.6 EFS .................. 59 X100 silver box ..................349 MINOLTA/SONY DIGITAL USED 14-24 F2.8 AFS M- box.. 1099 35-70 F3.3/4.5 AIS.............129 200 F4 early.............................99
18-135 F3.5/5.6 IS..................219 X-T1 vertical grip...............129 Sony A77 II body................ 799 14-24 F2.8 AFS ................ 999 35-70 F3.5 AIS ......................99 300 F4 early scruffy............. 99
20-35 F3.5/4.5 USM..............179 EF-42 flash...........................119 Sony A77 body ................... 399 16-85 F3.5/5.6 AFS VR ...299 35-105 F3.5/4.5 AIS ............79 Pentax rear conv 1.4x........ 249
24 F2.8 IS USM........................369 FUJI MED FORMAT USED Sony A350 body................. 149 17-55 F2.8 AFS ......................499 50 F1.8 AIS pancake.........139 2x rear converter...............179
649 24 F3.5 TSE box...................1199 GSW690 III...........................599 Sony VGB30AM .....................79 18-35 F3.5/4.5 AFS ..............449 50 F1.8 E.................................59 Auto ext tubes .....................49 4499
24-70 F2.8 L USM box.........549 HASSELBLAD XPAN USED Sony VG-C2EM.................... 179 18-55 F3.5/5.6 VRII..................99 105 F2.8 AIS macro ..........249 Vivitar 2x conv .....................49
Used Canon 24-85 F3.5/4.5 USM..............149
24-105 F4 L...............................549
Centre filter 49mm.................129
HASSELBLAD 6x6 USED
Sony VGC70AM .................. 139
Sony HV56AM..................... 169
18-70 F3.5/4.5 AFS ..............119
18-135 F3.5/5.6 DX..............149
180 F2.8 AIS ED scruffy...179
200 F4 AI..............................149
SAMSUNG USED
50-200 F4/5.6 III M- box....99 Used Nikon
400mm f4 DO 28 F1.8 USM box...............259 503CW chr + 80 F2.8 CF Sony F42AM......................... 129 18-140 F3.5/5.6 VR DX M- 229 500 F4 AIS......................... 1499 TAMRON ADII USED 600mm f4 AFSII non VR
28-90 F3.5/5.6 ......................79 +A12................................... 1699 SONY NEX USED 18-200 F3.5/5.6 AFS VRI....199 500 F8 early ........................279 90 F2.5 SP ............................149
28-135 F3.5/5.6 IS USM ..229 PM5 prism 45....................149 A6000 body.............................329 20 F2.8 AF................................279 TC200 ......................................49 500 F8 ...................................169
28-200 F3.5/5.6 USM .......169 PME prism box...................149 NEX 5 body ..............................129 24 F2.8 AFD............................299 TC301 ....................................149 VOIGTLANDER USED
35 F1.4 L USM ....................799 45 Prism late .....................149 FE 16-50 F3.5/5.6 EZ ............149 24-70 F2.8 AFS box.............849 SC-17 TTL lead.....................25 15 F4.5 + VF M- box.........269
50 F1.4 USM........................219 45 Prism early.....................69 FE 50 F1.8 OSS E ....................169 24-85 F3.5/4.5 AFS VR.........329 DW-3 WLF find fit F3 .........99 ZEISS USED
50 F1.8 MKII ..........................49 NC1 prism..............................69 FE 55-210 F4.5/6.3................159 24-120 f4 AFS VR...................699 DW-4 6x mag find fit F3 ...99 Victory Diascope 85 T* FL
2199 70-200 F2.8 IS USM LI......899 WLF late ...............................110 Samyang 100 F2.8 macro.229 28 F1.8 AFS G..........................479 DW-21 fits F4......................149 + 20x60 box..................... 1799 3499
ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF wHAT YOU ARE LOOKING FOR AND wE wILL CONTACT YOU wHEN THAT ITEM BECOMES AVAILABLE.
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.
Accessories
Useful gadgets to enhance your photography, from phones to filters
MeFOTO GlobeTrotter
travel tripod
315 www.mefoto.com/uk/products
At a glance
Lightweight carbon-fibre tripod
available in a choice of colours
Arca-Swiss quick-release plate
Integrated monopod
Geoff Harris road tests an eye-catching
carbon-fibre support
DESPITE the choice of funky colours,
MeFOTOs GlobeTrotter tripods are serious Carbon-fibre legs Quick-release
pieces of kit and can support up to 26.4lb The carbon-fibre legs are plate
(12kg), which is more than enough for tough and thick, with handy The Arca-Swiss-style
mainstream travel photography. Both spiked ends for easier use quick-release plate soon
carbon-bre and aluminium versions pack on soft ground. becomes second nature. You
down in seconds to a very compact 16.1in can also buy a smartphone
(41cm), and while the GlobeTrotter isnt the adapter accessory.
lightest travel tripod around at 3.7lb (1.7kg),
its unlikely to cause problems at the airport.
Build quality is excellent. The carbon-bre
legs are built to last and extend the tripod to a
respectable 64.2in (1.6m), while the head and
aluminium ttings are also of high quality. The
legs lock via a twist grip, rather than a clip,
which is a bit of Marmite scenario you either
love twist grips or hate them. I was sceptical at
rst, but these grips are quick and easy to use.
There are two default locking positions for
the legs conventional upright and wider
set-up closer to the group. The latter comes in
handy with heavy cameras and lenses, or in
windy conditions. The Q-series ballhead looks
like it will withstand a lot of punishment, and
theres an Arca-Swiss-style-compatible quick-
Leg
release plate. As with any new tripod, youll
locks
Not for everyone,
need to spend some time practising with this
perhaps, but the
and the head tension, lock knob and pan lock,
twist-grip locks are
but they soon become second nature. Useful
well made and
extras include a graduated panning scale for
reliable.
panoramas, a built-in monopod with foam GOLD
sleeve for extreme weather and a roomy
shoulder bag with toolkit.
A QUIET WORD ABOUT COLOUR
Verdict
Theres a lot to like about the carbon-bre The blue, green and red shades
GlobeTrotter. Its reasonably priced, easy to are eye-catching, but some
ALL PRICES ARE APPROXIMATE STREET PRICES
use and lightweight but sturdy. The twist-grip photographers might not want to
leg locks could be a deal breaker for some, attract attention particularly in
but theyre well made and reliable. So long less salubrious parts of town, or
as you dont expect the GlobeTrotter to where security guards or police
outperform more expensive specialist tripods, are milling around. So, the more
its highly recommended for city breaks and traditional black or titanium grey
long hauls alike. might be a better choice.

Freecom mHDD Slim
USB 3.0 Mobile Drive
86 (1TB), 125 (2TB) www.freecom.co.uk/mhddslim
Thlahooahykad
chquayou
Recommended
This portable hard

drive is sleek and
includes a useful
software package
DIGITAL photography is a storage-hungry activity, so portable hard

drives are useful to keep your photos safely backed up. There are a
number of these on the market, but one that stands out from the crowd
is this slim mobile drive from Freecom. It combines stylish design with
broad device compatibility and a useful on-board software package.
Available in 1TB or 2TB capacities, the drive comes pre-formatted to
be compatible with both Apple Macs and Microsoft Windows PCs. As
Moacu
normal, a USB 3.0 cable is provided, but usefully a USB Type-C cable is
also included in the box, allowing the drive to be connected to a wider
range of devices, including the latest MacBook Air. In fact, the drive is
Mochqu
available in a choice of three colours to match Apples current palette -
silver, gold or space grey. Mooo
Built around a 2.5in disc, the brushed-metal casing feels robust,
with tiny rubberised feet on the base to help stop it sliding off a desk.
Measuring just 11.4x76cm and a mere 9mm thick, its easy to slip into a
pocket of your camera bag. The design looks smart too, although the
Moao
prominent Freecom logo might not appeal to all. Dowloadol,joyof
The pre-installed software package includes programs for formatting
the disc, securely erasing data and power saving. Windows users also Buyfomhcomfoofyouowhom
get Nero BackItUp, a highly congurable back-up program that allows
you to copy new or changed les on your computer to the external disc, Avalablhdayhmaazooal
or vice versa. When used with a Mac, the drive can be congured as a
back-up disc via Time Machine. My main criticism Mdau?Smlydowloadabackcoy
is with the Flash-based Start software, which
feels anachronistic and didnt work Try it today
properly on my Windows 10 laptop.
Otherwise, while this Freecom www.amateurphotographer.co.uk/digital-edition
drive is rather pricier than some
other external hard drives, its
portability and powerful software
package make it a decent choice for
photographers looking to keep their
The Freecom mobile drive is image les backed up on the go.
compatible with Macs and PCs Andy Westlake

COMPETITION
WIN a holiday
in the Gambia
Send in your inspiring travel photograph and you
Prizes galore
up for grabs
could win a fantastic seven-night holiday to The Our overall winner will
Gambia for two, and have your image printed in receive a seven-night
holiday for two in The
AP and Lonely Planet Traveller magazine Gambia, courtesy of
AP AND Lonely Planet Traveller magazine have joined forces The Gambia Experience
to offer one lucky reader the chance to win a seven-night (gambia.co.uk)
holiday for two to The Gambia in our Inspired Travel
Photographer 2016 competition. And thats not all we also The overall winner will stay for three
have a Fujilm X-T10 for each of the three category winners. nights in the stunning Ngala Lodge and
four nights in the Mandina Lodges in the
How to enter Makasutu Forest where youll receive:
Guided forest walks
There are three categories you can enter:
River trip by pirogue
1 People Return flights from Gatwick
We want to see your pictures of people in the home, Half-board at the Mandina Lodges
on the streets or on your travels. and b&b at the Ngala Lodge
2 Places The overall winner will also be invited to
The world is a big place, with its sprawling cities, endless oceans photograph this dream trip and have their
PHOTOGRAPHS JUSTIN FOULKES, JONATHAN GREGSON, AHMAD SYUKAERY
and dark forests, but what are the places that inspire you. work featured in Lonely Planet Traveller
and Amateur Photographer magazines.
3 Nature and wildlife PLUS
For this round were looking for your images of beautiful
Each category winner will win a Fujifilm
landscapes, and the plants and animals that live within them
X-T10 camera worth 779. This compact
Closing date 30 November 2016. Full terms and conditions online mirrorless digital camera turns any trip,
whether in everyday life or to the other
side of the world, into the ultimate photo
opportunity. Visit fuji.co.uk/x-t10.
Enter online at amateurphotographer.co.uk/inspiredtraveller

CAMERA TEST Testbench
The interior of Truro Cathedral

in Cornwall. This JPEG was
processed in-camera and
cropped slightly in Lightroom
Canon EOS 1300D

The EOS 1300D is Canons latest entry-level model and
replaces the two-year-old EOS 1200D. Audley Jarvis
finds out if this is one of the best choices for beginners
he EOS 1300D is predecessor, and while this allows 1/4,000sec, sensitivity ranges
T Canons latest entry-

level DSLR, and slots in
as a direct successor to
the 1200D that came out in 2014.
On the face of things, there doesnt
some room for cropping, its not
quite as generous as some of the
1300Ds immediate rivals. The
Nikon D3300 (250 body only),
for example, comes with a 24MP
from ISO 100-6,400 (with an
extended setting of 12,800) and
video capture is possible at a
maximum quality setting of
1,080p full HD at 30fps.
Data file
Price
Canon EOS 1300D
289 body only
340 with 18-55mm IS II lens
appear to be a huge difference sensor, while the considerably One area in which the 1300D Sensor 18MP APS-C CMOS
between the two, with both models more expensive Sony Alpha 68 greatly extends its appeal Image processor Canon DIGIC 4+
sharing the same 18-million-pixel (550 body only) also gets a compared to its predecessor is the Output size 5,184x3,456 pixels
sensor, nine-point AF system and 24MP sensor and the Pentax addition of built-in Wi-Fi and NFC Shutter speeds 30-1/4,000sec
95% pentamirror viewnder. That K-S2 (470 body) benets connectivity. This basically allows ISO 100-6,400
said, the newer model does benet from a 20.1MP sensor. Apple and Android (but not (Expandable to 12,800)
from the addition of built-in Wi-Fi Compared with the DIGIC 4 Windows Phone) users to connect Exposure 5EV in 1/3EV steps
compensation
and NFC connectivity, along with a processor found inside the EOS the camera directly to their
Drive mode 3fps continuous shooting
slightly faster image processor and 1200D, the 1300Ds DIGIC 4+ smartphone or tablet using
LCD 3in fixed LCD with 920,000 dots
a much-improved rear LCD display. chip offers a modest performance Canons free Camera Connect Viewfinder Pentamirror, 0.8x magnification,
Is this enough to help the 1300D benet, primarily in terms of the app. Once connected, Camera approx 95% coverage
stand out from its rivals in what is number of images that can be Connect can be used to transfer Video Full HD (1,920x1,080),
an increasingly competitive sector consecutively recorded when the images from the camera directly HD (1,080x720), VGA (640x480)
of the market? camera is used in continuous to the connected mobile device, or Memory card SD, SDHC, SDXC
shooting mode. Elsewhere, the to control the camera remotely. Power LP-E10 Li-ion battery
Features 1300Ds core specication is Given that most people now own a (approx 900 shots per charge)
The 1300D is built around the very much what wed expect from smartphone, the ability to transfer Dimensions 129x101.3x77.6mm
same 18-million-pixel APS-C an entry-level DSLR. Shutter images from camera to Weight 485g (with battery and card)
CMOS sensor that was used by its speeds range from 30secs to phone and then use the Connectivity Built-in Wi-Fi with NFC

Testbench CAMERA TEST
phones mobile data (or public Wi-Fi) to

email or upload them to social media
Canon EOS 1300D within minutes of taking them is a useful
feature that will broaden the 1300Ds appeal.
Resolution The 1300D comes with Canons shadow-
boosting Auto Lighting Optimizer, along with the
Below are details taken from usual array of picture styles and a red-eye
our resolution test chart reduction tool. There are also options to apply
pattern (shown right) in-camera noise reduction to long-exposure
images and those shot at higher ISO settings.
RAW RAW RAW The range of exposure modes available
ISO 100 ISO 3,200 ISO 12,800 extends to the standard PASM quartet of
semi and fully manual modes, alongside an
automatic scene intelligent mode that attempts
to recognise what is in front of the camera and
process the image accordingly for the best
results. Should you want to select a specic
scene mode yourself, then six are available
directly from the exposure mode dial: portrait,
landscape, close-up, sports, food and night
Resolution remains above 2,800l/ph between ISO 100 portrait. Rounding things off is a creative auto
and 800. More specifically, at ISO 100 the sensor mode that essentially allows you to set the
resolves closer to 3,000l/ph, dropping to a fraction amount of background blur you want without
under 2,800l/ph at ISO 1,600. Beyond this point detail having to use the more hands-on aperture-
begins to drops off more noticeably, with 2,600l/ph priority mode. All in all, the plentiful
resolved at ISO 3,200 and 2,400l/ph at ISO 6400. combination of automated and manual-
shooting modes makes the 1300D a great
Dynamic range learning tool for novice DSLR users.
The 1300Ds dynamic range result measures 11.7EV at Build and handling
ISO 100 in our Applied Imaging test. As the graph In terms of build quality, the 1300Ds
below illustrates, the figure stays above 10EV up to polycarbonate outer shell feels perfectly in across the centre of the viewnder. Only the
ISO 400. Results at ISO 1,600, 3,200 and 6,400 drop to keeping with the cameras price, although its central AF point is of the cross-type variety,
8.8EV, 7.7EV and 6.5EV respectively. This reflects the not in the same league as the magnesium- with the others all being horizontal AF points.
fact that shadowed areas get increasingly nosier as alloy casings found higher up the EOS range. Used in good light, the 1300Ds phase-
you push towards the ISO 12,800 limit. Aesthetically, we think the soft-sheen black detection AF module works very well, with
nish and neatly sculpted curves give the focus lock being near instantaneous. When
1300D a pretty stylish appearance overall, light levels drop, however, so does the
although others may nd it a bit plasticky. autofocus performance. Used in live view
The 1300D benets from a relatively mode, the contrast-detect AF system can be
pronounced nger grip that, for most people, frustratingly slow to focus, even in good light.
should be deep enough to comfortably Despite the lack of speed, it is thankfully
accommodate three ngers. This is further accurate, making it well suited to shooting
aided by a sculpted thumb rest on the back, still-life compositions and landscapes where
and combined they enable a secure grip on you can usually afford to take your time. In
the camera. Buttons are well placed, clearly time-sensitive situations where speedy focus
labelled and spaciously arranged so as to lock is vital (for example, when shooting action
minimise the chance of making accidental or moving subjects), the 1300Ds Live View AF
Noise selections. Unlike the 750D and cameras performance is too slow to be of practical use.
higher up the EOS range, there is no LCD With a maximum continuous shooting speed
In-camera JPEG processing provides excellent results display on the top-plate. Instead, the 1300D of just 3fps, the 1300D isnt really built for
at ISO 100-200. A small amount of luminance noise comes with Canons standard Quick Menu speed. Thanks to the slightly faster DIGIC 4+
does begin to creep in at ISO 800, but its only really (accessed via the Q button), which presents image processor, buffer performance has
visible when viewing images at 100%. At ISO 1,600 you with all the cameras key settings neatly improved, allowing the 1300D to record more
noise becomes more pronounced, but overall image displayed on the rear LCD screen. Overall, the images in a single burst before slowing down.
quality is still very good. Likewise, images shot at ISO 1300D is an intuitive and easy-to-use camera When testing, we red well over 100 full-
3,200 remain usable. At the higher settings image that most rst-time DSLR users should have resolution JPEGs without any slowdown, and
quality does show marked degradation. no problems getting to grips with. Canon claims the 1300D can actually record
The optical viewnder is the pentamirror up to 1,100 full-size JPEGs in a single burst.
JPEG ISO 100 JPEG ISO 400 JPEG ISO 1,600 variety and provides 95% coverage. While Switching to raw capture, we were able to
bright and clear, it is a little small. Admittedly, shoot between six and seven consecutive
that could well be because we are accustomed images before the camera began to stutter.
to using more advanced DSLRs with larger Another area in which the 1300D offers
viewnders. Most rst-time DSLR users wont noticeable improvement over its predecessor
even notice its relatively modest size. is the 920,000-dot rear LCD display.
JPEG ISO 3,200 JPEG ISO 6,400 JPEG ISO 12,800
Displayed images are much sharper and easier
Performance to appraise. As for battery performance, we
The 1300D uses the same nine-point AF were able to shoot over 900 images on a
system as its predecessor, with the individual single charge with fairly regular use of the
AF points arranged in a diamond formation cameras menu and playback function.

Focal points
Despite its entry-level pricing and specifications,
the Canon EOS 1300D comes equipped with
everything you need to take great images
Wi-Fi & NFC connectivity Auto Lighting Optimizer
Built-in Wi-Fi connectivity allows Accessible via either the quick menu
users to transfer captured images to or the main in-camera menu, this
a smartphone or tablet via Canons long-standing Canon feature is designed
free Camera Connect app. In addition, to lighten shadow areas when the
the app can be used to control the camera is faced with backlit subjects
camera remotely. or high-contrast situations.
Mode dial
This provides direct
access to all the
cameras exposure
modes. In addition
to the standard
PASM quartet, the
1300D provides a
This raw image, taken at generous range of
Trebarwith Strand in Cornwall fully automatic
about 15 minutes after sunset, was
processed in Lightroom to enhance
exposure modes
the shadow detail in the rocks for snapshots.
For and against

+ Competitively priced
77.6mm
+ Highly intuitive and easy to use

+ Provides access to a huge range
of Canon lenses
+ Excellent image quality
Resolution a little limited compared
to that of rivals
Build quality a little plasticky
basics with. To this end, it also
Verdict comes equipped with a generous
range of fully automatic exposure
Rear LCD display Quick menu
The fixed 3in LCD screen has a resolution of Accessed via the Q button
920,000 dots an improvement on the on the back of the camera,
FOR THOSE who already own modes. For those who arent
460,000-dot screen found on the 1200D. the quick menu provides
the 1200D, the addition of Wi-Fi accustomed to regularly shooting
access to all the
connectivity and the higher in any of the core PASM modes,
cameras key settings.
resolution screen are the only this provides a handy safety
compelling reasons to upgrade. blanket to fall back on while
And while both are useful, most getting to grips with the more
1200D owners who have already hands-on manual and semi-
learned how to use a DSLR manual modes
effectively will be better off at a leisurely
moving up to the more advanced pace. To sum
101.3mm
EOS 750D or EOS 760D if their up, its an

budget permits. For those looking excellent Recommended
to move from a regular compact DSLR for
and purchase their rst DSLR, beginners.
however, the Canon EOS 1300D
represents a solid investment. FEATURES 7/10
The main reason is that the BUILD & HANDLING 7/10
1300Ds stripped-down feature METERING 8/10
set, well-placed physical buttons AUTOFOCUS 7/10
and neatly arranged in-camera AWB & COLOUR 9/10
menu make it an exceptionally DYNAMIC RANGE 8/10
easy camera to use, and thus a IMAGE QUALITY 9/10
great camera to learn DSLR VIEWFINDER/LCD 8/10 129mm

At a glance
1,599 body only

36.4-million-pixel, full-frame sensor
ISO 100-204,800
5-axis Shake Reduction II system
Dustproof and weather resistant
3.2in, 1.037-million-dot,
flexible-tilt LCD
Built-in Wi-Fi and GPS
Pentax K-1
The K-1 has the honour of being the first full-frame
Pentax DSLR. Matt Golowczynski takes a closer
look at this impressively specified camera
or years, it seemed its appeal is likely to stretch to a
F
For and against Data file
doubtful that a broader range of Pentax users
Excellent image quality; Sensor 36.4MP, full frame, no AA filter full-frame Pentax DSLR not to mention others with no
superb resolution and Output size 7,360x4,912 pixels would ever materialise. strong ties to another system.
dynamic range Focal length mag 1x But now that its here, the focus
Lens mount Pentax KAF2 has moved to what it represents in Features
High features-to-price ratio Shutter speeds 1/8,000sec to 30secs, bulb an ever-expanding sector. The K-1 The K-1s main attraction is its
ISO 100-204,800
isnt the cheapest way into 36.4MP full-frame sensor. It
Excellent handling with many Exposure modes
full-frame photography, nor does it operates over a large native
PASM, sensitivity priority, Av and
physical controls TV priority, auto offer the lightweight or small form sensitivity range of ISO 100 to
Metering Multi-segment, centreweighted, of some compact system camera 204,800, and forgoes an
One of the most flexible LCD spot rivals. Yet, when you weigh its anti-aliasing lter to help capture
displays around Exposure comp 5 EV in 1/3 or 1/2 steps features against its asking price, it ner details. This typically comes
Drive 4.4fps remains a compelling proposition. at the risk of aliasing artefacts, but
Occasional auto white balance Movie Full HD at 60fps, stereo mic The K-1 very much adheres to the built-in anti-aliasing lter
inconsistencies LCD 3.2in, 1.037-million-dot, the format of previous Pentax simulator can be called upon to
flexible-tilt LCD DSLRs, but it upgrades existing minimise any ill effects.
Video options not as Viewfinder Pentaprism, 0.70x magnification, technologies and adds further Although the model is designed
approx 100% coverage ones that weve not seen on to work with lenses on which the
comprehensive as those
Stabilisation Five-axis in-body Shake any other camera to date. The image circle covers a full-frame
on other cameras Reduction cameras spec sheet suggests that sensor principally, the steadily
AF points 33 phase-detect AF points it is targeted towards enthusiasts expanding Pentax D FA range
Artefacts visible in certain
ALL PRICES ARE APPROXIMATE STREET PRICES
(25 cross-type)
Pixel Shift Resolution images and professionals who traditionally users with a collection of APS-C
Memory card SD, SDHC, SDXC (inc UHS-I)
require high-resolution images, DA lenses will be pleased to learn
Power D-LI90 rechargeable Li-ion
Continuous focus doesnt track such as landscape or studio that the K-1 can also support
Battery life Approx 760 images
quite as well as other systems photographers, rather than for these at a reduced resolution of
Dimensions 110x136.5x85.5mm sports and action. Yet, as the only 15.4MP, with the usual 1.5x
Weight 1,010g full-frame model in the line and APS-C crop factor. This also
(with battery and memory card)
launched at an aggressive price, has the effect of boosting the

Using the centreweighted
average pattern has produced a
perfect exposure here
maximum burst rate from 4.4fps This technology is also at the exposures. Its also possible to downwards, moved sidewards
at full resolution up to 6.5fps. heart of many other features, enable correction of lens when held conventionally and
While 4.4fps may sound including the Pixel Shift Resolution aberrations such as diffraction, even slightly rotated. This is
underwhelming, it is broadly on a option (examined in greater detail chromatic aberration, distortion welcome given that the majority of
par with other full-frame models overleaf). It also works with the and vignetting, either before full-frame cameras do not offer
that offer a similar pixel count. cameras GPS system to provide images are captured or after, in tiltable screens of any kind.
The K-1 is furnished with the Astrotracer functionality. This can raw processing. Full HD video I found it to be particularly useful
fourth iteration of the Prime be used to capture long exposures recording up to 60fps is also on when capturing ground-level shots
engine to handle all operational of stars and other celestial bodies hand, with manual control over in the portrait orientation, as the
and image-processing tasks. without the trails that normally audio levels, and both headphone screen could be adjusted in a
Ricoh states that this has been result from the earths rotation. and microphone ports on the similar manner to tiltable screens
designed to handle higher Other features that owe their cameras side. when used in a landscape
resolution images than previous function to the Shake Reduction All images and videos are orientation. This ease of framing is
engines, while also ensuring that system include automatic horizon recorded to SDHC or SDXC complemented by a sprightly
images captured at higher ISO correction and composition memory cards, and both HDMI live-view focusing system, which is
settings maintain ne gradations. adjustment, each of which and USB 2.0 ports are provided. fast enough to be usable outdoors
As with other Pentax DSLRs, the moves the sensor to ne-tune Battery life is rated at 760 frames, in good lighting, with just a slight
K-1 is designed with an in-body composition. Electronic levels which is somewhat lower than slowdown in darker conditions.
Shake Reduction mechanism. This across both horizontal and vertical DSLR rivals but still considerably The screen itself measures 3.2in
works in the same manner as axes are also on hand to ensure better than equivalent compact and has a 1.037-million-dot
other sensor-based systems, things stay level, visible both in the system cameras. resolution. Its clear and colourful,
moving to counter shake across viewnder and on the LCD screen. and displays very good clarity in
pitch, roll and yaw axes, and both The list of additional features Viewfinder and screen everyday conditions. One new
vertical and horizontal shifts. In ranges from Wi-Fi connectivity Physically, the cameras LCD is its feature is the outdoor view
this respect, its very similar to the and an interval timer for the most unconventional feature. Its setting, conveniently accessed
ve-axis systems in Olympuss and creation of time-lapse footage to mounted on a hinge, which itself is through the down button on the
Sonys mirrorless models, but this a comprehensive high-dynamic attached to the camera via four rear menu pad. It offers ve
is the rst full-frame model to range (HDR) feature and the arms; this allows the display to be separate levels of brightness
promise 5 stops of correction. option to capture multiple pulled out and tilted upwards and so you can quickly give it a

Level indicators on both horizontal and vertical axes are displayed in the viewfinder, which makes precise framing possible
boost if you find the screen focusing point, you can set this Build and handling sDM Wr but one that remains
difficult to see in bright light. to be illuminated always or only As is typically the case at this comfortable after prolonged use.
the LCD is also backed by four when the camera senses its dark level, the camera makes use of Considering the body is
LED lights to illuminate the rear enough to be required. magnesium alloy for its body and narrower than that of both the
controls when used in darker the viewfinder itself displays has been sealed against dust and Canon EOs 5D Mark iii and Nikon
conditions, and these can be the scene perfectly well in good water incursion with thick rubber D810, its impressive that ricoh
adjusted over two levels of light, although a comparison with doors covering ports and freeze has managed to incorporate such
brightness. Owing to a shallow a similarly specified rival camera proofing down to -14C. Weighing an extensive range of well-sized
spread of light, i only found this will show it as not being quite as just over 1kg with a battery and physical controls without any
useful on the higher of the two bright and as bearing a slight memory card, its not significantly adverse impact on handling or
settings when the screen was tilted yellow cast. its eyecup isnt heavier than its immediate rivals, operation. Furthermore, not
to a particular position. i imagine particularly deep, either, which although its relatively narrow width only are these controls easily
that after the user has become means youll naturally have your gives it a somewhat boxier design. accessible, but the camera also
familiar with the position of the face pressed closer to the camera the cameras grip has been well responds to each click of a
rear controls, this would be called (particularly in harsh light). this sculpted, with indentations to command dial regardless of how
upon at fewer times. in itself isnt a big issue, but as accommodate middle and ring quickly it is turned something
the pentaprism viewfinder the rear display is unusually fingers. the result is a camera that that cannot be said for some other
offers near-100% coverage of the positioned very slightly further not only feels good when held models. in practice, this means
scene, with a frame in the centre away from the body than the and perfectly balanced with a that reaching one end of the
to show the crop area when using viewfinders eyepiece, its easy to suitable optic such as the HD
APs-C lenses. As with the active smudge the LCD with your face. Pentax-D FA 24-70mm f/2.8 ED
Pixel Shift Resolution system

First seen in the K-3 ii, Pentaxs the values of neighbouring pixels. should represent the conditions
Pixel shift resolution feature the Pixel shift resolution captured more faithfully.
attempts to rectify false colour, a option uses the cameras shake With four images captured in
lack of critical detail and other ill reduction system to capture four quick succession, this feature is
effects associated with the process separate images of the scene, with clearly best suited to scenes of
of demosaicing. this is required for a one-pixel displacement between static subjects captured with the
any images captured using a each image, before merging them aid of a tripod. For the K-1,
camera that employs a colour filter into a single image. this allows for however, this has been augmented
array present in the K-1 and the full rGB colour information at with Motion Correction, which
vast majority of other cameras each pixel without the guesswork notices if a subject moves between
where full rGB colour information of the demosaicing process, which frames and takes this into account
of a pixel is partly determined by theoretically means that images when processing the result.
56
Key exposure information, for
example, is shown considerably
larger than secondary data.
Focusing
Focal points
The K-1 debuts a new SAFOX The K-1 is an impressively specified camera
12 autofocus system, with 33 with plenty of innovative features built in
phase-detect points. Of these, 25
are cross type and are arranged Operation Assist LED lights 300,000-shot shutter
centrally in a square formation, LED lights are placed around the body Ricoh Imaging states that the K-1s
with the remaining line-type points to allow greater visibility in low light. shutter has been engineered to withstand
on either side. The central point, Four are located on the back of the rear 300,000 actuations. While its clearly
together with those directly above display, with further lights inside the difficult to verify this, its considerably
and below it, are sensitive to f/2.8 card slots, above the lens mount and higher than the 150K-200K figure thats
and work in light as low as -3EV. inside the remote-release port. often quoted for cameras at this level.
In use, the 25 central points are
sensitive enough to bring most
subjects into focus in good time. Top-plate LCD Smart
With the 24-70mm lens, focusing
The ability to tilt the screen while performance seems on a par with
The top-plate LCD Function
shooting in a portrait orientation is significantly This dial provides
mainstream rivals, and the lenss smaller than those
makes capturing ground-level immediate access
images like this far easier than quiet focusing motor also helps on similar cameras, to a variety of
that on other cameras to keep things discreet. Some with space for just camera settings,
subjects and conditions clearly tax basic exposure such as exposure
sensitivity or shutter-speed range the remaining points, particularly information and compensation,
from another, for example, can be the two outermost line points. I battery life. It can ISO, bracketing
done very rapidly. found this made me rely more be illuminated with and viewfinder
The dial on the top-plate thats on the focus-and-recompose a press of a button gridline display.
used in conjunction with the Smart technique than on other models to its side.
Function dial is considerably stiffer where peripheral areas have a
than the others, although as this is higher concentration of points.
used less frequently than the When set to continuous focus, I
others, it isnt too awkward in use. found the camera did a good job
Im not entirely convinced the of keeping track of moderately
Smart Function Dial is desperately paced subjects, although it tended
85.5mm
required here, particularly as two to lose more challenging ones,

of its settings ISO and exposure particularly if they strayed outside
compensation each have a the central part of the focusing
dedicated button right next to it. system. One word of caution when
A similar dial, but with a range of capturing bursts of images: you
customisable settings, would really do need to use high-speed
perhaps make more sense on a memory cards, as more standard
model targeted towards an cards can slow operation right
enthusiast/professional audience. down to the point of frustration.
Auto Horizon Correction Dual card slots
The cameras Auto Horizon Correction The camera is equipped
Those acquainted with the When shooting in low light, I
feature employs the Shake Reduction with two card slots around
Pentax graphic user interface noticed the AF-assist lamp had a
system to automatically correct its side, and these accept
should nd few surprises when tendency to come on only in very
horizontal tilt. Up to 2 compensation SDHC and SDXC memory
navigating the menus, while those dark conditions. On occasion, and
is possible when the Shake Reduction cards. These can also be
new to it should be pleased with particularly with low-contrast
mechanism is off, with approximately illuminated when changing
the way information is displayed. subjects, this would have an
1 when it is activated. cards in darker conditions.
impact on focusing speeds, but
The cameras default Bright when it did spring to life I was
colour option delivers impressed by the extent to which it
pleasingly saturated colours not only sped up focus, but also
enabled focusing in near darkness.
Performance
The cameras sensor-based
shake-reduction system promises
110mm
a maximum 5-stop advantage

over non-stabilised systems,
although whats achievable in
practice depends on factors such
as focal length, subject distance
and so on. I generally found a
3-stop advantage at the
wideangle end of the 24-70mm
optic (which, at 1/3sec, is sufcient
for capturing blurred
movement against static 136.5mm

Shot 1 Shot 2
Lab results
Andrew Sydenhams lab tests reveal just how the camera performs
One thing thats certain is the K-1 has an excellent sensor at its heart,
which captures images with superb detail and a wide dynamic range.
In some ways, its performance is as expected for a 36MP full-frame
sensor, but comparing its results to those of some of its rivals shows it
to have some advantages, too. Considering that the only cameras that
currently beat it for resolution are far pricier than the K-1, these really
are noteworthy results. One slight oddity is the broad ISO range on
offer; while noise is well controlled throughout much of the range,
the level of noise at the highest two settings explains why other
These two images were taken a second apart from each other, but the manufacturers cap sensitivity more modestly with similar sensors.
auto white balance system has interpreted the scene very differently
Dynamic range
subjects handheld), TIFF format as well as JPEG.
and 4 stops more readily Although many photographers
achievable at telephoto settings. It are put off by HDR images, using
is possible to achieve images with the cameras HDR mode on its
around 5 stops of correction, but default settings can actually
with less frequency. produce pleasingly natural results.
The cameras default Bright I found this particularly useful
setting appears to deliver when capturing images containing
pleasingly colourful but accurate clouds, which would naturally lose
images, although there is a Natural detail when these didnt make up
option, too, if you prefer things a too large a part of the image.
little more faithful and with less I also found the in-camera
contrast. Both the auto white aberration corrections to be
balance and multi auto white effective and worth keeping
balance systems appear to do a turned on. While the 24-70mm For a camera with a sensor of its type, the K-1 does an excellent job with
good job under both natural and proved to be a satisfactory lens dynamic range, particularly at its lower settings. At its base ISO 100
articial sources, although on a to use with the K-1, I found the sensitivity it records a brilliant 13.8EV in our Applied Imaging tests, and
handful of occasions I noticed that distortion and vignetting manages to stay above 13EV until ISO 800, where it drops down to a still very
images taken literally a second corrections made a positive respectable 12.5EV. At its middle settings, it manages a performance thats
apart from each other in certain difference at wideangle and as good as if not slightly better than a number of other full-frame rivals,
lighting conditions sometimes bore large apertures respectively. and its only really outdone by the Sony Alpha 7S II.
different casts. The K-1 is not The cameras Pixel Shift
alone in behaving like this, but it Resolution system makes a
may be worth using a suitable noticeable improvement to the
white-balance preset when you level of detail in images, although
Resolution
nd this happening. close examination shows a ne
Previous Pentax DSLRs have grate-like pattern over certain Below we show details from our resolution
been characterised by a tendency areas. This appeared in both raw chart test pattern (right). Multiply the
towards underexposure, and I and JPEG images, both with and number beneath the lines by 400 to give the
found this to be the case here too without the Motion Correction resolution in lines per picture height.
(but not overwhelmingly so). The feature activated. At least in the RAW RAW RAW RAW
default evaluative metering pattern conditions under which this was ISO 100 ISO 3,200 ISO 51,200 ISO 204,800
does generally get it right, but I tested, I found a gentle sharpening
occasionally felt the need to of raw images captured on default
either dial in +13EV or +23EV of settings a more pleasing result.
correction, or to x this later on in While 4K video may not be
raw processing. The position of the available, those keen on using the
exposure-compensation function cameras full HD option are likely
and the ease with which this can to be satised. Footage appears
be changed with the rear dial pleasingly natural and free of Without the AA filter option enabled, the K-1 can resolve 4,800l/ph at its
makes this process painless. artefacts, and sound quality is base sensitivity of ISO 100. This is a highly impressive result; it is somewhat
Its pleasing to see a broad perfectly decent from the pair expected for a camera with such a sensor and matched elsewhere by others,
range of raw-processing options of on-board microphones. The but is impressive nonetheless. Just as pleasing to see is how steadily this
on hand, from exposure, white Shake Reduction system also does falls with each increase in sensitivity, with results at ISO 1,600 recording a
balance and noise reduction to well to keep things stable as the still excellent 4,400l/ph. Only at ISO 51,200 does this fall below 4,000l/ph.
more novelty lter options. Ricoh camera is panned across a scene, The target does, however, show some false colour and maze patterning; this
has made it easy to check results aided by the availability of roll is successfully eliminated with the Type 2 Anti-Aliasing filter simulator
and create a number of different correction thats simply not enabled, although resolution then drops down to a still impressive 4,400l/ph
versions of the same image possible with lens-based, at ISO 100. Overall, a very strong set of results.
quickly, and you can save in the optical stabilisation systems.

The competition
Our cameras and lenses are tested using the industry-

standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
Noise Nikon D810 Sony Alpha 7R Nikon D750

Price 2,139 (body only) Price 999 (body only) Price 1,389 (body only)
Both raw and JPEG images Sensor 36.3MP full frame Sensor 36.4MP full frame Sensor 24.3MP full frame
taken from our diorama scene ISO 32-51,200 (extended) ISO 50-25,600 ISO 100-51,200 (extended)
are captured at the full range Continuous shooting 5fps Continuous shooting 4fps Continuous shooting 6.5fps
of ISO settings. The camera is AF 51-point phase detection AF 25-point contrast detection AF 51-point phase detection
placed in its default setting Reviewed 16 August 2014 Reviewed 14 December 2013 Reviewed 25 October 2014
for JPEG images. Raw images
are sharpened and noise
reduction applied, to strike Read the full tests of these cameras at www.amateurphotographer.co.uk/reviews
the best balance between
resolution and noise.
JPEG ISO 100 JPEG ISO 800
Verdict
A MODEL as anticipated as the
K-1 has to work hard to meet
expectations, but those who have
waited patiently are likely to be
very pleased. Its recipe for success
is simple: not only does it offer an
awful lot for its very reasonable
asking price, but it also marries
this with excellent performance performance of the continuous
JPEG ISO 3,200 JPEG ISO 12,800 in several key areas. autofocus system is only average.
Crucially, image quality is one of On a practical level, while the
its major strengths. The camera model is compatible with a wealth
is capable of excellent dynamic of legacy lenses and supports
range and high resolution, and APS-C lenses, too, there is
noise is well controlled, while understandably a more limited
the abundance of colour and range of full-frame lenses
white-balance options means you available than in other stables, and
can easily get the result you want fewer third-party options, too. This
in camera particularly if you take may be something to consider for
advantage of post-capture photographers working in specic
raw processing. genres. Hopefully well see the
JPEG ISO 51,200 JPEG ISO 204,800 Just as praiseworthy is the Pentax range expanding in the
models design, and more near future.
specically what this means for Still, for many people with no
handling and operation. With only strong ties to any particular
very minor exceptions, I cant think system, the K-1 is well worth a
of any physical aspect of the spot on the full-frame shortlist.
cameras design that would benet With a solid set of specs, excellent
from being revised. Controls are handling, strong image quality
easily accessible and clearly and a very
marked, and the camera feels competitive
excellent in the hands, providing price, its one
ne support for both everyday of the most
lenses and weightier optics. exciting DSLRs
For a model fitted with a 36MP full-frame sensor, the K-1 offers a surprisingly With its agreeable price tag and weve seen in
GOLD
broad ISO range, from ISO 100 all the way up to ISO 204,800. Up to ISO 3,200, a handful of more specialist recent times.
images maintain their detail well, with noise becoming increasingly visible in the features, its clear that this is a
range but only in small increments. After this point, images start to degrade camera designed for a wide FEATURES 9/10
further and further, with those captured at ISO 25,600 being usable and those at audience, although there are BUILD & HANDLING 10/10
51,200 usable only at a push. Its difficult to see how the highest two options some areas where the advantage METERING 9/10
could be usable; detail suffers greatly in images captured at ISO 102,400, and lies with rival bodies. Video quality AUTOFOCUS 8/10
can barely be made out in anything captured at ISO 204,800. Sadly, it appears as is perfectly good, for example, but AWB & COLOUR 8/10
if Ricoh hasnt found a successful formula to warrant including the latter two control over it isnt quite as DYNAMIC RANGE 9/10
options. Rival bodies with similar sensors cut off sensitivity at between ISO comprehensive as youll nd IMAGE QUALITY 9/10
25,600 and ISO 102,400, and this really should have been the case here, too. elsewhere. Meanwhile the VIEWFINDER/LCD 8/10

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Tech Talk
TechSupport
Email your questions to: apanswers@timeinc.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Tech Support,
Amateur Photographer Magazine, Time Inc. (UK), Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
BOTH PICTURES IAN BURLEY

The original fisheye shot of the London Olympic stadium The corrected image with unusable areas top and bottom
Fisheye lens conundrum

A
You cant just crank up the barrel and retain the aspect ratio, you do end up
Q I plan to buy an Olympus M.Zuiko

8mm f/1.8 Pro sheye lens because
I need to work within the tight
connes of a cottage. But Im a little worried
distortion correction lter in
Photoshop. This is designed for
correcting distortion in a rectilinear lens
and doesnt have enough range of
with a wider rectilinear view than the
7-14mm at 7mm, although much of the
original sheye eld of view is cropped out.
In both images, there is perspective
that after straightening the extreme sheye adjustment. Luckily, there are several stretching at the borders and this is more
barrel distortion that a) the quality wont be de-sh plug-ins available and I did an extreme in the sheye corrected image. I
as good as, say, the Olympus or Panasonic experiment with similar lenses using also noted more fringing and a little less
7-14mm ultra-wideangle zoom at 7mm, PTLens (see above). The corrected image denition. Depending on how critical the
and b) the coverage wont be as wide as this has a lot of unusable area at the top and quality you require is, I think the sheye
lens at 7mm. Can you help? K Tejani bottom of the frame. If you crop that out option is worth considering. Ian Burley
frame or sensor so the scene solutions, some lens sharpness its usually desirable to use as fast
Whats the difference? projected through the lens is will be sacriced. a shutter speed as possible. The
Q What is the difference

between a conversion lens
and a teleconverter? Does
larger at the lm/sensor plane.
Without the optical correction
of a teleconverter, you would lose
Ian Burley
Bird photography basics

only exception I can think of is
when panning in order to show
the wings in motion or the
a conversion lens have the
advantage of not losing any
brightness compared to a
teleconverter?
the ability to focus to innity.
Because the light is more spread
out through a teleconverter, its
less bright per given area of lm/
Q What are the best settings
for bird photography? I own
a Nikon D5200 with
18-105mm kit lens and need to
background speed-blurred. I
suggest you aim for a maximum
shutter speed of 1/4000sec, even
turning up the ISO quite high. The
J Underwood sensor area. Typically, you will lose master the fundamentals. I use D5200 has a low noise sensor
a stop, or half the brightness, with aperture-priority mode with shutter and can withstand higher ISOs.
A
That is correct a a 1.4x converter and 2 stops, or speeds of around 1/1000sec. Exposure can be tricky, as
conversion lens ts on the three quarters of the brightness, Also, how do bird photographers birds, especially in ight, can be
front of a camera lens and with a 2x converter. Conversion focus on a bird in ight within a surrounded by a lot of bright sky.
does not affect the brightness, lenses dont dilute brightness but second? Regarding the AE/ This causes the detail in the bird
while a teleconverter ts in can be bulky and often have to be AF-lock button, should I focus on to be underexposed, so consider
between the camera body and matched to the optics of the lens a bird, lock the settings, then biasing the exposure to
the lens and will reduce the they are attached to. photograph the bird as it ies? compensate. Locking the focus,
brightness. A conversion lens Teleconverters are usually made g01nw1ld effectively pre-focusing on a spot
changes the basic optics of a lens to extend the effective focal you know the bird will pass
A
through an additional lens or length of a lens to make it more Most birds, especially through, can be effective. With
lenses on the front of a camera telephoto. Conversion lenses can small ones, move very fast practice you can also learn to
lens. A teleconverter moves the be used to make the eld of view and are constantly moving master your cameras continuous
camera lens away from the lm wider or narrower. With both even when perched. Therefore, autofocus mode. Ian Burley

Tech Talk
Assembly Material
The Dome hide is A separate scrim cover is also
lightweight, compact, available (98.66 for the
quick to put up and standard dome) made from
freestanding. quick-drying nylon scrim net.
Openings
The Dome hide has one
main front window and two
side windows. An optional
lens snoot for the front
BOTH PICTURES ROBERT CANIS
window is available that

hugs the lens.
I cant live without...

Photographers reveal a vital accessory. This week its a Dome hide from Wildlife Watching Supplies
Nature photographer Robert Canis Robert finds his
is an award-winning photographer Dome hide
invaluable when
with 20-plus years experience and photographing
holds regular workshops on wildlife birds such as the
and landscape photography. Visit lesser redpoll
www.robertcanis.com
Dome hide be set up in just a few minutes by

threading two aluminium
exipoles. The dome shape means
WHEN I rst started that rainwater no longer collects
photographing nature, there was and it can withstand extreme
only one hide available the conditions. If the hide is set up in
Fensman. Essentially a 1m2 cube, an open environment and is
the Fensman consisted of four susceptible to strong winds, as well
adjustable upright poles and top as using the guy-ropes there are
cross-braces plus a heavy green pockets along the bottom edge Standard Dome in Realtree FACT FILE
canvas cover. For most purposes it that you can ll with small rocks camouage, which blends in with
worked well (particularly on and sand to weigh it down further. the majority of environments. It C30 Standard Dome Hide from
uneven ground) but, for long vigils What I particularly like about gives me more than enough room Wildlife Watching Supplies
it was on the small side and if it these hides is the slit at the front, to sit for long periods with my Size 4ft 4in (1.32m) square at the base and
rained the roof would slowly droop below the window, which you can camera bag and other essentials 4ft 6in (1.37m) high at the centre
under the weight! either push a tripod leg through dotted around the oor space, and Weight 3.3kg
Then, around 15 years ago, (for extra leg-room) or, as I often if youre on the tall side, they do a Windows One main front window and two side
Wildlife Watching Supplies began do, use as a camera port for large version. It really is worth windows. Optional front window lens snoot can
producing Dome hides. Made of low-angle shooting. every penny and will give you be purchased which hugs the lens.
tough polycotton, these hides can The one I own is the C30 many years of good service. Price 245.20 (wildlifewatchingsupplies.co.uk)

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Tech Talk
The latest
photography kit
and technique at
your ngertips
BLAST FROM THE PAST
Mamiya The Mamiya RB67 Pro S is

one of the best rollfilm SLRs
More great
pictures
RB67 Pro S
John Wade looks at a classic medium-format SLR from Mamiya
More technique
More opinion
LAUNCHED 1974 The camera feels solid, well
balanced and workmanlike. And, in
More inspiration
PRICE AT LAUNCH 750-1,000
GUIDE PRICE NOW 250-300
a digital world, it concentrates the
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Download online,
have only ten shots to a roll of lm. enjoy ofine
THE RB67 Pro S, which shoots ten
6x7cm images on 120 lm, was, Whats good Large negatives, Buy from the comfort
and still is, one of the most popular lens range, interchangeable of your own home
rolllm SLRs from Mamiya. Its big, focusing screens.
heavy and screams quality. The Available the day
body contains the focusing screen, Whats bad the magazine goes
reex mirror and lens panel that Loading can be
extends on bellows. The standard tricky, mirror is on sale
lens is a 90mm f/3.8 Mamiya- not instant
Sekkor C that stops down to f/32 return, expensive A 6x7cm transparency shot Missed an issue?
and focuses from 4ft to innity. to run. with the Mamiya RB67 Simply download
The Seiko shutter is in the lens,
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a back copy
ash synchronisation mean ash
can be used at any shutter speed.
Film is loaded into a separate
Try it today
back attached to the rear of the
www.amateurphotographer.
body and a darkslide, used to co.uk/digital-edition
protect the lm if the back is
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The back can be rotated for
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(RB in the cameras name stands interchangeable. The scale on the bellows indicates focusing distances for
for rotating back). different focal lengths

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LEICA IIIC RED BLIND RARE ........................................................... EXC++ 345.00
Nikon Auto-Focus & Digital, Lenses Accessories
NIKON A/F & DIGITAL , LENSES & ACCESSORIES NIKON 105mm F2.8 AIS MICRO NIKKOR ...........................................MINT 295.00
NIKON 105mm F4 AIS MICRO NIKKOR .............................................MINT- 275.00
PANASONIC 45-75mm F4/5.6 LUMIX G X VARIO M 4/3RDS.............MINT 219.00 LEICA CL BODY ............................................................................... EXC++ 299.00 NIKON F5 50TH ANNIVERSARY Ltd EDITION NEW.........NEW UNUSED 1,499.00 NIKON 180mm f2.8 AIS ED GLASS ...................................................MINT- 395.00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS LEICA CL BODY .................................................................................MINT- 445.00 NIKON 28mm f2.8 A/F........................................................................MINT 149.00 NIKON 200mm F4 AIS MICRO NIKKOR ................................EXC+++CASE 295.00
..................................................................................MINT CASED + HOOD 325.00 LEICA C LUX 2 COMPLETE ALSO LEATHER CASE..................MINT BOXED 299.00 NIKON 50mm f1.4 G AF-S LENS ,LASTEST.........................................NEW 275.00 NIKON 200mm F4 NIKKOR Q................................................... MINT-CASED 95.00
OLYMPUS 40 - 150mm F3.5/4.5 ZUIKO DIGTAL ED 4/3RDS.MINT + HOOD 69.00 ZEISS 21mm F4.5 BIOGON ZM................................ MINT BOXED AS NEW 699.00 NIKON 50mm f1.4 A/F SUPERB LENS................................................MINT 169.00 NIKON 200mm f4 AIS.........................................................................MINT 195.00
OLYMPUS 70 - 300mm F4/5.6 ZUIKO DIGTAL ED 4/3RDS..MINT + HOOD 199.00 NIKON 50mmF1.8 A/F D...................................................... MINT-BOXED 79.00 NIKON 200mm F5.6 MEDICAL NIKKOR + POWER PACK .......MINT BOXED 475.00
LEICA 28mm f2.8 ELMARIT ASPHERIC 6 BIT (UNUSED) MINT BOXED 1,095.00
SIGMA 55 - 200mm F4/5.6 - OLYMPUS DIGITAL 4/3RDS.....MINT + HOOD 59.00 NIKON 60mm F2.8 A/F D........................................................MINT BOXED 225.00 NIKON 300mm f4.5 AIS WITH TRIPOD COLLAR................................MINT- 295.00
LEICA 35mm F2 SUMMICRON ASPH BLACK 6 BIT LATESTMINT BOXED 1,495.00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM..........................MINT 95.00 NIKON 60mm F2.8 G ED AF-S MICRO NIKKOR ..................MINT BOXED 275.00 NIKON 600mm f5.6 Ai WITH HOOD AND FILTER HOLDERSMINT-CASED 1,295.00
LEICA 35mm f2 SUMMICRON .............................................MINT BOXED 1,095.00
OLYMPUS FL-14 FLASH UNIT ...............................................EXC++ BOXED 69.00 NIKON 105mm f2.8 A/F D MICRO NIKKOR........................ MINT-BOXED 295.00 NIKON 28 - 85mm f3.5/4.5 AIS SUPRB MANUAL ZOOM ..................MINT- 165.00
LEICA 35mm f3.5 SUMMARON M WITH LEICA FILTER ....................MINT- 325.00 NIKON 105mm f2.8 A/F MICRO NIKKOR............................................MINT 275.00 NIKON 35 - 70mm F3.3/4.5 ZOOM NIKKOR MACRO AIS..................MINT- 169.00
OLYMPUS FL- 40 FOR OLYMPUS DIGITAL...............................MINT BOXED 59.00 LEICA 35mm f3.5 SUMMARON M WITH SPECS................................MINT- 395.00 NIKON 300mm F4 D IF-ED AF-S AS NEW........... MINT BOXED AS NEW 799.00 NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO...................MINT BOXED 195.00
PANASONIC LUMIX DMC FZ200 COMPLETE ALL ACCESS ....MINT BOXED 225.00 LEICA 50mm f2 SUMMICROM CHROME 11816 ... MINT BOXED AS NEW 1,195.00 NIKON 12 - 24mm f4 G IF-ED AF-S DX..............................MINT BOXED 495.00 NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO............................ EXC++ 139.00
PANASONIC GF1 BODY COMPLETE......................................... MINT-BOXED 95.00 LEICA 50mm f2 SUMMICRON BLACK COMP WITH HOOD .....MINT BOXED 775.00 NIKON 16 - 85mm f3.5/5.6 G DX ED AF-S VR ...................MINT CASED 289.00 NIKON 35 - 135 F3.5/4.5 AIS ............................................................MINT- 149.00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS.........MINT BOXED 145.00 LEICA 50mm f2 SUMMICRON CHROME M FIT..............................EXC+++ 575.00 NIKON 17 - 55mm f2.8 F2.8 G IF-ED AF-S + HOOD ......... MINT-CASED 399.00 NIKON 35 - 135 F3.5/4.5 AIS .............................................................EXC+ 125.00
PANASONIC DMW-VF1 FINDER FOR PANASONIC....................MINT BOXED 89.00 LEICA 50mm f2 SUMMICRON CHROME M FIT...................................MINT 595.00 NIKON 18 - 35mm f3.5/4.5 AF/D ED IF..................................MINT BOXED 245.00 NIKON 35 - 200mm f3.5 AIS..................................................MINT BOXED 199.00
LEICA 14 - 50 D f2.8/3.5 LUMIX VARIO ELMARIT 4/3rds .................MINT 175.00 LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ............................ EXC++ 595.00 NIKON 18 - 55mm f3.5/5.6 A/F G ED AF-S MKII .............................MINT 59.00 NIKON 43 - 86mm F3.5 AI ZOOM...................................................... EXC++ 69.00
SIGMA 30mm F2.8 DN MICRO 4/3RDS..................................MINT BOXED 115.00 LEICA 50mm f2.5 SUMMARIT M LATEST 6 BIT...... MINT BOXED AS NEW 745.00 NIKON 18 - 70mm f3.5/4.5 G IF ED AF-S + FILT + HOOD.MINT BOXED 119.00 NIKON PK13 AUTO EXTENSION RING...................................... MINT-BOXED 55.00
SONY DSC-HX90V COMPLETE VERY LOW USE......................MINT BOXED 275.00 LEICA 5cm F3.5 COLLAPSABLE ELMAR FOR M 13339## ................MINT- 299.00 NIKON 18 - 200mm f3.5/5.6 G IF/ED AF-S VR....................MINTBOXED 275.00 NIKON PK12 AUTO EXTENSION RING................................................ EXC++ 49.00
SONY DT 30mm F2.8 MACRO SAM LENS..............................MINT BOXED 115.00 LEICA 5cm f3.5 ELMAR RED SCALE ...............................................MINT-- 345.00 NIKON 18 - 200mm f3.5/5.6 G IF/ED AF-S VR MKII..........MINT BOXED 475.00 NIKON PK11 AUTO EXTENSION RING...................................................MINT 49.00
SONY ALPHA HVL-F36AM FLASH GUN ..................................MINT CASED 129.00 LEICA 75mm f2 SUMMICRON APO 6 BIT LATEST ..............MINT BOXED 1,400.00 NIKON 24 - 70mm F2.8 G IF - ED AF-S .............. MINT BOXED AS NEW 899.00 NIKON TC 200 CONVERTER..................................................................MINT 69.00
LEICA 90mm f2.8 ELMARIT M 11807 ..................... MINT BOXED AS NEW 799.00 NIKON 24 - 85mm f3.5/4.5 ED AF-S VR LATEST...................MINT BOXED 275.00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2................................ EXC++ 99.00
Canon Autofocus, Digital Lenses, Canon FD
CANON AUTOFOCUS, DIGITAL LENSES, CANON FD LEICA 90mm f2.5 SUMMARIT M 6 BIT LATEST + HOOD.......MINT CASED 799.00
LEICA 9cm, f4 ELMAR COLL FOR M .................................................MINT- 175.00
NIKON 28 - 105mm f3.5/4.5 IF A/F D ................................MINT BOXED 175.00
NIKON 24 - 120mm f3.5/5.5 A/F D ...............................................MINT- 175.00
NIKON SB 16 FLASH FOR F3............................................................. EXC++ 65.00
CANON 16 - 35mm f2.8 USM L MK 2 ................................MINT BOXED 875.00

CANON 17 - 40mm F4 USM L ............................................MINT BOXED 385.00
LEICA 135mm f4.5 HEKTOR.................................................................EXC+ 75.00 NIKON 24 - 120mm f3.5/5.6 A/F G ED AF-S VR + HOOD .............MINT- 175.00
NIKON 28 - 300mm f3.5/5.6 G ED AF-S VR LATEST .............MINT BOXED 499.00
Olympus Manual
OLYMPUS MANUAL
VOIGTLANDER 25mm f4 SNAPSHOT SKOPAR + FINDER ......MINT BOXED 275.00
CANON 24 - 70mm F2.8 USM L MKI................... MINT BOXED AS NEW 695.00 VOIGTLANDER 35mm f1.2 NOKTON + HOOD M ASPHERIC..............MINT- 595.00 NIKON 35 - 70mm f2.8 A/F D ............................................... MINT-BOXED 295.00 OLYMPUS OM2SP SPOT BODY COMP WITH CASE ...................EXC+CASED 99.00
CANON 28 - 80mm f2.8/4 USM L.....................................EXC++CASED 375.00 NIKON 35 - 105mm f3.5/4.5 A/F WITH MACRO.................................MINT 129.00 OLYMPUS 28mm f2 ZUIKO................................................................MINT- 195.00
VOIGTLANDER 15mm FINDER.............................................................MINT- 79.00
CANON 28 - 300mm f3.5/5.6 USM L IMAGE STABILIZER NIKON 35 - 135mm f3.5/4.5 A/F + HOOD.........................................MINT- 129.00 OLYMPUS 28mm F2.8 ZUIKO .................................................EXC++BOXED 55.00
VOIGTLANDER BESSA R GRIP FOR R,R2,R3 ETC.....................MINT BOXED 49.00
............................................................................................ MINT-BOXED 1,275.00 NIKON 55 - 200mm f4/5.6 IF-ED DX AF-S VR...................................MINT 115.00 OLYMPUS 28mm F3.5 ZUIKO .................................................. MINT-CASED 39.00
LEICA UNIVERSAL POLARING FILTER KIT M(13356).............MINT BOXED 199.00 NIKON 55 - 200mm f4/5.6 IF-ED DX AF-S...............................MINT BOXED 89.00
CANON 70 - 200mm f4 USM L IMAGE STAB + T/COLLARMINT-BOXED 675.00 OLYMPUS 35mm F2.8 ZUIKO ..............................................................MINT- 69.00
LEICA M GRIP FOR M7/M6/M6TTL ETC..............................................MINT- 49.00 NIKON 55 - 300mm f4/5.6 G ED VR.................................MINT + HOOD 189.00 OLYMPUS 50mm F1.8 ZUIKO ...................................................MINT BOXED 55.00
CANON 70 - 200mm f2.8 USM L IS IMAGE STABI MK1 ....MINT CASED 799.00 LEICA 35mm f2.8 SUMMARON SCREW L39 .....................................MINT- 499.00
CANON 70 - 200mm f2.8 USM L........................................MINT BOXED 745.00 NIKON 70 - 300mm f4/5.6 ED AF/D.......................................MINT BOXED 129.00 OLYMPUS 50mm F1.8 ZUIKO ...............................................................MINT 45.00
LEICA 35mm f3.5 SUMMARON SCREW ............................................MINT- 299.00 NIKON 70 - 300mm f4.5/5.6 G IF-ED AFS VR........................MINT BOXED 345.00 OLYMPUS 50mm F3.5 MACRO..........................................................MINT- 129.00
CANON 100 - 400mm f4 USM L IS IMAGE STABILIZER ....MINT BOXED 765.00 LEICA 5cm f1.5 SUMMARIT SCREW .................................................MINT- 365.00
CANON 14mm f2.8 USM L................................................. MINT-BOXED 795.00 NIKON 75 - 300mm f4.6/5.6 A/F WITH TRIPOD COLLAR ..... MINT-BOXED 165.00 OLYMPUS 135mm f2.8 ZUIKO..................................................MINT BOXED 95.00
LEICA 5cm f2 SUMMARIT SCREW .......................................MINT-KEEPER 299.00 NIKON TC-17E MK II AF-S TELECONVERTER.........................MINT BOXED 245.00 OLYMPUS 135mm F3.5 ZUIKO ................................................ MINT-CASED 49.00
CANON 300mm f4 USM L IMAGE STABILIZER...................MINT CASED 799.00 LEICA 5cm f2 SUMMITAR COLL + M MOUNT................EXC++IN KEEPER 275.00 NIKON TC20E II AF-S TELECONVERTER............................................MINT- 195.00 OLYMPUS 200mm f4 ZUIKO................................................................MINT- 89.00
CANON 28mm f2.8 E/F.......................................................................MINT 195.00
LEICA 135mm f2.8 ELMARIT M WITH SPECS...............................EXC+++ 299.00 NIKON TC20E III AF-S TELECONVERTER LATEST MKIII.........MINT BOXED 299.00 OLYMPUS 300mm f4.5 ZUIKO............................................... MINT-BOXED 199.00
CANON 50mm f1.8 MARK 1 (VERY RARE NOW)................................MINT 135.00
LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT............................... EXC++ 99.00 TAMRON 1.4X A/F D TELECONVERTER NIKON FIT ..............MINT BOXED 69.00 OLYMPUS 28 - 48mm F4 ZUIKO ............................................EXC++BOXED 69.00
CANON 50mm f1.8 MK II.....................................................................MINT- 59.00
LEICA 135mmf4.5 HEKTOR IN KEEPER.........................................EXC+++ 199.00 SIGMA 1.4X EX DG APO TELECONVERTER ............................MINT BOXED 125.00 OLYMPUS 35 - 70mm F3.5/4.5 ZUIKO.................................................MINT 89.00
CANON 85mm f1.8 USM.........................................................MINT BOXED 195.00 SIGMA 30mm F1.4 EX DC HSM NIKON FIT............. MINT BOXED AS NEW 199.00
LEICA FIT DALLMEYER 13.5CM F4.5 DALRAC..............................EXC+++ 375.00 OLYMPUS 35 - 70mm F4 ZUIKO .........................................................MINT- 75.00
CANON 100mm f2 USM................................................................... EXC++ 225.00 SIGMA 50mm F2.8 MACRO EX A/F D ................................MINT BOXED 145.00 OLYMPUS 75-150mm F4 ZUIKO...........................................................MINT 69.00
LEICA 90mm f4 ELMAR BLACK SCREW ......................................... EXC++ 145.00
CANON 100mm f2.8 USM MACRO .........................................MINT BOXED 295.00 SIGMA 105mm f2.8 EX MACRO .............................................MINT CASED 169.00 OLYMPUS EXT TUBE 14mm, 25mm....................................................MINT- 55.00
LEICA 135mm f4.5 HEKTOR + HOOD SCREW................................... EXC++ 99.00
CANON 17 - 55mm f2.8 USM IMAGE STABILIZER.................MINT BOXED 395.00 SIGMA 12 - 24mm F4.5/5.6 EX DG HSM II LATEST MODEL..MINT BOXED 445.00 OLYMPUS VARIMAGNI FINDER ................................................MINT BOXED 59.00
LEICA SF20 FLASH FOR M6 etc...............................................MINT BOXED 89.00
CANON 18 - 55mm f3.5/5.6 MK II .......................................................MINT 59.00
CANON 18 - 200mm f3.5/5.6 EF-S IMAGE STABILIZER ........ MINT+HOOD 299.00 LEICA SF24D FLASH...............................................................MINT BOXED 189.00
CANON 28 - 105mm f3.5/4.5 USM ....................................................MINT 125.00 LEICA FONOR BLACK RANGEFINDER.................................... MINT-CASED 175.00
CANON 28 - 135mm f3.5/5.6 USM IMAGE STABILIZER ........MINT BOXED 155.00 LEICA WINDER M4-2 FOR M4 ETC........................................ MINT-BOXED 145.00
CANON 55 - 200mm f4.5/5.6 USM MK III............................................MINT 59.00 LEICAFLEX BODY CHROME ...............................................................MINT- 195.00
CANON 75 - 300mm f4.5/5.6 MKII.......................................................MINT 99.00 LEICA 50mm F2 SUMMICRON ROM LENS 11345................. MINT-BOXED 445.00
KENCO DG CANON FIT TUBE SET 12,20,36MM........................MINT BOXED 99.00 LEICA 180mm F4 ELMARIT R 3 CAM.............................................. EXC++ 345.00
CANON EF 1.4X EXTENDER MK I............................................MINT BOXED 129.00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS .......NEW UNUSED 1,695.00
CANON EF 1.4X EXTENDER MK II ..........................................MINT BOXED 185.00 SWAROVSKI 8x32 EL WITH CASE AND STRAP......................MINT CASED 799.00
CANON EF 2.0X EXTENDER MK I............................................MINT BOXED 129.00 LEICA 10x25 TRINOVID BCA COMPACT BINOCULARS .....................MINT- 265.00
CANON EF 2.0X EXTENDER MK II ..........................................MINT BOXED 185.00
KENCO DG CANON FIT TUBE SET 12,20,36MM...................................MINT- 99.00 Medium & Large Format
MEDIUM & LARGE FORMAT We urgently require your used photographic equipment. We have
KENCO TELEPLUS PRO 300 DGX 2.0 TELECONVERTER.........MINT BOXED 159.00
TELEPLUS MC7 7 ELEMENT 2X TELECONVERTER..............................MINT- 75.00 LARGE RANGE OF HASSELBLAD ACCESSORIES IN STOCK RING FOR PRICES customers waiting for: Nikon, Canon, Leica, Contax, Bronica,
TELEPLUS 2X CONVERTER CANON A/F...............................................MINT- 45.00 HASSELBLAD 500CM COMPLETE WITH 80mm T*........................EXC+++ 595.00
CANON TC -80N3 REMOTE RELEASE/TIMER FOE EOS ............MINT BOXED 75.00 HASSELBLAD 90mm f4 FOR X PAN.......................................MINT BOXED 275.00 Hasselblad and most other makes of camera lenses, accessories,
SIGMA 4.5mm f2.8 EX DC HSM CIRCULAR FISHEYE.............MINT CASED 475.00 HASSELBLAD X PAN SOFT LEATHER OUTFIT CASE ..........................MINT 175.00 binoculars and collectables. We will buy for cash from you, or we
SIGMA 10mm f2.8 EX DC FISHEYE HSM ...............................MINT BOXED 345.00 HASSELBLAD H1 BODY WITH HV90X FINDER & BACK......... MINT-BOXED 795.00
SIGMA 17 - 35mm f2.8/4 EX HSM APHERIC ....................................MINT- 179.00 HASSELBLAD 35mm f3.5 HC FOR H SYSTEM.................... MINT-BOXED 1,195.00 are happy to sell on your behalf on a commission basis. Best prices
SIGMA 18 - 50mm f 2.8 EX DC SLD GLASS ......................... MINT-BOXED 145.00 HASSELBLAD 50 - 110 f3.5/4.5 HC FOR H SYSTEM.......... MINT-BOXED 1,195.00
SIGMA 170 - 500mm f5/6.3 APO COMP WITH HOOD........... MINT-BOXED 299.00 HASSELBLAD HM 16 - 32 BACK FOR H1 SYSTEM ................MINT BOXED 175.00
paid. We can arrange collection and even call and collect and pay
TAMRON 28 - 300mm f3.5/6.3 I/F LD DI ASP VIB CONTROLMINT BOXED 375.00 HASSELBLAD 150mm f4 SONNAR T* ....................................MINT BOXED 299.00 on the spot if necessary anywhere in the UK.
TOKINA 100mm f2.8D MACRO ATX-PRO + HOOD............................MINT- 245.00 HASSELBLAD 50mm f4 DISTAGON SILVER .................................... EXC++ 195.00
TOKINA 10 -17mm f3.5/4.5 ATX DX FISHEYE (LATEST) ...................MINT 299.00 HASSELBLAD 120mm f5.6 T* NS PLANNAR C MACRO.........MINT BOXED 295.00
TOKINA 11 - 16mm f2.8 ATX - PRO ASPHERICAL.................MINT BOXED 279.00 HASSELBLAD 150mm f4 SONNAR SILVER ..................................... EXC++ 175.00
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FUJINON LENSES
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Olympus 75mm f1.8...................................................................................................620 16-55mm f2.8 R LM WR............................................................................. 849
Olympus 12-40mm f2.8 Pro ........................................................................................ 719 100-400mm f4.5-5.6 R LM OIS WR + 1.4x teleconverter......................... 1499
Olympus 40-150mm f2.8 Pro ...................................................................................... 1099
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178cm Max Height
16cm Min Height
MT190XPRO3
160cm Max Height Befree One Hybrid GP2B
9cm Min Height Travel Tripod - Red 1000g Max Load
Quality used cameras, 130cm Max Height
Mountaineer MT190XPRO3 ............. 129 25.7cm Height
lenses and accessories Carbon eXact Tripod:
49cm Min Height
MT190XPRO4 ............. 139 Joby Tripods
with 12 months warranty* GT1532................................................. 499 MT190CXPRO3 Carbon Fibre ............. 229 Original............................ 17
GT2542................................................. 599 MT190CXPRO4 Carbon Fibre ............. 235 Aluminium Hybrid ............................. 29
www.wex.co.uk/pre-loved GT3542L ............................................... 699 MT190XPRO3 + 496RC2 Ball Head ..... 139 Available in Black, Red, SLR Zoom................. from 39
*Excludes items marked as incomplete or for spares GK1542-82QD ...................................... 829 MT190XPRO4 + 496RC2 Ball Head......189 and Grey.....................from 99 Focus GP-8 ............... from 79
Flashguns & Lighting Accessories

Macrolites: Speedlights: Kits: Flashguns: Flashguns: Flashguns:
Speedlites:
430EX III-RT 600EX-RT MR-14EX II MT-24EX SB5000 SB700 R1 Close-Up R1C1 HVL-F43M HVL-F60M FL-300R FL-600R AF 540 FGZ II AF 360FGZ II
219 429 499 749 429 216 415 555 249 429 134.99 279 349 249
Flashguns: Macro ash: Flashguns: Flashguns:
i40
149 Di700 Air
EM-140 DG 199
26 AF-1 44 AF-2 52 AF-1 64 AF-2 15 MS-1 EF 610 DG ST EF 610 DG Super Macro Flash Sekonic L-308s Pro 478DR DigiPro F2
79.99 115 209 309 299 89 119 289 Di866 Mark II...199 179 369 229
Terms and Conditions All prices incl. VAT at 20%. Prices
Rogue correct at time of going to press. FREE Delivery** available
on orders over 50 (based on a 4-day delivery service).
For orders under 50 the charge is 2.99** (based on a
4-day delivery service). For Next Working Day Delivery
our charges are 4.99**. Saturday deliveries are charged
at a rate of 7.95**. Sunday deliveries are charged at
3m Background FlashBender2 Wall Reector a rate 8.95**.(**Deliveries of very heavy items, N.I.,
MiniTT1 165 Plus III Set PlusX Set 5-in-1 Relector Support FlashBender2 XL Pro Lighting Mounting Kit Folding Softbox Bracket remote areas of Scotland & Ch. Isles may be subject to
extra charges. E. & O.E. Prices subject to change. Goods
FlexTT5 179 199 129 24.99 89 31.95 System 84.95 61.99 From 54.99 24.99 subject to availability. Live Chat operates between
9.30am-6pm Mon-Fri and may not be available during
O Camera peak periods. Subject to goods being returned as new
ash Cord and in the original packaging. Where returns are accepted
From 30.99 in other instances, they may be subject to a restocking
Reectors: charge. Applies to products sold in full working
30cm 12.50 condition. Not applicable to items specically described
50cm 22.99 as IN or incomplete (ie. being sold for spares only). Wex
Collapsible 75cm 34.99 Photographic is a trading name of Warehouse Express
Omega Reector Umbrella Flash Kit Ezybox Speed- Ezybox Hotshoe EzyBalance Background TriFlip Kits Urban Collapsible 95cm Limited. Warehouse Express 2016.
59 Tilthead bracket
119 70 Lite 2 49.95 From 89.99 Grey 19.99 Support 124.99 From 69.99 165 *CASHBACKS Are redeemed via product registration with
120cm 74.99 23.99 the manufacturer. Please refer to our website for details.
Showroom: Drayton High Road, (opposite ASDA)
Norwich. NR6 5DP. Mon & Wed-Sat 10am-6pm, Tues
10am-5pm, Sun 10am-4pm
visit wex.co.uk
01603 208761
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
THE WEX PROMISE: Over 17,000 Products | Free Delivery on 50 or over** | 30-Day Returns Policy
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for all the latest offers, reviews, news and advice!
DSLR Lenses EF 70-200mm f4L IS USM .............................. 899 24-85mm f3.5-4.5 AF-S G ED VR....................399
EF 70-300mm f4.0-5.6 L IS USM .................... 1029 24-70mm f2.8E AF-S ED VR............................1849
EF 100-400mm f4.5-5.6L IS USM II ................ 1799 24-120mm f4 G AF-S ED VR ...........................849 TAMRON LENSES - with 5 Year Manufacturer
28-300mm f3.5-5.6 G ED AF-S VR..................829 Warranty
55-200mm f4.0-5.6 G AF-S ED DX VR II .........254 90mm f2.8 SP Di USD VC Macro .................... 579
CANON LENSES 55-300mm f4.5-5.6 G AF-S DX VR..................269
EF 20mm f2.8 USM ........................................ 385 180mm f3.5 Di SP AF Macro .......................... 729
70-200mm f2.8G ED AF-S VR II ......................1799 10-24mm f3.5-4.5 Di II LD SP AF ASP IF ......... 349
EF 24mm f1.4L II USM.................................... 1159 70-300mm f4.5-5.6 G ED AF-S IF VR..............499
EF-S 24mm f2.8 Pancake................................ 127 15-30mm f2.8 SP Di VC USD .......................... 849
80-400mm f4.5-5.6 G ED AF-S VR..................1859 16-300mm f3.5-6.3 Di II VC PZD Macro......... 399
EF 24mm f2.8 IS USM .................................... 455 NIKON LENSES 200-500mm f5.6E AF-S ED VR .......................1179
EF 28mm f1.8 USM ........................................ 359 18-200mm f3.5-6.3 Di II VC............................ 169
10.5mm f2.8 G IF-ED AF DX Fisheye ..............549 18-270mm f3.5-6.3 Di II VC PZD .................... 269
EF 35mm f1.4L II USM.................................... 1799 14mm f2.8 D AF ED Lens................................1389
EF 35mm f2 IS USM........................................ 399 24-70mm f2.8 Di VC USD SP .......................... 799
20mm f1.8 G AF-S ED.....................................579 28-300mm f3.5-6.3 Di VC PZD ....................... 499
EF 40mm f2.8 STM......................................... 149 24mm f1.4 G AF-S ED.....................................1572
EF 50mm f1.2L USM....................................... 1129 70-200mm f2.8 Di VC USD............................. 1099
24mm f1.8 G AF-S ED.....................................629 150-600mm f5-6.3 SP Di VC USD................... 739
EF 50mm f1.4 USM ........................................ 245 28mm f1.8 G AF-S ..........................................495 SIGMA LENSES - with 3 Year Manufacturer
EF 50mm f1.8 STM......................................... 97 35mm f1.8 G ED AF-S.....................................399 Warranty
EF-S 60mm f2.8 USM Macro.......................... 349 40mm f2.8 G AF-S DX Micro ..........................209 24mm f1.4 DG HSM A....................................599
EF 85mm f1.2L II USM.................................... 1499 45mm f2.8 D PC-E Micro ...............................1393 30mm f1.4 DC HSM .......................................299
EF 85mm f1.8 USM ........................................ 279 58mm f1.4 G AF-S ..........................................1349 35mm f1.4 DG HSM .......................................599
EF 100mm f2.8 USM Macro........................... 399 60mm f2.8 D AF Micro...................................368 85mm f1.4 EX DG HSM ..................................619
EF 100mm f2.8L Macro IS USM ..................... 659 60mm f2.8 G AF-S ED.....................................439 105mm f2.8 APO EX DG OS HSM Macro .......319
EF 300mm f4.0 L IS USM................................ 999 85mm f1.8 G AF-S ..........................................399 150mm f2.8 EX DG OS HSM Macro ...............649
EF-S 10-18mm f4.5-5.6 IS STM ...................... 185 105mm f2.8 G AF-S VR IF ED Micro ...............749 8-16mm f4.5-5.6 DC HSM..............................499
EF-S 10-22mm f3.5-4.5 USM ......................... 399 135mm f2.0 D AF DC......................................1029 10-20mm f3.5 EX DC HSM .............................329
EF 11-24mm f4L USM .................................... 2799 180mm f2.8 D AF IF-ED..................................695 12-24mm f4.5-5.6 EX DG HSM II....................529
EF-S 15-85mm f3.5-5.6 IS USM...................... 539 300mm f4.0E AF-S PF ED VR..........................1470 17-70mm f2.8-4.0 DC OS HSM ......................319
EF 16-35mm f2.8L Mk II USM ........................ 1199 500mm f4.0E FL AF-S ED VR ..........................8149 18-250mm f3.5-6.3 DC Macro OS HSM.........279
EF 16-35mm f4L IS USM ................................ 769 600mm f4.0E FL AF-S ED VR ..........................9649 18-300mm f3.6-6.3 C DC
EF-S 17-55mm f2.8 IS USM ............................ 599 10-24mm f3.5-4.5 G AF-S DX .........................669 Macro OS HSM...............................................336
EF-S 18-55mm f3.5-5.6 IS STM Lens .............. 169 16-80mm f2.8-4G ED AF-S DX VR ..................769 24-35mm f2 DG HSM A..................................699
EF-S 18-135mm f3.5-5.6 IS STM .................... 319 16-85mm f3.5-5.6 G ED AF-S DX VR ..............499 24-70mm f2.8 IF EX DG HSM .........................526
EF-S 18-135mm f3.5-5.6 IS USM.................... 449 17-55mm f2.8 G ED DX AF-S IF ......................1199 70-200mm f2.8 EX DG OS HSM .....................729
EF-S 18-200mm f3.5-5.6 IS............................. 389 18-35mm f3.5-4.5G AF-S ED ..........................549 120-300mm f2.8 OS.......................................2499 For Canon-t Tamron,
EF 24-70mm f2.8L IS USM II........................... 1459 18-105mm AF-S DX f3.5-5.6 G ED VR ............195 150-600mm f5.0-6.3 S DG OS HSM ...............1199
EF 24-70mm f4L IS USM ................................ 675 18-140mm f3.5-5.6 G ED AF-S DX VR ............470 150-600mm f5-6.3 C DG OS HSM..................739 Sigma or Samyang lenses,
EF 28-300mm f3.5-5.6 L IS USM .................... 1879 18-200mm f3.5-5.6 G ED AF-S DX VR II .........549
EF-S 55-250mm f4-5.6 IS STM ....................... 229 18-300mm f3.5-5.6 ED AF-S VR .....................749 visit our website
EF 70-200mm f2.8L IS USM II......................... 1599 24-70mm f2.8 G ED AF-S................................1399
Photo Bags & Rucksacks Computing

ProTactic BP PIXMA Pro 100S..........................375
Whistler BP 350 250 AW Anvil Slim Hadley Pro PIXMA Pro 10S............................529
AW Backpack Manfrotto Pro Professional Original PIXMA Pro 1................................629
Perfect for Light RedBee-210 Backpack Khaki
Perfect for carrying a compact Reverse Backpack
carrying a pro system camera Designed for security
DSLR with lens with 12-40mm conscious and travel
attached, 4-6 ad- lens attached, 3-4 photographer, the
ditional lenses, lenses/ashes, an Manfrotto Pro Light
a ashgun and 11 MacBook Air, Canvas/Leather: Khaki, Black
RedBee-210 Reverse
accessories. plus small acces- Access Backpack
FibreNyte/Leather: Khaki,
sories. Sage, Black. Datacolor Spyder Intuos Pro Professional
is designed for 5 Pro.................139 Pen and Touch Tablet
photographers and Anvil: Digital.............................109
Whistler: Photo Sport BP: Anvil Slim............... 139 Small ..............................129 i1 Display Pro...170 Small ........................ 165
videographers on the
BP 350 AW....................... 257 250 AW .............................. 147 move. ...................................89 Anvil Super ............ 139 Large...............................154 ColorMunki Medium ................... 239
BP 450 AW....................... 286 450 AW .............................. 199 Anvil Pro ................ 149 Pro Original....................169 Smile.................79 Large ........................ 335
Digital Compact Cameras Digital compact camera accessories are available on our website
New PowerShot IXUS 285 HS .............................. 154

16.1 20.1 PowerShot SX60 HS..................................... 349
megapixels
12.8
megapixels megapixels PowerShot SX540 ........................................ 277
65x 4.2x 5.0x PowerShot SX720 ........................................ 279
optical zoom optical zoom optical zoom PowerShot G1 X Mark II.............................. 479
1080p 1080p 1080p PowerShot G3 X........................................... 649
movie mode movie mode movie mode
PowerShot G5 X PowerShot G7 X Mk II PowerShot G9 X
579 549 357
Black or Silver
New Lumix TZ60 ................................................... 249
Theta S Digital Lumix FZ72.................................................229
Spherical Camera Lumix TZ70 ................................................259
12 Megapixels with 20.1 Lumix FZ200 ................................................. 279
1080p movie mode and 24x 20.1 megapixels Lumix TZ80 ................................................... 329
optical zoom megapixels
360 stills ........................ 299
Lumix LX100 Lumix TZ100 Lumix DMC-FZ1000
499 549 599
Black or
Stylus TG-4 Stylus Tough TG-870 Silver New
264 249 16.4
16.3 16.3 megapixels
Black megapixels
megapixels
New
APS-C
size sensor
Black Cyber-shot WX500 ........................................ 269 X100T 776 Fuji X70 499 Fuji XP90 149
18.2 Cyber-shot HX400.......................................... 349
megapixels Cyber-Shot RX100 II..................................... 439
Cyber-Shot RX100 III.................................... 599
30.0x Cyber-Shot RX10............................................ 719
optical zoom
Cyber-Shot RX100 IV .................................... 849 16 New
1080p megapixels
movie mode Cyber-Shot RX10 II......................................... 1199 Black
83x DJI Quadcopter
optical zoom Drones 449
Cyber-Shot HX90V For Sony batteries and cases 1080p
movie mode
299 visit our website P900 499
FREE delivery on orders over 50** **Based on a 4-day delivery service, UK only.
Tel 0113 2454256
Visit us: 60-62 The Balcony, Merrion Centre, Leeds, LS2 8NG
Open Mon-Fri 9:30am - 5:00pm Saturday 9:30am - 4.00pm
Family run Independent supplier since 1985 Email: info@dalephotographic.co.uk
All our new equipment is genuine UK stock - NEVER Grey Imports
Professional Dealer
EOS 1DX MKII In Stock, EOS 5Ds,5DsR,5D MK3, 7D II
We stock most of the L series Lenses
Canon Virtual Kits Offer Phone EOS 760D Body 569 70-200mm f4 IS 949 85mm f1.8 USM 299
EOS 1300D + 18-55 IS II 349 70-200mm f2.8 L 945 85mm f1.2L II 1,549
EOS 1DX II - In Stock 5,199 8-15mm f4 L Fisheye 999 70-200mm f2.8 L IS II 1,699 100mm Macro f2.8 399
EOS 5D Mk III Body 2,299 10-18mm f4.5-5.6 IS 199 70-300mm f4-5.6 IS 377 100mm Macro f2.8 L IS 699
EOS 5D III + 24-70 f2.8 II 3,798 11-24mm f4 L 2,649 70-300mm f4-5.6 L IS 1,049 300mm f4 L IS 1,075
EOS 5Ds Body 2,699 16-35mm f4 L IS 799 135mm f2L 679 300mm f2.8 L IS II 4,899
EOS 5DsR Body 2,899 16-35mm f2.8 L 1,249 100-400mm f4.5-5.6L NEW 1,799 400mm f4 DO IS II 6,399
EOS 7D MkII 1,179 17-40mm f4 L 549 200-400mm f4 L IS 1.4x 8,699 400mm f2.8 L IS II 7,698
EOS 6D 1,299 17-55mm f2.8 IS 629 24mm f2.8 IS 429 500mm f4 L IS II 6,999
EOS 80D body 979 24-70mm f4 L IS 675 24mm f1.4 L II 1,225 600mm f4 L IS II 8,895
EOS 80D + 18-55 IS STM 1,088 24-70mm f2.8 L II 1,549 35mm f2 IS 399 800mm f5.6 L IS 9,899
EOS 80D + 18-135 STM 1,329 24-105mm f4 IS 789 35mm f1.4L II 1,799 1.4x III 314 2xIII Extender 339
EOS 750D + 18-55 STM 599 18-200mm IS 399 50mm f1.4 289 600EX-RT Speedlite 445
70-200mm f4L 529 50mm f1.2L 1,149
Professional Dealer
Beat the price rise!! Nikon D5 and D500 cameras NOW IN STOCK
D5 - D810 - D750 - D500 - D7200 - D5500 - LENSES - FLASHGUNS - ACCESSORIES
NIKON PRO DEALER D5500 + AF-P18-55 VR 649 70-300mm f4.5-5.6 VR 479 200mm f2 G ED VR II 4,599
2 YEAR UK WARRANTY D5500 + 18-140mm 759 80-400mm f4.5-5.6 AFD VR1799 300mm f2.8 G VR II 4,649
D5 Body - In Stock 5,199 D3300 + AF-P18-55 VR 349 200-500mm f5.6E ED VR 1,179 400mm f2.8 FL ED VR 9,699
D500 Body - In Stock 1,729 10-24mm f3.5-4.5 DX 639 20mm f1.8 G 629 500mm f4E FL ED VR 8,149
D810 2,139 14-24mm f2.8 1,459 24mm f1.8 G 599 600mm f4E FL ED VR 9,649
D810 + 24-120mm f4 2,999 16-35mm f4 VR 869 28mm f1.8 G 495 800mm f5.6 FL VR+TC1.25 13,995
D810 + 24-70mm f2.8 3,499 16-85mm f3.5-5.6 VR DX 549 35mm f1.8 G ED 399 PC-E 24mm f3.5 1,465
D810 + 14-24mm f2.8 3,549 18-35mm f3.5-4.5 599 35mm f1.4 G 1,499 PC-E 45mm f2.8 1,399
D750 1,595 18-140mm f3.5-5.6 VR 439 50mm f1.8 G 179 2x TC-20 E III Converter 379
D750 + 24-120mm f4 2,249 18-200mm f3.5-5.6 VR II DX549 50mm f1.4 G 369 1.4x TC-14 E III Converter 429
D610 1,299 18-300mm f3.5-5.6 VR DX 799 58mm f1.4 G 1,349 SB5000 Speedlight 429
D610 + 24-120mm f4 1,898 24-70mm f2.8E ED VR 1,849 85mm f1.8 G 419 SB700 Speedlight 229
D7200 Body 749 24-120mm f4 VR 899 85mm f1.4 G 1,149 SB-R1C1 Commander 555
D7200 +18-105mm VR 999 28-300mm f3.5-5.6 VR 729 NEW 300mm f4 EPFEDVR 1,449 SU-800 Comander Unit 229
D7100 Body 679 70-200mm f2.8 VR II 1,799 105mm f2.8 Micro VR 629 Nikon SB-300 99
D7100 +18-105mm VR 879 70-200mm f4 VR 999 85mm f3.5 Micro VR DX 379 UK STOCK UK STOCK
S (type 007) Body 11,995 X-T2 Body - Pre Orders taken 1399
EVENTS@DALE
New Hasselblad X1D-50C
Mirrorless camera -Pre Order with a S-E Body + 70mm S Lens 7,995
M-P (type 240) Silver/Black 5,064
X-T1 + 18-55mm
X-T1 Body
999
799
PHOTOGRAPHIC 190XPRO3
190XPRO4
159 494RC2
169 496RC2
46
57
10% Deposit M (type 240) Silver/Black 4,650 X-T1 Graphite Body 999 190CXPRO3 299 498RC2 79
New X1D-50C + 45mm 8,976 Tuesday the 16th August 2016 - 190CXPRO4 299 460MG 299
New SL body + 24-90mm 7,995 X100T Silver/Black 794 Fuji X-T2 Demo Day 10am - 4pm
New X1D -50C 7,188 Monochrom (type 246) Black 5,249 X-Pro2 Body In Stock 1349 055XPRO3 179 804RC2 57
New H6D - 100c 27,120 M (262) Black 3,995 X70 539 055CXPRO3 359 MHXPRO-3W 109
New H6D - 50c 21,480 T body + 23mm Lens 2,049 XF 16-55mm f2.8 R LM WR 849 Tuesday the13thSeptember2016 - 055CXPRO4 374 410 Geared 153
H5D-50c 12,714 T Body +18-56mm Lens 1,949 XF 10-24mm f4 OIS 769 Hasselbad X1D DemoDay10am-4pm Befree Alu 149 MVH502AH 105
H5D-50c Wi-fi EX DEMO 10,995 X-U Camera 2,200 New XF 35mm f2 309 Befree Carbon 279 MVH500AH 122
CFV-50c Digital Back 6,995 Q Camera 3,199 XF 50-140mm f2.8 OIS + 1.4X 1,189 Free monopod with carbon tripods
See our Website for full list of Hasselblad X (type 113) Silver/Black 1,299 XF 100-400 OIS WR + 1.4X 1549
lenses and accessories X-E (type 102) 999 XF 14mm f2.8 689
D-Lux (type 109) 749 XF 16mm f1.4 R WR 769 Nikon/Canon Fit (3 Year warranty)
V-Lux (type 114) 799 XF 23mm f1.4 689 499
New 28mm f2 and 28mm f2.8Phone XF 60mm f2.4 R 459 8-16mm f4-5.6 DC
See Website for full list of XF 56mm f1.2 769 17-50mm f2.8 DCOS 279 Roger Evo 3 249
Canon/Nikon Fit Lenses Leica lenses and accessories XF 90m f2 R LM WR 689 10-20mm f3.5 DC 329 Brian Evo 3 299 Vyv Evo 3 129
OTUS 55mm f1.4 2,799 See website for full listing Jack 249 Rick Evo 3 179
OTUS 85mm f1.4 3,019 12-24mm 4.5-5.6 DG MKII 529
3,630 Cash back avaliable 279
OTUS 28mm f1.4 17-70mm f2.8-4 DC C
15mm f2.8 2,069 8x20 Monovid 339 549
8x20 Trinovid BCA 18-35mm f1.8 DC Art
21mm f2.8 Milvus 1,169 334 279
25mm f2 1,188 10x25 Trinovid BCA 375 18-250mm f3.5-6.3 DC AT113/AT114 99 CT113/CT114 219
28mm f2 899 8x20 Ultravid BR 510 18-300mm f3.5-6.3 DC C 349 AT213/AT214 118 CT213/CT214 257
35mm f2 Milvus 745 10x25 Ultravid BR 535 8X25 PocketCL Green/Black 504 24-35mm f2 DG Art 699 AT313 149 CT313/CT314 357
35mm f1.4 1,346 8x20 Ultravid BL (Leather) 561 10X25 PocketCL Green/Black 540 599 AT413 175 CT414 429
854 10x25 Ultravid BL (Leather) 8x32 ELFieldPro 1,475 24-105mm f4 DG Art
50mm f1.4 Milvus 578 849 Short Columns aluminium/carbon from 20
50mm f2 Milvus 949 8x32 Ultravid HD -Plus 1,350 10x32 ELFieldPro 1,495 50-500mm f4.5-6.3 DG Stealth Series Carbon FibreTripods:
85mm f1.4 Milvus 1,379 10x32 Ultravid HD-Plus 1,375 8.5x42 ELFiieldPro 1,800 70-200mm f2.8 DG 729 CLT204 260 CTL304L 315
100mm f2 Milvus Macro 1,299 New 8x42 Trinovid HD 745 10x42 EL FieldPro 1,820 150-600mm f5-6.3 DG C 739
New10x42 Trinovid HD 10x50 ELFieldPro CLT303 269 CLT404L 387
135mm f2 1,599 789 1,935 1,199 Grand Series Stealth Carbon Fibre Tripods:
Zeiss Binoculars - 10 Year Warranty 8x42 Ultravid HD 1,399 12x50 ELField Pro 1,955 150-600mm f5-6.3 DG S
8x32 ConquestHD 589 Monovid 339 8x42 ELRangeW B 2,195 35mm f1.4 DG Art 599 GIT303 387 GIT304L 432
10x32 ConquestHD 627 7x42 Ultravid HD-Plus 1,399 10x42 EL RangeWB 2,268 50mm f1.4 DG Art 579 GIT304 399 GIT305L 449
8x42 ConquestHD 699 8x42 Ultravid HD-Plus 1,449 ATX 30--70x95SpottingScope 2,870 599 Heads
10x42 Ultravid HD-Plus ATX 25-60x85SpottingScope 24mm f1.4 DG Art BHD0 98/BHD1 115/BHD2 129/BHD3 153
10x42 ConquestHD 738 1,499 2,600 629
8x42 VictoryHT 1,449 10x50 Ultravid HD - Plus 1,575 ATX 25-60x65SpottingScope 2,150 20mm f1.4 DG Art BHL1 175/BHL2 224/BHL3 262/GHB2 349
8x42 VictorySF 1,820 12x50 Ultravid HD- Plus 1,665 ATS80-HDAngled+25-50xscope 1,999 105mm f2.8 Macro DG 329
ATS65-HDAngled+25-50xscope 1,539
USED EQUIPMENT - Quality photographic equipment wanted for part exchange or commission sales
CanonEF24-105mmf4LIS 495 FujiXE-1BodyBlack 199 NikonAF35-70mmf3.3/4.5Lens 75 NikonD700Body 595
CanonEOS10DBody 75 X-T1 BatteryGrip 125 NikonAF20mmf2.8D 350 NikonMB-D14Grip 125 1000Pro 2 Head 1566 500R 3 Head Kit 1437
CanonEF70-300mmf4-5.6ISUSM 225 Hasselblad28mmf4HCDAFLens 2295 NikonAFS600mmf4DIIEDLens 3800 NikonMB-D14Grip 95 750Pro 2 Head 1253 500R 2 Head Kit 895
Canon5DMKIIIBody 1495 Hasselblad35-90mmf4/5.6HCD 3295 NikonAFDX10.5mmf2.8GEDFisheye 425 Sigma10-20mmf4-5.6EXDCNikon 195 500Pro 2 Head 1139 500C 2 head Kit 857
CanonEF100-400mmL IS MKII 1499 Hasselblad95mmUV/Skyfilter 69 NikonAF-D20mmf2.8DLens 350 NikonWT-5 WirelessTransmitter 295 See full range of Bowens softboxes, stands and
CanonEF100-400mmf4.5/5.6LISUSM 695 HasselbladH1BodywithHC3.2/150Lens 2250 NikonED500mmf4PLens 1500 NikonAFS70-300mmf4.5-5.6GVR 250 other accessories on our website
CanonEF14mmf2.8LIIUSM 995 Hasselblad503CWDAnniversarykit 3995 NikonAF-S16-85mmf3.5/5.6GEDVR 349 LeicaTrinovid8x42BA 495
CanonEF17-40mmf4LUSMLens 395 H5D-50C WifiBodyset -ExDemo 10995 Nikon10.5mmf2.8G DXLens 395 LeicaApoTelevid77Scope+Case 895
SigmaEX70-200mmf2.8ApoDGHSM 350 HasselbladHC210mmf4lens 1495 NikonAF-S14-24mmf2.8GED 895 NissinDi700FlashNikon 70
CanonEFS17-55mmf2.8USM 349 HasselbladHCD35-90mmf4/5.6 2495 NikonAF-S300mmf2.8DEDLens 995 NissinDi622FlashNikon 50
CanonEF70-200mmf4LUSM 395 Leica90mmf2SummicronM 1995 NikonAFD105mmf2.8DC 595 NikonAF-S600mmf4DIIED 3800
CanonEF400mmf5.6LUSM 695 Leica35mmf1.4SummiluxM 2650 NikonAF-S300mmf4DIFLens 549 NikonWT-5 295
149 850 195
B1TTLAirHead 1,632 B1 2 Head kit 3,500
CanonLC-5Transmitterset Leica50mmf2SummicronM NikonAF-24-85mmf2.8-4DLens PhottixStratoTTL 1xTransmitter 2x
SigmaEX8-16mmHSMCanon 325 Leica35mmf2.8SummaritM 895 NikonAF-S18-300mmf3.5-5.6GDXVR 395 Receivers -Nikon 100 Air Remote TTL 312 B2 To Go kit 1,495
CanonEFS60mmf2.8MacroUSM 199 Leica50mmf1.4SummiluxASPH 2295 NikonAF-S18-200mmf3.5-5.6GVRII 295 B1 Location Kit 3,060 B2 Location kit 1,994
Sigma10-20mmf4.-5.6EXDCCanon 195 LeicaM(240)Silver body 2700 NikonAF-S80-400mmf4.5/5.6DLens 595 Pleaseseeourwebsite Full list of Accessories available on our website:
140 495 1295
CanonBG-E16Grip
SigmaEX24mmf1.4DGArt-Canon 29
Nikon28-300mmf3.5/5.6GEDLens
Nikon80-400mmf4.5/5.6DEDVRlens 595
NikonAF-S80-400mmf4.5/5.6GEDVR
NikonD80+18-135mmVR 149 forthemostuptodate HR and Rfi Softboxes, umbrellas, reflectors,
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CanonEFS10-18mm f4.5-5.6IS 149 NikonAFS80-400mmf4.5-5.6GEDVR 1295 NikonD7200body 595
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The D3400 makes it spectacularly easy to shoot and share DSLR-

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Canon EOS 750D Canon EOS 760D Canon EOS 70D Nikon D5500 Nikon D7200 Nikon D610
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Body only + 18-55 IS STM Body only See website for low Body only + 18-55 IS STM Body only + AF-P 18-55 VR Body only + 18-105 VR Body only + 24-85 VR
529.00 579.00 549.00 prices on lenses 699.00 799.00 514.00 649.00 799.00 999.00 1,299.00 1,699.00
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999.00 1,299.00 1,276.00 1,579.00 2,299.00 2,504.00 1,699.00 2,299.00 information on availability! information on availability!
Add a Canon BG-E14 battery grip Add a Canon BG-E13 battery grip Visit us in store or online to see how Add a Nikon MB-D16 battery grip Eligible for 12 months interest free Receive a FREE 32GB XQD Card &
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Canon EOS 5Ds Canon EOS 5Ds r Canon EOS-1D X Mark II NIKON LENSES parkcameras.com or call our expert team on 01444 23 70 60
50.6 50.6 20.2 AF-G 10.5mm f/2.8G ED DX 599.00 AF-D 60mm f/2.8 Micro 429.00 AF-S 10-24mm f/3.5-4.5G 729.00
MEGA MEGA MEGA AF-D 14mm f/2.8D 1,329.00 AF-S 60mm f/2.8G Micro ED 499.00 AF-S DX 12-24mm f4 G IF-ED 979.00
PIXELS PIXELS PIXELS 14 FPS
AF-D 16mm f/2.8D Fisheye 699.00 AF-S 85mm f/3.5G DX 429.00 AF-S 16-80mm f/2.8-4E ED VR 869.00
Body SRP
5,199.00
NEW! AF-S 20mm f/1.8G ED 669.00 AF-S 85mm f/1.8G 429.00 AF-S 16-85mm f/3.5-5.6G 579.00
AF-D 20mm f/2.8 499.00 AF-S 105mm f/2.8G VR 749.00 AF-S 17-35mm f/2.8 IF ED 1,499.00
Body only
See website for low Body only
See website for low AF-D 24mm f/2.8D 379.00 AF-DC 105mm f/2 Nikkor 879.00 AF-S 17-55mm f/2.8G DX 1,329.00
2,699.00 prices on lenses 2,899.00 prices on lenses NOW IN STOCK!! AF-S Nikkor 24mm f/1.4G 1,799.00 AF-D 135mm f/2.0D 1,149.00 AF-S 18-35mm f/3.5-4.5G 599.00
AF-D 28mm f/2.8 259.00 AF-D 180mm f/2.8 IF ED 749.00 AF-S 18-105mm VR 219.00
Add a Canon BG-E11 battery grip Add a Canon WFT-E7 wireless le Claim a FREE SanDisk 64GB Extreme AF-S 28mm f/1.8G 569.00 AF-D 200mm f/4D IF ED 1,249.00 AF-S 18-140mm ED VR DX 429.00
for only 225.00! transmitter for only 599.00! PRO CFast 2.0 Card and Reader! 35mm f/2 AF Nikkor D 269.00 AF-S 200mm f/2G ED VR II 4,769.00 AF-S 18-200mm ED DX VR II 534.00
AF-S 35mm f/1.8G ED 439.00 AF-S 300mm f/2.8G ED VR II 4,849.00 AF-S 18-300mm f/3.5-6.3 VR 629.00
Give your camera an individual look by creating your own AF-S 35mm f1.8G DX 169.00 AF-S 300mm f/4 D IF-ED 1,149.00 AF-S 24-85mm VR 429.00
personalised strap - available when purchasing AF-S 40mm f/2.8G ED 239.00 AF-S 300mm f/4E PF ED VR 1,549.00 AF-S 28-300mm ED VR 799.00
AF 50mm f/1.4D 259.00 AF-S 400mm f/2.8 FL ED VR 9,999.00 AF-S 55-200mm f/4-5.6G VR II 259.00
selected cameras AF-S 50mm f/1.4G 389.00 AF-S 500mm f/4E FL ED VR 8,499.00 AF-S 70-200mm f/2.8 VR II 1,999.00
EOS 80D EOS 760D EOS 750D EOS 700D AF-D 50mm f/1.8 119.00 AF-S 600mm f/4E FL ED VR 10,999.00 AF-S 70-300mm IF ED VR 499.00
AF-S 50mm f/1.8G 189.00 AF-S 800mm f/5.6E FL ED VR14,799.00 AF-S 200-400mm VR II 6,149.00
EOS 100D EOS 1300D EOS M3 EOS M10
Claim your strap at www.canon.co.uk/camerastrap. Available 01.09.16 - 18.10.16
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14mm f/2.8L II USM 1,599.00 200mm f/2.0L IS USM 4,350.00 EF-S 18-135mm IS STM 329.00
20mm f/2.8 USM
24mm f/1.4L Mk II USM
385.00
1,159.00
200mm f/2.8L USM/2
300mm f/2.8L USM IS II
549.00
4,799.00
EF-S 18-135mm f/3.5-5.6 IS USM 449.00
EF-S 18-200mm f/3.5-5.6 385.00
Sony a6000 Sony RX100 IV Sony a6300
24mm f/2.8 IS USM 455.00 300mm f/4.0L USM IS 999.00 24-70mm f/2.8L II USM 1,459.00 24.3 20.1 24.2
EF-S 24mm f/2.8 STM 127.00 400mm f/2.8L USM IS II 7,698.00 24-70mm f/4.0L IS USM 675.00 MEGA
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28mm f/1.8 USM 379.00 400mm f/4.0 DO IS II 6,999.00 24-105mm f/4.0L IS USM 735.00
28mm f/2.8 IS USM 379.97 400mm f/5.6L USM 959.00 24-105mm f/3.5-5.6 IS STM 375.00
35mm f/1.4L USM 959.00 500mm f/4.0L IS MK II 6,699.00 28-300mm f/3.5-5.6L IS 1,879.00
35mm f/1.4L II USM 1,799.00 600mm f/4.0L IS MK II 8,895.00 EF-S 55-250mm f/4-5.6 IS STM 229.00 Body only + 16-50mm In stock at only See website for Body only + 16-50mm
35mm f/2.0 IS USM 379.00 800mm f/5.6L IS USM 9,899.00 70-200mm f/2.8L IS II USM 1,599.00
40mm f/2.8 STM 149.00 TSE 17mm f/4.0L 1,589.00 70-200mm f/2.8L USM 999.00 419.00 499.00 829.00 RX100 IV cases 1,069.00 1,249.00
50mm f/1.2 L USM 995.00 TSE 24mm f/3.5L II 1,479.00 70-200mm f/4.0L IS USM 899.00 Protect your screen with Sony Add a Sony NP-BX1 spare battery Add a Sony NP-FW50 spare battery
50mm f/1.4 USM 245.00 TSE 45mm f/2.8 1,099.00 70-200mm f/4.0L USM 499.00 PCK-LM17 LCD protectors for 13.00 for only 38.00 for 659.00
50mm f/1.8 STM 97.00 TSE 90mm f/2.8 1,049.97 70-300mm f/4.0-5.6 IS 356.00
EF-S 60mm f/2.8 Macro 349.00 8-15mm f/4L Fisheye USM 939.00 70-300mm f/4.0-5.6L IS USM 1,029.00
MP-E 65mm f/2.8 779.00 EF-S 10-18mm IS STM 185.00 70-300mm DO IS USM 899.97* Sony a7 II Sony a7S II Sony a7R II
85mm f/1.2L II USM 1,499.00 EF-S 10-22mm f/3.5-4.5 399.00 75-300mm f/4.0-5.6 III 188.00
85mm f/1.8 USM 279.00 EF 11-24mm f/4L USM 2,799.00 75-300mm f/4.0-5.6 III 219.00 24.3 12.2 42.4
100mm f/2 USM 349.00 EF-S 15-85mm f/3.5-5.6 IS 539.00 100-400mm L IS USM II 1,799.00 MEGA IS MEGA IS MEGA IS
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100mm f/2.8 USM Macro 373.00 16-35mm f/2.8L II USM 1,060.00 200-400mm f/4.0L USM 8,598.00
100mm f/2.8L Macro IS 699.00 16-35mm f/4.0L IS USM 769.00 1.4x III Extender 329.00
135mm f/2.0L USM 769.00 17-40mm f/4.0L USM 549.00 2x III Extender 339.00
180mm f/3.5L USM 1,099.00 EF-S 17-55mm f/2.8 IS USM 599.00 EF 12II Extension Tube 79.99 Body only Add a VG-C2EM Body only Add a Sony F43M Body only Add a Sony
Prices updated DAILY! 1,349.00 grip for 289 2,899.00 ash for 260 2,999.00 NP-FW50 for 56
CANON ACCESSORIES See www.parkcameras.com/ap for details.
Add a Sigma mount converter MC-11 Add a Metabones Canon EF to Limited numbers back in stock!
Flashguns Battery Grips Spare batteries (Sony E Canon EF) for only 189 E-mount T IV Adaptor for only 200 See website for availability
Speedlite 90EX 109.00 BG-E11 (5D III, 5Ds/r) 225.00 LP-E19 (1D X Mark II) 149.00
Speedlite 270EX II 135.00 BG-E13 (6D) 174.00 LP-E4N (1D X, 1D C) 139.99 E-Series Alpha-Series
Speedlite 320EX 185.00 BG-E14 (70D) 149.00 LP-E6N (5D III, 7D II, 6D) 69.00 16mm f/2.8 Pancake 199.00 16-70mm f/4G ZA OSS 799.00 30mm f/2.8 SAM 1:1 Macro DT 118.97*
Speedlite 430EX III-RT 219.00 BG-E16 (7D Mark II) 199.00 LP-E8 (700D, 600D) 35.00 24mm f/1.8 ZA Carl Zeiss 889.00 18-200mm f/3.5-6.3 P. Zoom 949.00 35mm f/1.8 DT 149.00
Speedlite 600EX-RT 429.00 BG-E18 (7D Mark II) 115.00 LP-E10 (1300D, 1200D) 39.99 24mm f/2.0 Carl Zeiss T* 999.00 24-70mm f/4 FE Vario-Tessar T* 899.00 50mm f/1.4 Carl Zeiss 699.97*
Speedlite 600EX-RT II 539.00 For even more grips, see website LP-E17 (760D, 750D, M3) 44.00 50mm f/1.8 OSS 259.00 24-240mm f/3.5-6.3 FE OSS 849.00 11-18mm f4.5-5.6 DT 599.00
55mm f/1.8 FE Sonnar T* ZA 799.00 28-70mm f/3.5-5.6 FE OSS 449.00 16-35mm f/2.8 Carl Zeiss T* 2,200.00
Printers Bags For even more batteries, see website
90mm f/2.8 Macro G FE OSS 949.00 28-135mm f/4 G FE PZ OSS 2,099.00 24-70mm f/2.8 II Carl Zeiss T* 2,000.00
PIXMA PRO-100s 365.00 Backpack BP100 59.99 Scanners 10-18mm f/4 OSS 699.00 55-210mm f/4.5-6.3 OSS 229.00 55-200mm f4.0-5.6 SAM DT 246.00
PIXMA PRO-10s 529.00 Holster HL100 26.49 CanoScan LiDE 220 89.00 16-50mm f/3.5-5.6 OSS 279.00 70-200mm f/4 G FE OSS 1,249.00 70-200mm f/2.8 G SSM II 2,799.00
PIXMA PRO-1 628.00 Shoulder Bag SB100 29.99 CanoScan 9000F Mark II 168.00
All prices include VAT @ 20%. For opening times and store addresses, visit www.parkcameras.com/AP.
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16.2 16.1 16.3 20.3 16.0 20mm f/1.7 II ASPH 269.00
MEGA MEGA IS MEGA MEGA MEGA 45mm f/2.8 Macro 498.00
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35-100mm f/2.8 O.I.S 799.00
449.00 549.00 749.00 849.00 829.00 1,199.00 769.00 869.00 999.00 1,349.00 45-175mm f/4.0-5.6 O.I.S 279.00
100-300mm f/4-5.6 O.I.S 378.00
See website for the limited edition Add the Olympus HLD-8 battery grip Claim a FREE Olympus HLD-7 batt. Add a Panasonic DMW-CGK34E Add a Panasonic DMW-BGGH3E 100-400mm f/4.0-6.3 1,349.00
Fox Brown version! for the E-M5 II for 194.00 grip from Olympus! Ends 30.09.16 black leather case for 99.00 battery grip for 209.97 See website for even more lenses!
Olympus 40-150mm OLYMPUS LENSES Olympus TG-Tracker Panasonic TZ100 Panasonic LX100 Panasonic FZ330
12mm f/2.0 549.00
f/2.8 PRO + 1.4x converter 17mm f/1.8 M. ZUIKO 349.00 16 20.1 12.8
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14-42mm f/3.5-5.6 II R MFT 269.00 Available in Available in Add the MS2E Add the BLC12
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Learn more about this lens in store 75-300mm f/4.8-6.7 ED II 349.00 Olympus CSCH-125 Tracking Holder Add a Panasonic DMW-BLG10 spare Add a Panasonic DMW-BLG10 spare Add a Lexar 32GB 1000x UHS-II
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Prices updated DAILY! Visit us in store, online at Prices updated DAILY! Visit us in store, online at
TAMRON LENSES parkcameras.com or call our expert team on 01444 23 70 60 SIGMA LENSES parkcameras.com or call our expert team on 01444 23 70 60
Tamron SP 10-24mm Tamron SP 15-30mm Tamron 16-300mm Sigma MC-11 Sigma 50-100mm Sigma 150-600mm
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Visit our website for full details on all the Tamron lenses, as well as our latest LOW PRICES! 4.5mm f/2.8 Fisheye EX DC 599.00 300mm f/2.8 APO EX DG 2,199.00 70-200mm f/2.8 OS 729.00
8mm f/3.5 Circ. Fish EX DG 599.00 500mm f/4.5 APO EX DG 3,599.00 70-300mm f/4.0-5.6 DG Macro 99.00
Tamrac Anvil Velbon CX-888 CamRanger 15mm f/2.8 Diag F/eye EX DG
19mm f/2.8 DN
499.00
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27 Backpack Tripod Wireless Camera Control 20mm f/1.4 DG HSM 629.00 12-24mm f/4.5-5.6 II DG HSM 529.00 150-500mm f/5.0-6.3 DG OS 494.99
24mm f/1.4 DG HSM 599.00 17-50mm f/2.8 DC OS HSM 279.00 150-600mm f/5-6.3 DG | C 739.00
30mm f/1.4 DC HSM 299.00 17-70mm f/2.8-4 DC OS 319.00 150-600mm Cont. + 1.4x 849.00
30mm f/2.8 DN 119.00 18-35mm f/1.8 DC HSM 549.00 150-600mm f/5-6.3 DG | S 1,199.00
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Canon EOS Sigma 17-70mm F2.8-4 DC OS Macro HSM ... Mint- 219 Olympus E-M5 Black Body Only........................E++ 279 Canon EOS 70D Body Only........... E+ / Mint- 549 - 599
EOS 1V + BP-E1 Battery Grip.............................. E+ 219 Sigma 18-250mm F3.5-6.3 DC OS HSM...........E++ 179 Olympus E-P2 ChromeBody Only ......................... E+ 69 Canon EOS 60D Body Only.................................. E+ 299
EOS 1V Body Only....................................E+ 199 - 329 Sigma 28mm F1.8 AF .................................... Unused 99 Olympus E-P5 Black Body Only....................... Mint- 289 Canon EOS 50D + BG-E2 Grip............................. E+ 245
EOS 1N + BP-E1 Grip.......................................... E+ 149 Sigma 30mm F1.4 EX DC HSM .........................E++ 189 Olympus E-P5 Silver Body Only........................... E+ 279 Canon EOS 50D Body Only.................................. E+ 179
EOS 1N + E1 Booster.......................................... E+ 129 Sigma 50mm F2.8 EX DG Macro.......................E++ 149 Olympus E-PL2 Body Only .................... E++ 119 - 129 Canon EOS 40D + BG-E2 Grip...........................E++ 149
EOS 1N Body Only ................................................ E+ 79 Sigma 50-500mm F4-6.3 Apo DG HSM ............E++ 499 Olympus E-PL3 Body Only ..................................E++ 99 Canon EOS 30D Body Only............................ As Seen 79
EOS 1 + E1 Booster .............................. As Seen / E+ 79 Sigma 70mm F2.8 EX DG Macro.......................E++ 179 Panasonic G3 Black Body Only............................E++ 79 Canon EOS 20D + BG-E2 Grip............................... E+ 89
EOS 1 Body Only..........................................E+ 79 - 89 Sigma 70-200mm F2.8 EX APO HSM Panasonic GF-5 Body Only..................................E++ 79 Canon EOS 20D Body Only.................................... E+ 59
EOS 3 Body Only..........................As Seen / E+ 59 - 99 ..................................................... E+ / E++ 219 - 239 Panasonic GH-3 Body + Grip......... E+ / E++ 349 - 379 Canon EOS 10D + BG-ED3 Grip .................... As Seen 69
EOS 30 Body Only................................... E++ 59 - 119 Sigma 120-400mm F4.5-5.6 Apo DG OS HSM ..E++ 399 Samsung NX11 + 18-55mm OIS.......................E++ 169 Canon EOS 10D Body Only............................ As Seen 69
EOS 30 DateBody Only......................................... E+ 49 Sigma 150mm F2.8 EX DG Macro HSM. E++ 299 - 319 Sony A7 Body Only.............................................. E+ 589 Canon EOS 1200D Body Only............................E++ 169
EOS 30E Body Only....................................... As Seen 39 Sigma 170-500mm F5-6.3 Apo .......................... E+ 149 Sony A7R Body Only ........................................... E+ 789 Canon EOS 700D Body Only............................ Mint- 319
EOS 5 Body Only................................................... E+ 59 Sigma 180mm F3.5 EX Macro APO ...................E++ 349 Sony NEX-F3 + 18-55mm ................................E++ 149 Canon EOS 500D Body Only.....................E+ 149 - 165
EOS 50E + BP50 Grip ................................... As Seen 39 Sigma 300mm F2.8 Apo .............................. Unused 299 Sony NEX3 + 18-55mm........................................ E+ 95 Canon EOS 400D Body Only...... As Seen / E++ 69 - 89
EOS 50E Body Only......................................E+ 25 - 49 Sigma 300mm F2.8 Apo DG HSM ... E++ 1,289 - 1,299 Canon EOS 300D Body Only.................As Seen 45 - 49
EOS 3000V + 28-90mm .....................................E++ 49 Sigma 300mm F2.8 APO EX DG HSM .............E++ 1,499 Fuji X Lenses Canon EOS 100D Body Only......... E+ / Mint- 179 - 219
8-15mm F4 L Fisheye USM...............................E++ 749 Sigma 300mm F4 Apo .................. E+ / E++ 149 - 159 14mm F2.8 XF.................................................... E+ 439 Canon EOS M + 22mm F2 ................................E++ 169
10-22mm F3.5-4.5 EFS............... E+ / Mint- 249 - 279 Sigma 400mm F5.6 AF ......................................... E+ 79 16-55mm F2.8 WR XF ......................................E++ 649 Canon EOS M2 + 18-55mm STM......................E++ 219
14mm F2.8 L USM............................................. Exc 499 Sigma 400mm F5.6 Apo ............................E+ 79 - 125 18-55mm F2.8-4 XF............................. E++ 289 - 299 Canon EOS M3 + 18-55mm + DC1 Finder ...... Mint- 399
14mm F2.8 L USM II .................. E+ / E++ 999 - 1,049 Sigma 400mm F5.6 Apo ..................................... E+ 129 18mm F2 XF R..................................................E++ 179 Fuji S3 Pro Body Only ................................... As Seen 49
15mm F2.8 EF Fisheye .....................................E++ 379 Sigma 500mm F4.5 Apo EX HSM ..................... E+ 1,739 27mm F2.8 XF..................................................E++ 179 Nikon D4 Body Only .......................................E++ 2,249
16-35mm F2.8 L USM ......................................E++ 549 Tamron 10-24mm F3.5-4.5 Di II LD Asph........ Mint- 249 55-200mm F3.5-4.8 OIS XF.......E++ / Mint- 379 - 389 Nikon D3S Body Only............As Seen / E+ 899 - 1,749
16-35mm F4 L IS USM ................................... Mint- 649 Tamron 28-75mm F2.8 XR Di ...........................E++ 189 60mm F2.4 XF R Macro ....................................E++ 279 Nikon D3X Body Only ....................................... E+ 1,189
17-40mm F4 L USM .........................................E++ 339 Tamron 35mm F1.8 Di VC USD..........................E++ 379 Samyang 300mm F6.3 Reflex ED.................... Mint- 189 Nikon D3 Body Only .................................... As Seen 399
17-55mm F2.8 EFS IS USM ..............................E++ 349 Tamron 70-200mm F2.8 SP LD .......................... E+ 269 Zeiss 12mm F2.8 Touit X................................. Mint- 549 Nikon D800E Body Only .................................E++ 1,179
17-85mm F4-5.6 IS USM..................................E++ 129 Tamron 70-300mm F4-5.6 Di VC USD............. Mint- 189 Nikon D800 Body Only ................. E+ / Mint- 989 - 999
18-55mm f3.5-5.6 EFS......................................... E+ 49 Tamron 90mm F2.8 Di VC USD Macro............. Mint- 279 4/3rds Lenses Nikon D700 Body + MB-D10 Grip ....................... E+ 499
18-55mm F3.5-5.6 EFS II ................. E+ / E++ 39 - 49 Tamron 90mm F2.8 SP AF Macro.. E+ / E++ 159 - 219 Olympus 7-14mm F4 ED Zuiko ............. E++ 549 - 579 Nikon D300 Body Only ........................................ E+ 199
18-55mm F3.5-5.6 EFS III ................................ Mint- 59 Tamron 180mm F3.5 Di Macro ........................... E+ 299 Sigma 10-20mm F4-5.6 EX DC HSM .................. E+ 149 Nikon D200 + MB-D200 Grip............................E++ 189
18-55mm F3.5-5.6 EFS IS ..................................E++ 79 Tokina 10-17mm F3.5-4.5 DX Fisheye.......Ex Demo 469 Olympus 11-22mm F2.8-3.5 ZuikoE+ / Mint- 195 - 249 Nikon D200 Body Only .......... As Seen / E++ 149 - 179
18-55mm F3.5-5.6 IS STM............E++ / Mint- 79 - 89 Tokina 11-16mm F2.8 DX ATX ........................ Mint- 329 Olympus 12-60mm F2.8-4 ED SWDE+ / E++ 259 - 349 Nikon D100 Body Only .......................................... E+ 79
20mm F2.8 USM................................................. E+ 199 Tokina 12-24mm F4 ATX PRO SD......................E++ 199 Panasonic 14-150mm F3.5-5.6 Asph................E++ 489 Nikon D90 Body Only ........................................E++ 179
20-35mm F3.5-4.5 USM...................................E++ 159 Tokina 28-80mm F2.8 ATX Pro..........................E++ 179 Olympus 14-35mm F2 SWD .............................E++ 849 Nikon D70 Body Only ...................As Seen / E+ 49 - 79
22mm F2 STM.................................................. Mint- 89 Tokina 35mm F2.8 Macro DX ATX .....................E++ 199 Olympus 14-42mm F3.5-5.6 Zuiko.....................E++ 59 Nikon D50 Body Only .................................... As Seen 49
24mm F3.5 L TSE ..........................E+ / Mint 699 - 749 Tokina 50-135mm F2.8 DX ATX ........................E++ 299 Panasonic 14-50mm F2.8-3.5 OIS Asph ...........E++ 149 Nikon D7000 Body Only ....................................E++ 299
24mm F3.5 L TSE MkII........... E+ / Mint- 1,049 - 1,149 Tokina 300mm F2.8 ATX SD................................ E+ 599 Olympus 14-54mm F2.8-3.5 Zuiko...........E+ / E++ 129 Nikon D5500 + 18-140mm ............................ Mint- 559
24-70mm F2.8 L USM ......................................E++ 689 Voigtlander 40mm F2 Ultron SLII..................... Mint- 269 Samyang 16mm F2.0 ED AS UMC CS.............. Mint- 249 Nikon D5300 Body Only .......................Mint- 269 - 289
24-70mm F4 L IS USM ........................Mint- 489 - 579 Walimex 14mm F2.8 Pro................................. Mint- 199 Olympus 18-180mm F3.5-6.3 Zuiko.................E++ 199 Nikon D5000 Body Only ....................................E++ 129
24-105mm F4 L IS USM ...............Exc / E++ 349 - 429 Zeiss 21mm F2.8 ZE....................................... Mint- 599 Olympus 40-150mm F3.5-4.5 Zuiko...................E++ 89 Olympus E5 Body + HLD-4 Grip........................E++ 599
28mm F1.8 USM...............................................E++ 279 Zeiss 28mm F2 ZE.............................................. E+ 465 Olympus 40-150mm F4-5.6 ED Zuiko.................E++ 49 Olympus E30 Body Only....................................E++ 249
28-105mm F3.5-4.5 USM...............Exc / E++ 59 - 119 Sigma 1.4x AF Tele Converter ............................... E+ 59 Olympus 50-200mm F2.8-3.5 SWD...... E++ / Mint- 429 Olympus E620 + 14-42mm + 40-150mm ........E++ 339
28-135mm F3.5-5.6 IS USM......................... As Seen 89 Sigma 1.4x Apo EX Converter..............................E++ 99 Olympus 50-200mm F2.8-3.5 Zuiko.................E++ 295 Olympus E410 + 14-42mm ............................ Mint- 119
35-350mm F3.5-5.6 L USM............................... Exc 499 Sigma 1.4x Apo EX DG Converter ........................E++ 99 Olympus 50mm F2 ED Macro Zuiko ...... E++ 199 - 249 Pentax K3 Prestige Edition ................................Mint 749
40mm F2.8 STM............................................... Mint- 99 Teleplus 2x MC7 Converter ........ E++ / Unused 35 - 49 Olympus 70-300mm F4-5.6 ED Zuiko............. Mint- 199 Pentax K3 Body Only + D-BG5 Grip...................E++ 549
50mm F1.0 L USM....................................... Mint- 2,750 1.4x EF II Extender.......................................... Mint- 189 Olympus EC14 Tele Converter ...........................E++ 199 Pentax K3 Body Only....................................... Mint- 529
50mm F1.2 L USM.....................E++ / Mint- 765 - 799 1.4x EF MkIII Extender .................................... Mint- 249 Olympus EC20 2x Tele ConverterE++ / Mint- 199 - 229 Pentax K5 Black Body Only ...............................E++ 219
50mm F1.4 USM...............................................E++ 189 2x EF Extender........................ As Seen / E++ 79 - 159 Pentax K50 Body Only..................................... Mint- 259
50mm F1.8 EF II .................................................E++ 59 2x EF II Extender........................E++ / Mint- 169 - 179 Micro 4/3rds Lenses Pentax K30 Black Body Only .............................E++ 179
50mm F1.8 EF Mk1 ................................ E++ 99 - 115 2x EF MkII Extender ...................... E+ / E++ 149 - 155 Olympus 7-14mm F2.8 PRO M.Zuiko ED......... Mint- 679 Pentax K30 Blue Body Only................................. E+ 169
50mm f2.5 EF Macro ........................................E++ 149 2x EF MkIII Extender ....................................... Mint- 239 Panasonic 7-14mm F4 G Vario..........................E++ 549 Pentax KX + 18-55mm .....................................E++ 139
60mm F2.8 EFS Macro ..............E++ / Mint- 239 - 249 Metz 15 MS-1 Flash .........................................E++ 179 Panasonic 12-32mm F3.5-5.6 OIS G.................E++ 159 Pentax *isT DL Body Only...................................... E+ 79
70-200mm F2.8 L IS USM II...........................E++ 1,189 Metz 50AF1 Digital .............................................E++ 79 Olympus 12-40mm F2.8 M.Zuiko .....................E++ 499 Samsung NX20 + 18-55mm.............................E++ 149
70-200mm f4 L IS USM ....................................E++ 549 Nissin Di622 Speedlite.......................................... E+ 59 Panasonic 14-140mm F4-5.8 OIS HD ...............E++ 219 Sigma SD1 Merrill + 105mm + EF610 Flash... Mint- 849
70-200mm f4 L USM .................... E+ / E++ 289 - 329 270EX Speedlite .................................................E++ 49 Panasonic 14-42mm F3.5-5.6 Asph OIS Sony A200 + 18-70mm ....................................E++ 129
70-300mm F4-5.6 L IS USM............................... E+ 529 300EZ Speedlite ................................. E+ / E++ 9 - 29 ......................................................E++ / Mint- 69 - 79 Sony A200 Body Only............................................ E+ 89
70-300mm F4.5-5.6 DO IS USM .. E+ / Mint- 299 - 449 420EX Speedlite ............................... E+ / E++ 59 - 65 Olympus 14-42mm F3.5-5.6 EZ M.Zuiko ........ Mint- 129 Sony A230 + 18-55mm ...................................... E+ 129
75-300mm F4-5.6 EF III .....................................E++ 69 420EZ Speedlite ................................................... E+ 25 Olympus 14-42mm F3.5-5.6 M.Zuiko II R ...........E++ 79 Sony A390 + 18-55mm ................................ As Seen 89
75-300mm F4-5.6 IS USM............ E+ / E++ 189 - 199 430EX II Speedlite...................................E++ / Mint 129 Panasonic 14-45mm F3.5-5.6 ASPH G Vario Sony A450 Body Only.......................................... E+ 119
75-300mm F4-5.6 USM......................................E++ 75 430EZ Speedlite ............................... E+ / E++ 25 - 29 ............................................................. E++ 129 - 149 Sony A55 + 18-55mm ......................................E++ 159
75-300mm F4-5.6 USM III ................ E+ / E++ 59 - 79 540EZ Speedlite ............................... E+ / E++ 29 - 39 Panasonic 14mm F2.5 Asph..............................E++ 119 Sony A57 + 18-55mm ......................................E++ 189
80-200mm F4.5-5.6 EF II ...................................E++ 39 550EX Speedlite ............................. E+ / E++ 85 - 109 Olympus 17mm f1.8 M.Zuiko Black ................ Mint- 299 Sony A700 + VG-C70AM Grip.............................. E+ 229
80-200mm F4.5-5.6 EF III ................ E+ / E++ 39 - 49 580EX MkII Speedlite.................... E+ / E++ 169 - 199 Olympus 17mm F1.8 M.Zuiko Silver .................E++ 279
80-200mm F4.5-5.6 USM..................................... E+ 49 580EX Speedlite ................................................. E+ 139 Olympus 17mm F2.8 M.Zuiko............... E++ / Mint- 129 Leica M Series
85mm F1.2 L USM.............................................. E+ 799 600EX-RT Speedlite..........................................E++ 349 Sigma 19mm F2.8 DN ...................................... Mint- 89 M-P ChromeBody Only..................................Mint 3,989
85mm F1.2 L USM MkII ....................................E++ 949 ML3 Macrolite.....................................................E++ 45 Panasonic 20mm F1.7 G Pancake............E+ / Mint- 159 M Monochrom Black Body Only
85mm F1.8 USM............................................. Mint- 199 MR-14EX Macro Ringlite............... E+ / E++ 189 - 199 Voigtlander 25mm F0.95 Nokton......................... E+ 439 ............................................. E++ / Mint 3,289 - 3,549
100-400mm F4.5-5.6 L IS USM.... E+ / E++ 649 - 679 MT-24EX Macro Ringlite...................................E++ 489 Panasonic 45-175mm F4-5.6 Asph...................E++ 179 M Monochrom ChromeBody Only................ Mint- 3,299
100mm F2.8 L Macro IS USM ..... E++ / Mint 489 - 549 ST-E2 Transmitter ............................ E+ / Mint- 59 - 69 Olympus 45mm F1.8 M.Zuiko......................... Mint- 139 M (240) Black Body Only......... E+ / E++ 2,949 - 3,349
100mm F2.8 USM Macro.............. E+ / E++ 239 - 289 Technical Back E with Keyboard........... Unused 49 - 75 Olympus MC-14 1.4x Teleconverter ................ Mint- 199 M (240) ChromeBody Only ..... E+ / E++ 3,289 - 3,349
300mm F2.8 L IS USM.................................... Exc 1,789 Tripod Mount Ring A (W).................................... Mint- 49 M-E AnthraciteBody Only ..... E++ / Mint 2,399 - 2,649
300mm F4 L IS USM................................E+ 549 - 589 Tripod Mount Ring B (B) .......................... E++ / Mint- 49 Sony NEX Lenses M9P Black Body Only.....................................E++ 2,499
300mm F4 L USM...................................... Exc / E+ 389 Rode Videomic....................................................E++ 69 18-55mm F3.5-5.6 OSS ................................... Mint- 89 M9 Black Body Only...........................E+ 2,099 - 2,199
400mm F2.8 L IS USM........... E+ / Mint- 3,799 - 3,989 24-70mm F4 FE ZA OSS ......................Mint- 589 - 629 M8 ChromeBody Only .................. E+ / E++ 699 - 899
400mm f4 DO IS USM....................................E++ 2,899 Digital Mirrorless 55-210mm F4.5-6.3 OSS ............................... Mint- 119 M6 Platinum + 50mm F1.4............................Mint 6,389
400mm f5.6 L USM ............................................ E+ 679 Fuji Finepix X100 ................... Unknown / E+ 259 - 329 Sigma 19mm F2.8 DN ...................................... Mint- 89 M6 Titanium + 35mm F1.4 ..... E+ / E++ 3,389 - 3,489
500mm F4 L IS USM........................................ E+ 3,979 Fuji Finepix X100S + Case ................................E++ 499 Zeiss 32mm F1.8 Touit E...................................Mint 269 M6TTL 0.85x Chrome Edition Body ........... Unused 2,299
500mm F4.5 L USM......................................... E+ 2,189 Fuji Finepix X100S Black...................................E++ 449 MP 0.72x Black Body Only .............................E++ 2,595
600mm F4 L IS USM......................................E++ 5,199 Fuji X-T1 Body Only .............................. E++ / Mint- 539 Digital SLR Cameras MP 0.72x ChromeBody Only .........................E++ 2,199
600mm F4 L USM..................... Exc / E+ 2,485 - 2,889 Fuji X-T10 Body Only ...................................... Mint- 359 Canon EOS 1DX Body Only............................... E+ 2,749 M7 0.72x Black Body Body Only ....................E++ 1,499
Contax 35-70mm F3.4 MM...............................E++ 279 Fuji XQ2 - Black........................................ Unknown 159 Canon EOS 1D MKIV Body OnlyE+ / Mint- 1,345 - 1,499 M7 0.72x Black Body Only .............. E++ 1,489 - 1,499
Contax 35-135mm F3.3-4.5 MM ......................E++ 429 Nikon J1 Black Body Only ...................................E++ 49 Canon EOS 1D MKIIN Body Only.................. As Seen 249 M6 0.72x Black Body Only .................................. E+ 749
Sigma 10-20mm F4-5.6 DC HSM ........Mint- 219 - 239 Olympus E-M1 Black Body Only........................E++ 539 Canon EOS 7D MKII Body Only ..........................E++ 899 M3 ChromeBody Only .............................E+ 499 - 549
Sigma 12-24mm F4.5-5.6 EX DG HSM Olympus E-M5 MarkII Titanium Body .............. Mint- 669 Canon EOS 7D Body Only...................... E++ / Mint- 399 CL + 40mm F2 ................................................... E+ 549
..................................................... E+ / E++ 259 - 299 Olympus E-M5 MKII Body Only - Black..............E++ 649 Canon EOS 5D MKIII Body Only .................... Mint- 1,599 16/18/21mm F4 Tri Elmar + Finder.............. Mint- 2,949
Sigma 17-35mm F2.8-4 EX DG HSM .................. E+ 119 Olympus E-M5 Black Body + HLD-6 Grip ..........E++ 339 Canon EOS 5D MkII Body OnlyAs Seen / E++ 489 - 849 21mm F1.4 Asph M Black 6bit.......................E++ 3,649
The Kirk, Wester Balblair, Beauly, Inverness. IV4 7BQ.

Prices
correct when
T: 01463 783850
compiled.
E&OE.
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35MM, MEDIUM
YOUR EQUIPMENT FORMAT, LARGE
FORMAT, DIGITAL
21mm F2.8 Asph M Black....E++ / Mint- 1,199 - 1,349 18mm F2.8 AFD................................................E++ 599
21mm F2.8 Asph M Black 6bit........ E++ 1,299 - 1,499 18-35mm f3.5-4.5 AFD .................................. Mint- 249
21mm F2.8 M Black ..................Exc / E++ 789 - 1,089 18-55mm F3.5-5.6 AFS..............................E+ / E++ 49
21mm F2.8 M Black + Finder ............................. E+ 999
21mm F3.4 Super Elmar.............................. Mint- 1,699
21mm F4 Chrome + Finder.............................. E+ 1,099
18-55mm F3.5-5.6 G AF-P DX VR ........... Mint- / Mint 79
18-55mm F3.5-5.6 G AFS VR II ...........................E++ 69
18-105mm F3.5-4.5 G AFS ED DX VR ...............E++ 129
Leica X2 LIMITED
24mm F2.8 Asph M Black........ Exc / Mint- 949 - 1,295 18-140mm F3.5-5.6 AF-S G ED VR DX.Mint- 249 - 279
Black
24mm F2.8 Asph M Black 6bit.......................E++ 1,199
24mm F3.8 Asph M Black...... E+ / Mint- 1,089 - 1,199
28/35/50 F4 Tri Elmar ....................................E++ 2,399
28mm F2 Asph M Black................................... E+ 1,399
18-300mm F3.5-5.6 AFS DX VRII ......................E++ 399
20mm F2.8 AFD............................ E+ / E++ 269 - 349
20-35mm F2.8 AFD .................................E+ 349 - 449
24mm F1.4 G AFS ED ................... E+ / E++ 879 - 899 Anodised STOCK
28mm F2 Asph M Black 6bit... E+ / E++ 1,439 - 1,449 24-70mm F2.8 G AFS ED.........................E+ 689 - 749
28mm F2.8 Asph M Black 6bit.......Mint- 1,099 - 1,149 24-70mm F3.5-5.6 IX........................................... E+ 39
28mm F2.8 M Black ........................................... E+ 689 24-85mm F3.5-4.5 G ED VR .............................E++ 279
35mm F1.4 Asph M Black................................ E+ 1,689 24-120mm F4 AFS G ED VR .................Mint- 489 - 499
35mm F1.4 Asph M Black 6bit 28mm F2.8 AF..................................................E++ 139
............................................E++ / Mint- 2,399 - 2,499 28mm F2.8 AFD............................ E+ / E++ 159 - 169
35mm F2 Asph M Black Chrome(11689).......Mint 2,499 28-70mm F2.8 AFS ............................................ E+ 449
35mm F2 Asph M Chrome............................... E+ 1,289 28-105mm F3.5-4.5 AFD.................................... E+ 109
35mm F2 Black .................................................. E+ 799 28-200mm F3.5-5.6 AFG..................................E++ 139
35mm F2 M Black ............................................. Exc 799 35mm F1.8 G AFS DX ........................... E++ / Mint- 109
35mm F2.4 Asph M Black 6bit..................... Mint- 1,149 35mm F2 AFD...................................................E++ 149
50mm F0.95 Asph M - Black ....................... Mint- 6,399 35-70mm F2.8 AFD ...................... E+ / E++ 159 - 249
50mm F0.95 Asph M 6bit - Black .................... E+ 5,989 45mm F2.8 D PC-E ED Macro........................E++ 1,089
50mm F1.4 Asph M Black 6bit E+ / E++ 1,599 - 1,799 50mm F1.4 AFD........................... E+ / Mint- 159 - 179
50mm F1.4 Black ................... E+ / E++ 1,299 - 1,399 50mm f1.8 AFD ................................ E+ / E++ 59 - 79
50mm F2 M Anniversary Chrome...................Mint 1,899 50mm F1.8 G AFS (Retro) ............................... Mint- 159
50mm F2 M Black .............................................. E+ 899 55-200mm F4-5.6 AFS DX G VR .........................E++ 99
50mm F2 M Black 6bit ....................................... E+ 949 55-200mm F4-5.6 AFS VR DX G ..................... Mint- 109
50mm F2.5 M Black 6bit ................................ Mint- 749 55-300mm F4.5-5.6 G AFS VR........................ Mint- 169
60-180mm f4-5.6 IX...........................................E++ 49
50mm F2.8 Elmar....................................E+ 279 - 299
60mm F2.8 AFS ED Micro ................................... E+ 239
50mm F2.8 M Black ....................................... Mint- 599
70-200mm F4 G VR ED.....................................E++ 729
50mm F2.8 M Chrome......................................E++ 499
70-210mm F4-5.6 AFD.......................................E++ 79
50mm F3.5 Chrome..........................................E++ 249
70-210mm F4-5.6 AFN......................................... E+ 79 16.2 Megapixels APS-C CMOS sensor
65mm F3.5 Elmar......................... E+ / E++ 219 - 299
70-300mm F4-5.6 AFG...............................E+ / E++ 59
65mm F3.5 Elmar + 16464k Tube...................... E+ 349 70-300mm F4-5.6 ED AFD ........... E+ / E++ 119 - 149 Leica Elmarit 24mm f2.8 Asph Lens
75mm F2 Apo M Black 6bit............................E++ 1,699 70-300mm F4-5.6 G AFS VR.............................Mint 349
75mm F2.5 M Black 6bit ..................................E++ 719 75-240mm F4.5-5.6 AFD.................. E+ / E++ 49 - 59
F2.8-F16 Aperture range
90mm F2 Apo M Black...................................E++ 1,699 80-200mm F2.8 ED AFD..................................... E+ 449 2.7 TFT LCD screen
90mm F2 Apo M Black 6bit............. E++ 1,749 - 1,879 85mm F1.4 AFD............................ E+ / E++ 469 - 549
90mm F2 M Black ................................ E++ 799 - 999 85mm F1.4 G AFS.............................................E++ 979
Smart multizone, center-weighted and selective (spot) metering
90mm F2.4 M Black 6bit + Hood .................... Mint- 949 85mm F1.8 AFD............................ E+ / E++ 169 - 229 ISO Auto, 100 -12500
90mm F2.5 Black 6 BIT + Hood.E++ / Mint- 769 - 799 105mm F2 AF DC .............................................E++ 529
90mm F2.5 M Black 6bit ..................................E++ 729 105mm F2.8 AFD Micro ........................ E++ 349 - 389
3 fps or 5 fps, max. 8 consecutive exposures with constant shooting
90mm F2.8 Black ....................................... As Seen 199 135mm F2 D AF DC ........................................ Mint- 799 speed in DNG + JPEG fi ne quality
90mm F2.8 Chrome.................As Seen / E+ 179 - 299 200mm F2 G AFS VR......................................E++ 2,199
90mm F2.8 M Black .....................Exc / E++ 299 - 799 200-400mm F4 G AFS VR II.......................... Mint- 3,499
Exposure modes: standard, dynamic, natural, b/w natural,
90mm F4 C Elmar................................. E++ 199 - 249 200-400mm F4 G VR AFS IFED E+ / E++ 1,899 - 2,499 b/w high contrast
799
90mm F4 Collapisible ..............As Seen / E+ 159 - 179 300mm F2.8 G AFS ED VR ...... E+ / E++ 2,389 - 2,449
90mm F4 Collapsible.................... E+ / E++ 249 - 299 300mm F2.8 G AFS ED VR II... E+ / Mint- 2,799 - 3,189
90mm F4 Elmar.............................. Exc / E+ 149 - 199
90mm F4 Elmar E39........................................... E+ 199
Minolta 90mm f4 M Rokkor ..............................E++ 249
300mm F2.8 IF ED AFS..................................E++ 1,849
300mm F2.8 IFED AF-I...................................E++ 1,599 SRP 1350 Limited Stock
300mm F2.8 IFED AFS II .................................. E+ 1,789
90mm F4 Macro M 6bit .................................E++ 1,199 300mm F4 AFS IFED..................... E+ / E++ 589 - 639
90mm F4 Macro M Set 6bit .E++ / Mint- 1,799 - 1,949
135mm F2.8 Black ......................... Exc / E+ 199 - 269
400mm F2.8 AFS II ........................................E++ 3,499
500mm F4 AFS IFED........................................ E+ 2,599
ANNIVERSARY TRADE-IN PROMOTION
135mm F2.8 M Black .......................................E++ 349 500mm F4 G AFS VR IF ED............................... E+ 4,489 To Celebrate 10 Years Of Leica Digital Rangefinder Cameras
135mm F3.4 Apo M Black................................ E+ 1,489 500mm F4 P IFED AIS + TC16A Converter ....... E+ 1,249
135mm F4 Black .....................................E+ 269 - 289 Samyang 24mm F1.4 AE ED AS UMC.............. Mint- 369 Trade-In any working film or digital camera
135mm F4 Chrome............................................. E+ 249 Samyang 35mm F1.4 AE AS UMC ....................... E+ 279
135mm F4.5 Hektor.............................As Seen 45 - 49 Schneider 90mm F4.5 PC-TS Makro..............E++ 1,589 (Compact, Rangefinder, SLR, Medium Format)
135mm F4.5 Hektor + Tubes ...................... As Seen 119 Tamron 70-200mm F2.8 VC USD .................... Mint- 649
1.25x Viewfinder Magnifier .......... E+ / Mint- 119 - 139 Tamron 70-300mm F4-5.6 Di VC USD...............E++ 189 to receive 500 CASHBACK
1.4x Viewfinder Magnifier M ........................... Mint- 149 Tamron 90mm F2.8 SP Di Macro Exc / Mint- 189 - 199 when you buy a new Leica M-P, M(240)
18mm Chrome Viewfinder ................................E++ 379 Tamron 200-400mm F5.6 AF LD........... E++ 169 - 199 or Monochrom (Typ 246)
21/24/28mm Viewfinder - Black E++ / Mint- 229 - 239 Tokina 10-17mm F3.5-4.5 DX Fisheye................ E+ 319
21mm Black Viewfinder ....................................E++ 179 Tokina 11-16mm F2.8 ATX Pro DX ....................E++ 279 (Promotion runs subject to availability
24mm Black Viewfinder ............................E+ / E++ 179 Tokina 12-24mm F4 ATX PRO SD......................E++ 329 22nd June ~ 31st October 2016)
28mm Black Viewfinder ...................................... E+ 169 Tokina 20-35mm F2.8 ATX Pro..........................E++ 225
Universal Wide Angle Finder M ..........................E++ 379 Tokina 35mm F2.8 Macro DX ATX .....................E++ 229 For more details or a quote contact
Motor M............................................................E++ 249 Tokina 50-135mm F2.8 DX ATX Pro ..................E++ 329
Tokina 80-400mm F4.5-5.6 ATX D....................E++ 199
Nikon AF
F6 Body Only ................................ E+ / E++ 689 - 699
Tokina 300mm F2.8 ATX ..................................... E+ 599
Voigtlander 20mm F3.5 SLII............................ Mint- 279 LEICA PROFESSIONAL TRADE-IN PROMOTION
F5 Anniversary Body Only .................................E++ 649
F5 Body + DA-30 Action Finder........................... E+ 349
Zeiss 18mm F3.5 ZF.2 ......................................E++ 699
Zeiss 21mm F2.8 ZF.........................................E++ 729 Trade-In your Leica S2, S2-P
F5 Body Only ................................ E+ / E++ 199 - 299
F100 Body + MB15 Grip ............... E+ / E++ 128 - 159
Zeiss 25mm F2 ZF.2 ....................................... Mint- 899
Zeiss 25mm F2.8 ZF..................E++ / Mint- 399 - 449
or S (Typ 006)
F100 Body + MF29 Back + Grip ......................... E+ 149 Zeiss 25mm F2.8 ZF.2 ......................................E++ 499 or any medium format
F100 Body Only ................................................E++ 149 Zeiss 35mm F1.4 ZF.2 ...............E++ / Mint- 929 - 949
F80 ChromeBody Only ......................................... E+ 39 Zeiss 35mm F2 ZF.2 ....................................... Mint- 599 camera withdigital back
10-24mm F3.5-4.5 G AFS DX ............................. E+ 439
12-24mm F4 G AFS DX ED................................E++ 389
Zeiss 50mm F1.4 Milvus ZF.2 ......................... Mint- 749
Zeiss 50mm F1.4 ZF.2 ......................................E++ 399 for a NEW Leica S
14-24mm F2.8 G AFS ED.............. E+ / E++ 839 - 929
16-85mm F3.5-5.6 G ED VR AFS DX
Zeiss 55mm F1.4 Otis Apo ZF.2......................E++ 2,249
Zeiss 85mm F1.4 ZF....................................... Mint- 649 (Typ 007) Set
Zeiss 85mm F1.4 ZF.2 ......................................E++ 749
..................................................... E+ / E++ 229 - 329
Zeiss 135mm F2 Apo ZF.2............................ Mint- 1,099
for real savings - ask
17-35mm F2.8 ED AFS ............................E+ 479 - 549
17-55mm F2.8 G AFS DX IFED.............. E++ 349 - 399 We Have Lots More Please Call Us Ffordes for more details
The ORIGINAL commission sale specialists. We also PART EXCHANGE and BUY FOR CASH
Lowering the cost of printing...
We are a small, family owned and run company, specialising in photographic
consumables and proud winners of multiple Good Service Awards.
We are located in Leamington Spa, in the heart of Warwickshire.
If youre passing, please pop into our shop and meet Cooper our office dog!
01926 339977 www.premier-ink.co.uk
Ink Cartridges Albums & Frames Photo Papers

We carry one of the largest ranges of printer ink cartridges We now stock a comprehensive range of frames, mounts, albums We carry a massive range of papers (sheets & rolls) at competitive
in the UK, with cartridges in stock for practically every inkjet and accessories. The full range can be viewed on our website, prices. Below are some examples of the selection we stock.
printer. We always stock Original cartridges, which are made with detailed close-up images of each product to help you
by your printer manufacturer, and in many cases we also offer choose the perfect way to display your printed photographs.
Compatible cartridges, which are usually made by a UK company Below is just a tiny sample of what we offer:
called Jet Tec. Using Jet Tec Compatibles is a way of saving
money, without compromising on the quality of your prints. Photo Glossy 160gsm: Smooth Pearl 280gsm:
Grace Albums Emilia Frames 6x4 50 sheets +50 FREE 3.99 6x4 100 sheets 12.99
Here are the Available in Distressed wood A4 100 sheets 12.99 7x5 100 sheets 18.99
results from two Jet Tecs colours were superb, with single Burgundy shabby chic
or Blue. effect. Photo Satin 200gsm: A4 50 sheets 18.99
independent ink greys and blacks very close to Epson... so A4 50 sheets
Blue or White. 6x4 100 sheets +100 FREE 9.99 18.99
tests that agree... Jet Tec wins! A3 50 sheets 35.99
A4 100 sheets +100 FREE 19.99
- Total Digital Photography Magazine Travel Rio Frames A3+ 25 sheets 28.99
Albums Handcrafted solid wood with Photo Glossy 200gsm:
30mm wide profile, in four 6x4 100 sheets +100 FREE 9.99 17 Roll 30 metres 64.99
What were looking at here is not only Over a dozen
designs in stock. colours. A4 20 sheets 6.99 24 Roll 30 metres 89.99
the best choice of ink for the R300 printer,
but also the best choice of ink in this Premium Pearl 270gsm: Ultra Pearl 295gsm:
6x4 50 sheets +50 FREE 6x4 100 sheets 14.99
Ink Test group test, period. Theres just no getting
away from the superb combination of
Grafton
Albums A4 20 sheets +20 FREE
6.99
8.99 7x5 100 sheets 20.99
Winner performance and pricing. Available in Premium Gloss 270gsm: A4 25 sheets 12.99
Burgundy Frisco Frames A4 25 sheets OFFER 8.99 A3 25 sheets 22.99
- Computer Upgrade Magazine or Blue. Simple, A3 25 sheets OFFER 15.99 A3+ 25 sheets 30.99
basic design A3+ 25 sheets OFFER 19.99 13 Roll 10 metres 21.99
Baby available in a 17 Roll 30 metres 68.99
Albums huge range Smooth Pearl 310gsm: 24 Roll 30 metres
6x4 100 sheets 92.99
Multiple of sizes & 14.99
different colours. 7x5 100 sheets 17.99 Titanium Lustre 280gsm:
designs A4 25 sheets 12.99 A4 25 sheets 22.99
PGi29 available. Plastic Bevel, Glass Front: A4 100 sheets 39.99 A3 25 sheets 44.99
No.16 A4 250 sheets A3+ 25 sheets 62.99
Pixma Pro 1 Frisco 6x4 seven colours 1.99 84.99
Fountain Pen Inks Memo Style Albums: Frisco 7x5 seven colours 2.29 A3 25 sheets 25.99 Oyster 271gsm:
Originals: Originals: Grace 6x4 100 photos 5.99 A3+ 25 sheets 6x4 100 sheets 12.99
Set of 12 229.99 No.16 Set of 4 Frisco 8x6 seven colours 2.79 35.99
22.99 Grace 6x4 200 photos 9.99 Frisco 9x6 seven colours 3.49 17 Roll 30 metres 69.99 7x5 100 sheets 18.99
Colours 36ml each 19.99 No.16 Black 5.4ml Grace 6x4 300 photos 14.99 A4 50 sheets 18.99
7.99 Frisco 10x8 seven colours 3.79 24 Roll 30 metres 96.99
PGi72 No.16 Colours 3.1ml each 5.99 Grace 7x5 100 photos 7.99 Frisco 12x8 seven colours 4.59 Smooth Gloss 310gsm: A3 25 sheets 22.99
No.16XL Set of 4 42.99 Grace 7x5 200 photos 13.99 Frisco A4 seven colours 3.99 6x4 100 sheets 14.99 A3+ 25 sheets 28.99
Pixma Pro 10 No.16XL Black 12.9ml 14.99 Grace A4 100 photos 15.99 Frisco A3 seven colours 8.99 7x5 100 sheets 17.99 13 Roll 10 metres 26.99
Originals: No.16XL Colours 6.5ml each 11.99 Grafton 6x4 200 photos 9.99 Wood Bevel, Glass Front: A4 25 sheets 12.99 17 Roll 30 metres 64.99
Set of 10 94.99 Grafton 7x5 200 photos 13.99 A4 100 sheets 24 Roll 30 metres 89.99
Colours 14ml each 9.99 Compatibles: Emilia 6x4 two colours 4.99 39.99
Baby 6x4 200 photos 9.99 A3 25 sheets 25.99 Gloss 271gsm:
No.16 Set of 4 14.99 Travel 6x4 200 photos Emilia 7x5 two colours 5.99
8.99 6x4 100 sheets 12.99
CLi42 No.16 Black 12ml 3.99
Traditional Style Albums:
Emilia 8x6 two colours 6.99 A3+ 25 sheets 35.99
7x5 100 sheets 18.99
Pixma Pro 100 No.16 Colours 12ml each 3.99 Emilia 10x8 two colours 7.99 Premium Matt Duo 200 gsm:
Grace 29x32cm 100 pages 14.99 Emilia 12x8 two colours 8.99 A4 50 sheets 12.99 A4 50 sheets 18.99
Originals: No.18 Grafton 29x32cm 100 pgs 14.99 Rio 6x4 four colours 5.99 A3+ 50 sheets 34.99 A3 25 sheets 22.99
Set of 8 74.99 Baby 29x32cm 100 pages 12.99 Rio 7x5 four colours 6.99 A3+ 25 sheets 28.99
Colours 13ml each 9.99 Daisy Inks Accessories: Rio 8x6 four colours 7.99
Heavy Duo Matt 310gsm: 13 Roll 10 metres 26.99
Compatibles: Originals: A4 50 sheets 17.99 17 Roll 30 metres
Photo Corners Pack of 250 2.99 Rio 10x8 four colours 8.99 A3+ 50 sheets 64.99
Set of 8 27.99 No.18 Set of 4 22.99 44.99 24 Roll 30 metres 89.99
Photo Stickers Pack of 500 1.99 Rio 12x8 four colours 9.99 Gold Fibre Silk 310gsm:
Colours 14ml each 3.99 No.18 Black 5.2ml 7.99 Matt Plus 240gsm:
No.18 Colours 3.3ml each 5.99 A4 50 sheets 37.99 6x4 100 sheets
CLi8 A3+ 50 sheets 10.99
No.18XL Set of 4 42.99 89.99
Pixma Pro 9000 No.18XL Black 11.5ml
No.18XL Colours 6.6ml each
14.99
11.99
More Ink Cartridges... Gold Mono Silk 270gsm:
A4 25 sheets 16.99
7x5 100 sheets
A4 50 sheets
13.99
13.99
Originals: A3 25 sheets 17.99
Set of 8 74.99 Compatibles: A3+ 25 sheets 42.99 A3+ 25 sheets 22.99
Colours 14ml each 9.99 No.18 Set of 4 14.99 13 Roll 10 metres 24.99
Compatibles: No.18 Black 12ml 3.99 17 Roll 30 metres 42.99
Set of 8 27.99 No.18 Colours 12ml each 3.99 T0711-T0714 Originals: 24 Roll 30 metres 58.99
Colours 14ml each 3.99 Cheetah Inks No.38 Colours 27ml each 26.99 Smooth Pearl 290gsm: Matt Proofing 160gsm:
No.24 No.62XL Black 12ml 21.99 6x4 100 sheets 12.99 A4 150 sheets 18.99
PGi9 Originals:
Elephant Inks Set of 4 32.99
No.62XL Colour 11.5ml 23.99 7x5 100 sheets 16.99 A3 75 sheets 22.99
Pixma Pro 9500 Originals: No.300 Black 4ml 10.99 A4 50 sheets 17.99 17 Roll 30 metres 26.99
Black 7.4ml 8.99 No.300 Colour 4ml
Originals: No.24 Set of 6 41.99 Colours 5.5ml each 8.99 12.99 A3 50 sheets 34.99 24 Roll 30 metres 36.99
Set of 10 84.99 No.24 Colours 4.6ml each 7.99 No.301 Black 3ml 9.99 A3+ 25 sheets 25.99 Double Sided Matt 250gsm:
Compatibles: No.301 Colour 3ml 11.99
Colours 14ml each 8.99 No.24XL Set of 6 64.99 Set of 4 14.99 Panoramic 25 sheets 26.99 A4 100 sheets 24.99
Compatibles: No.24XL Colours 8.7ml each 11.99 No.301XL Black 8ml 18.99 17 Roll 30 metres 68.99 A3 50 sheets
Black 7.4ml 4.99 No.301XL Colour 6ml 27.99
Set of 10 44.99 Compatibles: Colours 5.5ml each 3.99 18.99 24 Roll 30 metres 85.99
No.350 Black 4.5ml 11.99 Fine Art / Fibre Base Papers:
Colours 14ml each 4.99 No.24 Set of 6 22.99 PF Lustre 275gsm: FB Gold Silk A4 25 sh 23.99
No.24 Black 7ml 3.99 T0791-T0796 No.351 Colour 3.5ml 14.99 6x4 100 sheets 12.99 FB Gold Silk A3 25 sh 47.99
More Canon Inks... No.363 Black 6ml 13.99
No.24 Colours 7ml each 3.99 Owl Inks No.363 C/M/Y/PC/PM each 9.99 7x5 100 sheets 16.99 FB Distinction A4 25 sh 25.99
Originals: Originals: A4 50 sheets 17.99 FB Distinction A3 25 sh 48.99
PGi520/CLi521 Set of 5 42.99 No.26 No.363 SET OF 6 39.99
Set of 6 72.99 No.364 Black 6ml 7.99 A3 25 sheets 35.99 FB Royal A4 25 sheets 28.99
PGi520 Black 19ml 9.99 Polar Bear Inks Colours 11.1ml each 12.99 A3+ 50 sheets 47.99 FB Royal A3 25 sheets 56.99
CLi521 Colours 9ml 8.99 No.364 PB/C/M/Y 3ml each 6.99
Originals: Compatibles: No.364 SET OF 4 21.99 Panoramic 25 sheets 26.99 FB Gloss A4 25 sheets 26.99
PGi525/CLi526 Set of 5 42.99 No.26 Set of 4 Set of 6 19.99 17 Roll 30 metres 69.99 FB Gloss A3 25 sheets 51.99
PGi525 Black 19ml 29.99 No.364XL Black 14ml 13.99
9.99 No.26 Black 6.2ml 8.99 Colours 11.1ml each 3.99 24 Roll 30 metres 86.99 FB Matt A4 25 sheets 19.99
CLi526 Colours 9ml 8.99 No.364XL PB/C/M/Y 6ml each 12.99
No.26 Colours 4.5ml each 7.99 No.364XL SET OF 4 49.99 PF Gloss 270gsm: FB Matt A3 25 sheets 38.99
PGi550/CLi551 Set of 5 37.99 No.26XL Set of 4 49.99 T0801-T0806 No.920XL SET OF 4 46.99 A4 50 sheets 17.99 Artist A4 25 sheets 22.99
PGi550 Black 15ml 9.99 No.26XL Black 12.1ml 14.99 Hummingbird Inks A3 50 sheets 35.99 Artist A3 25 sheets 39.99
CLi551 Colours 7ml 7.99 No.932XL SET OF 4 43.99
No.26XL Colours 9.7ml each 13.99 Originals: No.950XL SET OF 4 69.99 A3+ 50 sheets 47.99 Museum A4 25 sheets 25.99
PGi550/CLi551XL Set of 5 54.99 Panoramic 25 sheets 26.99 Museum A3 25 sheets 48.99
PGi550XL Black 22ml 11.99 Compatibles: Set of 6 49.99 Compatibles:
No.26 Set of 4 14.99 Colours 7.4ml each 8.99 Matt Ultra 240gsm: Parchment A4 25 sheets 22.99
CLi551XL Colours 11ml 10.99 No.15 Black 46ml 4.99 Parchment A3 25 sheets 39.99
PG540 Black 8ml 10.99 No.26 Black 10ml 3.99 Compatibles: No.21 Black 10ml A4 50 sheets 12.99
No.26 Colours 7ml each 3.99 7.99 A3 50 sheets Omega A4 25 sheets 24.99
PG540XL Black 21ml 15.99 Set of 6 19.99 No.22 Colour 21ml 11.99 26.99
Colours 7.4ml each 3.99 A3+ 50 sheets 35.99 Omega A3 25 sheets 46.99
CL541 Colour 8ml 13.99 No.45 Black 45ml 4.99
CL541XL Colour 15ml 15.99 T0481-T0486 No.56 Black 24ml 9.99 Fine Art / Fibre Base Papers: Portrait A4 25 sheets 26.99
PG545XL Black 15ml 13.99 Seahorse Inks T0871-T0879 No.57 Colour 24ml 12.99 Baryta A4 20 sheets 21.99 Portrait A3 25 sheets 53.99
Flamingo Inks Bartya A3 20 sheets 42.99 Portrait White A4 25 sh 26.99
CL546XL Colour 13ml 15.99 Originals: No.78 Colour 36ml 9.99 Portrait White A3 25 sh 49.99
Compatibles: Set of 6 69.99 Originals: No.110 Colour 12ml 10.99 Etching A4 25 sheets 19.99
PGi5 Black 27ml 4.99 Colours 13ml each 16.99 Set of 8 66.99 No.300XL Black 18ml 14.99 Etching A3 25 sheets 34.99
CLi8 Colours 13ml 3.99 Compatibles: Colours 11.4ml each 9.99 No.300XL Colour 18ml 16.99 Smooth Cotton A4 25 sh 24.99
PGi5/CLi8 Set of 5 19.99 Set of 6 19.99 Compatibles: No.301XL Black 15ml 14.99 Smooth Cotton A3 25 sh 51.99
PGi520 Black 19ml 4.99 Colours 13ml each 3.99 Set of 8 27.99 No.301XL Colour 18ml 16.99 Premium Gloss 255gsm:
CLi521 Colours 9ml 3.99 Colours 11.4ml each 3.99 No.337 Black 21ml 10.99 6x4 40 sheets +40 FREE 9.99
PGi520/CLi521 Set of 5 19.99 T0541-T0549 T0961-T0969 No.338 Black 21ml 10.99 7x5 30 sheets 9.99
PGi525 Black 19ml 4.99 No.339 Black 34ml 12.99 A4 15 sheets +15 FREE 9.99
CLi526 Colours 9ml 3.99
Frog Inks Husky Inks No.343 Colour 21ml 12.99
PP-201 Plus Glossy II 275gsm:
A3 20 sheets 29.99
Originals: 6x4 50 sheets 9.99
PGi525/CLi526 Set of 5 19.99 Originals: No.344 Colour 21ml 14.99 7x5 20 sheets 11.99 A3+ 20 sheets OFFER 24.99
PGi550XL Black 25ml 4.99 Set of 8 105.99 Set of 8 No.348 Photo 21ml 12.99 Ultra Gloss 300gsm:
Colours 13ml each 14.99 69.99 A4 20 sheets 11.99
CLi551XL Colours 12ml 3.99 Colours 11.4ml each 8.99 No.350XL Black 30ml 14.99 A3 20 sheets 27.99 6x4 50 sheets 9.99
PGi550/CLi551XL Set of 5 19.99 Compatibles: Compatibles: No.351XL Colour 20ml 16.99 A3+ 20 sheets 7x5 50 sheets 12.99
Set of 8 36.99
BCi6 Colours 15ml 2.99 27.99 Set of 8 27.99 No.363 Black 20ml 6.99 A4 15 sheets 11.99
Colours 13ml each 3.99 PT-101 Pro Platinum 300gsm:
PG40 Black 28ml 12.99 Colours 11.4ml each 3.99 No.363 Colours 6ml each 4.99 6x4 20 sheets Premium Semi-Gloss 251gsm:
CL41 Colour 24ml 7.99
16.99 No.363 SET OF 6 24.99 A4 20 sheets 16.99 6x4 50 sheets 8.99
PG50 Black 28ml 12.99 T0591-T0599 T1571-T1579 No.364 Black 10ml 4.99 A3 20 sheets A4 20 sheets 14.99
37.99
CL51 Colour 24ml 14.99 Lily Inks Turtle Inks No.364 Colours 5ml each 3.99 A3+ 10 sheets 24.99 A3 20 sheets 29.99
PG510 Black 11ml 13.99 Originals: No.364 SET OF 4 15.99 A3+ 20 sheets OFFER 24.99
CL511 Colour 11ml 15.99 Originals: SG-201 Semi-Gloss 260gsm:
Set of 8 89.99 Set of 8 149.99 No.364XL Black 18ml 8.99 6x4 50 sheets 9.99 Archival Matte 192gsm:
PG512 Black 18ml 13.99 Colours 13ml each Colours 25.9ml each No.364XL Colours 11ml each 7.99
CL513 Colour 15ml 11.99 18.99 A4 20 sheets 11.99 A4 50 sheets 14.99
15.99 No.364XL SET OF 4 31.99
PG540XL Black 21ml Compatibles: A3 20 sheets 27.99 A3 50 sheets 33.99
13.99
Set of 8 27.99 T7601-T7609 No.920XL SET OF 4 19.99 A3+ 20 sheets 42.99 A3+ 50 sheets 44.99
CL541XL Colour 15ml 14.99 No.932XL SET OF 4 29.99
PG545XL Black 15ml 11.99 Colours 13ml each 3.99 Killer Whale LU-101 Pro Lustre 260gsm: Heavyweight Matte 167gsm:
Originals: No.940XL SET OF 4 29.99 A4 50 sheets A4 50 sheets
PG546XL Black 21ml 12.99 No.950XL SET OF 4 14.99 11.99
Set of 9 169.99 29.99 A3 50 sheets 32.99 A3 50 sheets 34.99
Many more in stock! More Epson inks >>> Colours 25.9ml each 18.99 Many more in stock! A3+ 50 sheets 49.99 A3+ 50 sheets 44.99
E&EO. Prices may be subject to change, but hopefully not! www.premier-ink.co.uk Telephone: 01926 339977 or 0800 1077 211 Premier Ink & Photographic 12 Longfield Road, Leamington Spa, Warwickshire CV31 1XB
Lowering the cost of photography
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa CV31 1XB.
01926 339977 www.premier-ink.co.uk
Memory Batteries Filters Straps & Accessories

The full range of Sandisk and Replacement rechargeable One of the largest ranges of screw-in threaded
Lexar memory cards at very Li-ion batteries, manufactured filters in the UK, from Hoya, Kood and Marumi.
competitive prices. by Hahnel or Blumax. All come We carry sizes from 24mm, up to 105mm, and offer Clear
with a two-year guarantee. Protectors, UVs, Skylights, Circular Polarisers, ND4s, ND8s, ND16s, Sling Straps
SDHC & SDXC ND32s, ND64s, ND500s, ND1000s, Variable NDs, Starbursts, Close from 29.99
Lexar Professional NB-2L/LH for Canon 9.99 Up Sets and more! Below are just a few examples...
633X (95MB/s) NB-4L for Canon 9.99 The ingenious
16GB 8.99 NB-5L for Canon 9.99 KOOD Slim Frame Marumi DHG Slim Hoya HMC Peak Design
32GB 15.99 NB-6L for Canon 9.99 UV Filters Frame Multi-coated Slim Frame Clutch, Slide,
64GB 27.99 NB-7L for Canon 9.99 37mm 4.99 Clear Protectors UV Filters Leash, Cuff &
128GB 54.99 NB-9L for Canon 9.99 40.5mm 4.99 37mm 10.99 37mm 12.99
NB-10L for Canon Capture Clip
12.99 46mm 4.99 43mm 10.99 40.5mm 12.99
1000X (150MB/s) NB-11L for Canon 12.99 System. Entire
49mm 4.99 46mm 10.99 46mm 12.99 range in stock.
16GB 14.99 BP-511 for Canon 12.99 49mm 10.99 49mm 11.99
32GB 22.99 52mm 4.99
LP-E5 for Canon 9.99 55mm 5.99 52mm 10.99 52mm 11.99 From
64GB 35.99 LP-E6 for Canon 16.99 55mm 11.99 58mm 14.99 15.99
128GB 63.99 58mm 6.99
LP-E8 for Canon 12.99 62mm 7.99 58mm 12.99 62mm 16.99
2000X (300MB/s) LP-E10 for Canon 12.99 67mm 8.99 62mm 14.99 67mm 18.99
32GB 51.99 LP-E12 for Canon 12.99 72mm 9.99 67mm 15.99 72mm 21.99
64GB 95.99 NP45 for Fuji 9.99 77mm 11.99 72mm 17.99 77mm 25.99
NP50 for Fuji 9.99 Neoprene
82mm 14.99 77mm 19.99 82mm 29.99
Sandisk Blue NP95 for Fuji 9.99 82mm Straps
86mm 19.99 22.99
33X (5MB/s) NPW126 for Fuji 12.99 HOYA Pro-1D Slim from 11.99
4GB 3.49 NP400 for Fuji 12.99 KOOD Slim Frame Marumi DHG Slim Frame Multi-coated
8GB 3.99 EN-EL3E for Nikon 14.99 Circular Polarisers Frame Multi-coated Clear Protectors
16GB 5.99 EN-EL5 for Nikon 9.99 37mm 12.99 UV Filters 52mm SPECIAL 16.99
Sandisk Ultra
EN-EL9 for Nikon
EN-EL10 for Nikon
12.99
9.99
40.5mm
46mm
12.99
12.99
52mm
58mm
13.99
15.99
58mm
62mm
28.99
31.99
Tripods & Monopods
266X (40MB/s) EN-EL11 for Nikon 49mm 12.99 62mm 17.99 67mm 35.99
8GB 9.99
4.99 EN-EL12 for Nikon 52mm 14.99 67mm 19.99 72mm
16GB 6.99 EN-EL14 for Nikon
9.99
19.99 55mm 15.99 72mm 21.99
39.99
77mm SPECIAL 29.99
EVO3
32GB 12.99 EN-EL15 for Nikon 24.99 58mm 17.99 77mm 24.99 82mm 49.99 Manfrotto IS HERE
64GB 24.99 EN-EL19 for Nikon 62mm 19.99 Carbon Fibre Monopod Vyv 149
12.99 Marumi DHG Slim
Sandisk Extreme EN-EL20 for Nikon 12.99 67mm 22.99 HOYA Pro-1D Slim Only 59 Rick 199
EN-EL21 for Nikon 72mm 26.99Frame Multi-coated Frame Multi-coated Brian 349
400X (60MB/s) 12.99
Li10B/12B for Olympus 9.99 77mm 29.99Circular Polarisers Circular Polarisers
16GB 10.99 52mm
32GB Li40B/42B for Olympus 9.99 82mm 34.99 31.99 52mm 52.99 Manfrotto
17.99 58mm 35.99
64GB 34.99 Li50B for Olympus 9.99 86mm 39.99 58mm 60.99 XPRO
BLM-1 for Olympus 12.99 62mm 39.99 62mm 67.99 3 Way
Sandisk Extreme Pro BLN-1 for Olympus KOOD 67mm 44.99 67mm 75.99 Head 99
24.99 ND4 & ND8 Filters 72mm
633X (95MB/s) BLS-1 for Olympus 12.99 49.99 72mm 90.99
16GB 17.99 BLS-5 for Olympus 52mm 26.99 77mm 54.99 77mm SPECIAL 79.99
15.99 58mm
32GB 23.99 CGR-S006 for Panasonic 9.99 34.99 82mm 69.99 82mm 120.99
64GB 42.99 CGA-S007 for Panasonic 9.99
128GB 82.99 DMW-BCG10 Panasonic 19.99
1866X (280MB/s)
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Photo Critique
Final Analysis
Roger Hicks considers
Death, from the Four series, 2012-2014, by Andrey Kezzyn
ANDREY KEZZYN
T
he Four Horsemen of the
Apocalypse are rst described
in the sixth chapter of the
Book of Revelation in the
New Testament in the Bible. In order
of appearance, as so often in real life,
they are War, Pestilence, Famine and
Death. Good Omens, by the late Sir Terry
Pratchett and Neil Gaiman, lls out the
characters considerably. Andrey Kezzyn
shows us what they look like.
These are classic tableau photographs:
people costumed, arranged and
photographed to tell a story. Each picture
contains two adults and a child. When
trying to select which picture to reproduce
here, I was torn between Death and
Pestilence, but all four are brilliant (visit
www.kezzyn.com). There are lots of other
tableaux there too.
Now, tableau photography is about as far
removed from anything I have ever done,
although I did once pose three teenage
girls as Hear No Evil, See No Evil, Speak
No Evil in three spare niches on
Christmas Steps in Bristol, just down from
the Chapel of the Three Kings of Cologne.
Even so, tableaux have always fascinated
me. We do not have to practise a genre, let
alone be successful at it, to be captivated
by it. To paraphrase Dr Johnson, you do
not need to be a carpenter to tell whether
a table is well made or not.
I rst saw all four pictures, appallingly
lit and in a tiny cellar, in a temporary
gallery in Arles, southern France. They
were a superb illustration of the truth that
pictures are made to be looked at, not
reproduced. The impact was enormous.
At a guess, the original prints were about
1m (40in) high, but even at the size
reproduced here you can probably see
why I was so impressed. As so often, there
are only two reasons why I did not buy all
These are classic tableau photographs: people costumed,
four. One was that I could not afford them. arranged and photographed to tell a story. I was torn
The other was that even if I could, I lack
the wall space to display them. I would between Death and Pestilence but all four are brilliant
need several mansions, and a couple of
art galleries, to display all the pictures Andrey doesnt use digital manipulation. But if we believe them to be real, then in
that Id like to own. Why is this important? I dont know. some way they are more real. Andreys
The effort and expense of creating There is just something more real about tableaux are more real than many of the
tableau pictures is immense: lighting, straight photography. That reality may be realities we see every day with our own
models, costumes, make-up, prosthetics, illusory: what if the pictures have been eyes, because they are seen with the
stylists Its straight photography, too: manipulated, and we do not know it? eyes of the soul.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Willem Wernsen.

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What are some of the topics covered in the magazine?

What are some of the topics covered in the magazine?

What techniques are discussed for taking dramatic backlit photos?

What techniques are discussed for taking dramatic backlit photos?

Saturday 10 September 2016

P elly,ntll-afrax K -ou-nt DSLR

Passionate about photography since 1884

How top wildlife Canon

Fukushima Unique photographic project returns to the no-go zone

Guillaume Bression talks

UK MOD CROWN COPYRIGHT 2016

Street ace dies

photos graced the cover of the

McCullin wins US Lucie Award

McCullin is among winners of

Canon EOS 1DX Mark II update

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Words & numbers

its important to choose

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The Fujinon XF 23mm

the Year ruffles feathers

A Too Big Bite helped

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Wi-Fi set to broaden

iPhones screen to be The update also

workshop at the British Wildlife Centre near

to offer one lucky reader the chance to win a

categories: People, Places, and Nature and wildlife. LEEDS

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Rouge vast storage areas for holding raw

by Michael Kenna during the Second World War. The site

human activities. The images show us

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Great Pubs of London

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paintings testify. John Heywood has been taking photographs since

to see more of what Scotland can offer turn to page 22.

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A palm-sized camera such as

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I of the 1995 Bond lm Goldeneye, youll

Exposing for the background

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the sun behind the

Studio silhouettes and preferably shoot raw, as these

1 The rst consideration is the background

2 The next step is to position your lights

3 Once youve got the basics you might

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The sun created perfect

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Chriss top tips

For me, silhouettes provide a frame to ll with other

X21R.2. Like most light painters, I aim to get everything

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1 Colour balance 2 Setting the white point

The human form,