Amateur Photographer - 17 May 2019 PDF

Saturday 11 May 2019
Olympus EM-icM 1X
The most poro Four
werful
TESTED
Thirds camera ever made
Passionate about photography since 1884
Inspiring tales of how three talented

photographers made it big in a short time
Starting
young
How a 15-year-
old reader shot
this cover image
Feed your Seeing

imagination double
Be inspired by the world’s Creative effects
best food photography with multi-exposures
PLUS Is the Google Pixel 3 XL the best smartphone for photographers?
7days
A week in photography
COVER PICTURES © JAKE KNEALE / MATT WILSON
Strictly between us, as admiration for their talent and more than
someone who has been a a little curiosity at how they achieved such
photographer for more than greatness in so short a time. This week we talk
30 years I find it mildly to three photographers who did just that, to
annoying when I come across find out their secrets.
In this issue someone who only picked up a camera for the We also present our pick of the best images
16 Food, glorious first time three or four years ago but is already from the annual Food Photographer of
food enjoying great success with work far better the Year competition and we test the new
We speak to some of than I could dream of. I’m sure that you leviathan of Micro Four Thirds, the Olympus
the 2019 Pink Lady Food secretly feel the same way – don’t worry, I OM-D E-M1X.
Photographer of the Year won’t tell. But at the same time I’m filled with Nigel Atherton, Editor
winners about how they
approach all manner of Join us amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
food subjects online co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
22 Quick off
the mark
Ailsa McWhinnie speaks online picture of the week
to three photographers
IMAGES MAY bE USEd FOR PROMOTION PURPOSES ONLINE ANd ON SOCIAL MEdIA
who are on a fast track

to success
26 Rising star
AP talks to the young
landscape and wildlife
photographer Jake Kneale
28 Photo insight
Emily Garthwaite tells us
about her heartbreaking
image of a sun bear
32 Capture modern
engineering
Enter this photography
competition for your
chance to win cash prizes
34 Take two
Claire Gillo reveals how to
master the art of double
© MARTIN dOLAN
exposing on film
40 Olympus OM-D
E-M1X
Andy Westlake reviews Corfe Castle
Olympus’s innovative new
flagship camera
by Martin Dolan
Canon EOS 5D Mark III, 16-35mm, 1/200sec at f/11, ISO 125
47 Google Pixel 3 XL This stunning sunrise scene was it was a spine-tingling experience,
Win!
Andy Westlake tests uploaded to our Twitter page using not just from a photographic point Each week we choose our favourite
Google’s new smartphone the hashtag #appicoftheweek. it of view but just as a spectacle of picture on Facebook, Instagram,
52 Competition was taken by photographer Martin Mother Nature. Once i’d got my Flickr, Twitter or the reader gallery using
*PLEASE ALLOW UP TO 28 dAYS FOR dELIVERY
Win a place on a portrait Dolan. he tells us, ‘i visited Corfe breath back i started to work up a #appicoftheweek. PermaJet proudly supports
workshop to photograph Castle in Dorset on a whim, and couple of compositions in the few the online picture of the week winner, who will
Japanese geisha a quick scramble up West hill remaining minutes before the sun receive a top-quality print of their image on the
and my mind was totally blown! i’d rose. After a good three years i’d finest PermaJet paper*. It is important to bring
Regulars never seen a proper temperature
inversion there before, only in other
finally captured an image or two
that i’d been after for a very,
images to life outside the digital sphere, so we
encourage everyone to get printing today! Visit
3 7 days photographers’ amazing work. very long time.’ www.permajet.com to learn more.
12 Inbox
14 Reader Portfolio
38 Join the club
51 Accessories
send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5Mb of attachments in total) to appicturedesk@ti-media.com.
53 Tech Talk 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 12.
66 Legends Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
2019 a tough year so far for Canon

Canon president Fujio Mitarai recently predicted that smartphones
could see the camera market halve over the next two years. Now,
in Canon’s latest results, the Imaging Unit has reported an 81.6%
slump in operating profit in the first quarter of 2019, with a 23%
decline in camera sales over the same period. Canon cited slower
sales in China, but noted that sales of the EOS RP got off to a
VOLCAN C 7 SUMM TS – DREAMS OF THE UNKNOWN BY ADR AN ROHNFELDER PUBL SHED BY TENEUES WWW TENEUES COM PHOTO © ADR AN ROHNFELDER ALL R GHTS RESERVED
‘flying start’ – so full-frame mirrorless models are a key priority.
‘Bowens’ flash head from Wex

Having acquired the Bowens trademark, Wex Photo Video is
launching the XMS500 flash head with 500W of rated energy. A
new range of lights, flash systems and more will follow later this
year. The fully digital XMS500 features flash durations as short
as 1/13,690sec and a fast recycle time of 0.9sec to full power. At
£599 from www.wexphotovideo.com, it should be available now.
Nikon takes
the plunge
Nikon has released the CoolPix
W150, an underwater camera
aimed at families and
holidaymakers. With a 13.2MP
CMOS sensor and 3x optical
zoom lens, its anti-reflective
rear LCD is designed to make
Olympus seeks pros
it easier to shoot and review to try the OM-D E-M1X
images underwater. It records Intrigued by this issue’s review
Full HD video, has a new of the Olympus OM-D E-M1X
Underwater Face Framing and want to earn money from
mode, and also claims to motorsports photography?
be shockproof (1.8m) and Olympus is inviting
professionals along to all
BIG
freezeproof to -10°. Priced £149,
it should be available soon. 10 British Touring Car
championship events in 2019 to GERMAN photographer
test the full capabilities of the Adrian Rohnfelder is, to
Micro Four Thirds powerhouse, put it mildly, obsessed
picture
including the new intelligent with volcanoes. So
subject-detection feature in the much so, the Olympus
AF. To apply, simply visit www. ambassador has become
enjoy.photo. apparently the first
photographer to venture
to the highest points of
Free update for ON1 Photo Raw the tallest volcanoes in each continent. The
ON1 Photo Raw 2019 is a well-regarded alternative to Lightroom book that has resulted is as dramatic and
for raw processing and other editing jobs. A new update, coming in In this new book, the awe-inspiring as you’d expect.
mid-May, brings an Edit History mode, Hierarchical Keywords and world’s highest Taken around the world, everywhere from
improvements to the Apple Photos Extension for Mac users. The volcanoes are explored Chile, Tanzania and Indonesia to Iran and
update is free for existing users. See www.on1.com.
4 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

81%
SOURCE: CANON GLOBAL
Antarctica, the images in the book are as

much about the journey and the people
Words & numbers
Rohnfelder meets on the way as they
are about the drama to be found at the
volcanoes’ summits. Needless to say, there’s Photography is
fire and brimstone aplenty too, as this
impressive picture of Japan’s Sakurajima the only language that can
demonstrates. The book is well worth a look if
you’re fascinated by our planet’s volcanoes. be understood anywhere
Volcanic 7 Summits: Dreams of the
Unknown, Seven Journeys to the in the world Decline in Canon’s operating
Continents’ Highest Volcanoes, by Adrian
Rohnfelder, is published by teNeues, £29.95,
Bruno Barbey profit in the first quarter of 2019,
compared to the same
ISBN 978-3-96171-174-1. Moroccan-born French photographer. period last year
Turn to page 66 for more
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 5

Zeiss announces premium
100mm telephoto lens
ZEISS has released the Otus 1.4/100, to minimise stray light and maximise contrast,
a manual focus, short telephoto lens for even when shooting into the light. As a manual
full-frame Canon and Nikon DSLRs. Short it focus lens, it features an ‘extended rotation
may be, but the price will be a tall order for angle’ and smooth operation to make focusing
Fast Tokina macro and many AP readers - £3,999,

which is more than many
precise. This new lens isn’t
compact, though; it weighs
Tamron 35-150mm lenses people’s entire systems
are worth. This premium
over 1.3kg and is almost
13cm long. It is available
TOKINA has released its second lens joins the Otus to buy now.
autofocus lens for full-frame mirrorless: 1.4/55, 1.4/85 and
the Fírin 100mm F2.8 FE Macro for Sony 1.4/28, and is aimed The Nikon-mount version
E-mount cameras (pictured above). As at studio, portrait and features an aperture ring
well as offering a relatively fast maximum commercial product
aperture, this macro lens has 1:1 life-size photographers. Zeiss
reproduction with a working distance of claims the lens offers
114.3mm (4.5 inches) between the front high edge-to-edge
of the lens and your subject. It has nine resolution across the
elements in eight groups, and Tokina claims aperture range, with
that its ‘flat-field’ optics prevent field-of-view ‘harmonic’ bokeh and
curvature while ensuring sharpness across a ‘3D pop effect’ that
the aperture and focusing range. This is an makes subjects stand
AF lens, but manual focusing is facilitated out crisply against blurred
by a large manual focus ring. An extending backgrounds. It also has a
barrel takes the lens length from 123mm Zeiss T* anti-reflective coating
to 163mm and the lens weighs 589.7g. It
is available now for £570.
© PAWEL ZYGMUNT
Meanwhile, Tamron has announced the
35-150mm F/2.8-4 Di VC OSD, a compact
zoom lens for full-frame Nikon and Canon
DSLR cameras. Tamron claims exceptionally
quiet AF thanks to the OSD (Optimized
Silent Drive) DC motor. ‘The Model A043
incorporates the Dual MPU (Micro-
Processing Unit) system, which strikes the
perfect balance between AF performance
and effective vibration compensation,’ says
the company. The lens will be available from
23 May in Nikon mount and 20 June in
Canon mount, priced at £799.
Titled ‘The King of Scotland’,

this photo is an entry in this
year’s CEWE Photo Awards
International photo contest closing soon

Subscribe to THERE is still time to enter what is claimed CEWE products, while the second to 10th
to be the world’s largest photography place winners will each take away €5,000 of
competition: the CEWE Photo Award 2019. photography equipment and €2,500 of CEWE
The competition from the German printing and products. Over 175,000 submissions have
digital imaging giant is free to enter, with 10 been received so far, with some particularly
categories, and there is a very generous prize strong wildlife submissions, say the organisers.
SAVE 35%
* purse. The overall winner gets a holiday of Entry into the competition is free, and you have
their choice worth €15,000, €7,500 of until 2 June to participate. Find out more at
photography equipment and €2,500 of cewe-photoworld.com/cewephotoaward.
Visit amateurphotographer subs.co.uk/18AG, or see p50. For the latest news visit www.amateurphotographer.co.uk
* when you pay by UK Direct Debit

Change gear.
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@mpbcom P H OTO B Y S U G A N T H
Roger Fenton Cottage
Exhibition overlooking the

Dnieper, Russia, 1852.
Salt print from a
paper negative
Photo London
Photo London 2019 is fast approaching and offers a
dizzying array of events, talks and exhibitions. Oliver
Atwell delves into the ones worth your attention
D
espite being one of the this year’s award goes to legendary
Photo London runs at cultural hubs of the world, it American photographer Stephen Shore
Somerset House from is surprising to hear that for (see box out).
16-19 May. Tickets are many years London lacked As before there will be an
available online. Visit a significant international photography extravagant range of things to see,
www.photolondon. festival to compete with the likes of Paris including almost 100 exhibitors
org for more details Photo and Les Rencontres d’Arles. Then (both major and emerging galleries),
on the schedule. back in 2015, the capital firmly planted in-depth talks and discussions and
itself on the photography map with the special exhibitions. And, lest we
launch of Photo London, an event that forget, there will be a giant egg
took place within the enviably opulent sculpture by Gavin Turk. Be sure
walls of Somerset House. In just a single to feast your eyes on that.
year, the festival set itself apart as the Often considered the world’s first
premier annual gathering for the city’s war photographer, Roger Fenton
major museums, auction houses, finds himself subject of a fascinating
© THe new York TiMeS
galleries and creative talent. That creative exhibition curated by British dealer
talent included some of the world’s Robert Hershkowitz (16-19 May).
major players in the field of photography. Where previous Fenton exhibitions
Notable examples are Sebastião have treated his work by chronology
Salgado, Don McCullin, Taryn Simon and and subject, this show instead looks out the exhibition showing the work of
Edward Burtynsky, all of whom were at the recurring motifs that occur The New York Times photographer Josh
recipients of the festival’s annual Master in his work. Altogether, it reveals Haner, images that really must be seen
of Photography Award. Hot on the heels the personal obsessions of this in the flesh (16-19 May). Haner is a
of his major retrospective exhibition at pioneering photographer. For a more photographer who has tirelessly worked
the Museum of Modern Art in New York, contemporary take on the world, check to show in striking clarity the impact of
climate change across the globe. His
work succeeds in combining
© JoSH Haner/THe new York TiMeS
breathtaking drone images, sitting them

beside more formal still-life images
taken from the ground. Our planet
faces losing a good portion of its natural
heritage and Haner’s images do much
to hammer that point home.
Also worth your time is the exhibition
‘Crossing the Borders of Photography’
(16-19 May). This is a group exhibition
featuring Des Lawrence, Tabor Robak,
Paul Kneale and Ana Elisa Egreja.
Here we find a cadre of photographers
exploring how the medium of
photography is constantly shifting,
challenging itself, reinventing itself and
adapting to contemporary methods
of artistic expression. Technology and
ethics will be prominent themes here
so it’s worth taking your time with this
one and considering how you position
yourself within the likely contradictory
ideas on display.
Video-based media is amply
represented in the work of Eamonn
Doyle who presents a nine-screen,
Josh Haner, Yellowstone National Park, USA, 2018 surround-sound panoramic called

Spotlight
© Stephen Shore. CourteSy 303 Gallery, new york

Stephen Shore
Los Angeles,
California,
February 4th,
1969
Stephen Shore
In addition to receiving the festival’s Master of Photography
award, Stephen Shore will be in attendance to engage in
a discussion with the always excellent curator and writer
David Campany (16 May). Most exciting, Shore will also
present a new exhibition of work entitled ‘Details’. All
images were shot using the Hasselblad X1D and capture in
fascinating detail found arrangements of natural material
and street detritus. Where the rest of us would pass these
items by without a second thought, master photographer
Shore has instead focused his lens upon them and
presented them as scenes of strange beauty. In addition,
Shore will also present his classic exhibition series ‘Los
Angeles, California, February 4th, 1969’, a body of work
shot over a single day.
Vivian Maier
Chicago, 1962
Vivian Maier
© eState of vivian Maier, CourteSy of Maloof ColleCtion and howard GreenberG Gallery, ny
© photo london/Gavin turk
One of the most popular exhibitions on display at this

year’s Photo London will be the first major public display of
the work of Vivian Maier (16-19 May). Maier’s story (or as
much as we know) has been endlessly retold. Starting in
the earlier part of the 1950s, Maier worked as a nanny
Gavin Turk: Portrait of an Egg and in her spare time stalked the streets capturing street
photography images with her TLR camera. Her activities
‘Made in Dublin’ (16-19 May). The work Winship (17 May), Ralph Gibson (17 were largely unknown until the time of her death, when her
consists of Doyle’s images, production May), Tim Walker (18 May), Erwin Olaf work was uncovered by John Maloof after he purchased
design by Niall Sweeny, music by David (18 May), Nick Brandt (18 May), Gavin some of her boxes at an auction. Her work was instantly
Donohoe and the words and voice of Turk (19 May) and Hannah Starkey (19 acclaimed and was quickly seen as some of the best
writer Kevin Barry. May). All of them are in conversation examples of street photography in the post-war years.
Be sure to book your place for the with a variety of writers, curators and Now is your chance to finally see them in a gallery space in
variety of talks that are on offer. Of journalists. All will attempt to probe the the UK. In addition, you can attend a talk between Anna
note are talks by Martin Parr (16 May), depths of their creative, thematic Sparham and Ann Marks (17 May) who will get to grips
Susan Meiselas (17 May), Vanessa and working processes. with the significance of Maier’s work.

In next week’s issue
Viewpoint On sale Tuesday 14 May
Jon Bentley
© GETTY IMAGES
Mirrorless cameras have an unending range of
fantastic features, but they seem to be missing
the all-important fully articulating screen
I
was doing a spot of filming with
© JON BENTLEY
rugby player James Haskell
recently. He’s one of the most
enthusiastic blokes I’ve ever met
with passions for everything from diggers
to coffee - there’s a JCB parked on his
drive and his kitchen is resplendent with
a whole array of coffee machines.
I was delighted to discover that his latest MIRRORLESS SPECIAL
magicof
interest is photography, and intrigued to
note that he was drawn to his new Canon
The
EOS M50 on account of one feature: its
fully articulating screen. He uses it in his
vlogging. I’ve long thought that mirrorless
mirrorless
camera manufacturers are ignoring flip
screens at their peril. It’s not narcissism. Rugby star James Haskell was drawn to the
You never know when a quick piece to fully articulating screen on Canon’s EOS M50
camera or selfie may be required these
days, for all sorts of reasons. A fully
articulating screen helps you avoid
‘Flip screens should Unsure about shooting with
chopping off your forehead or chin be the rule rather than mirrorless? Angela Nicholson
in your shots.
Nikon should have fitted one to the Z 6 the exception’ explains all the benefits
and Z 7 cameras, for example, and I’m
often irritated that my Sony A6000’s Now I know there are other solutions Fujifilm
screen only tilts up and down. I had to to this problem. I often end up using my X-T30
record a quick piece to camera the other phone, for example, but the wide angle of Michael
week and to avoid the collywobbles I the selfie camera gives a poor perspective Topham tests
even photographed myself with the and often includes too much background.
the best
self-timer first to make sure I was sitting Another option would be to buy a
enthusiast
in the right place; all a bit of a chore. camcorder. Though rather unfashionable
mirrorless
Until recently Sony offered a flip screen these days, they are relatively cheap and
on just one camera in its APS-C often include helpful features like a
camera
mirrorless range, the A5100. I had been microphone socket. Like the phone,
under £1,000
tempted to buy one but its limited spec however, the smaller sensor rules out
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED
© JOSH BROWN
doesn’t include a 25fps setting for video the depth-of-field effects and low-light
that broadcasters often demand for capabilities of a compact system camera.
editing purposes. I could also use an app to keep an eye
I was pleased to see that the new, on what I’m recording but I’ve found these
more sophisticated A6400 does have troublesome in the past. Connecting an
a flip screen. I thought this might justify external monitor is also possible but by
buying one but on closer inspection the the time you’ve bought it, carried it,
implementation is rather half-hearted. plugged it in and mounted it, it’s rather
The screen doesn’t give you a full view as too much hassle and expense.
it’s partly obstructed by the camera body, No. Flip screens should be the rule
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
and doesn’t really flip at all if you have rather than the exception. Like James I
anything mounted on the accessory will consider this a significant factor in my
shoe, like an external microphone (doh!). next camera purchase. The move to mirrorless
Even using an eye cup on the viewfinder Matt Golowczynski speaks to eight pros
renders it useless. I find it all a bit of a Jon Bentley is a TV producer and presenter best known who use mirrorless for their work
mess, frankly. for Top Gear and Channel 5’s The Gadget Show
Focused intelligence
Do you have something you’d like to get off your chest? Send us your thoughts in around Andy Westlake takes a close look at
500 words to the address on page 12 and win a year’s digital subscription to AP, worth £79.99 firmware version 5 for Sony Alpha 9

CELEBRATING
THE YEAR’S
BEST PRODUCTS
GLOBAL AWARDS 2018-19

visit www.eisa.eu for the winners
EISA is the unique collaboration of 55 member magazines and websites from 27 countries,
specialising in all aspects of consumer electronics from mobile devices, home theatre display and
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TESTED BY THE EXPERTS n WWW.EISA.EU

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Editorial team
Group Editor Nigel Atherton
LETTER OF THE WEEK 100-400mm lens. I
photograph aircraft, trains,
Lost prints
Deputy Editor Geoff Harris wildlife and family. I’ve been
Technical Editor Andy Westlake
Reviews Editor Michael Topham of prints all stuck together and files of looking at the Lumix G9
Features Editor Amy Davies negatives awash with water. Sadly, all with 100-400mm lens. Is
Features Editor Ailsa McWhinnie
Technique Editor Hollie Latham Hucker of my home-produced 1980s mono this OK for A4 photos?
Acting Technique Editor Tracy Calder
Acting Technique Editor Claire Gillo We’re frequently reminded to back up prints of my lovely late wife Sue and Paul Fletcher
Production Editor Jacqueline Porter our digital images in case of crashed our two children were ruined. Also
Chief Sub Editor Jolene Menezes
Art Editor Sarah Foster hard drives or what have you. But what precious photos of both mine and The Panasonic Lumix G9
Senior Designer Steph Tebboth about our precious memories from our Sue’s parents (all now deceased) were should meet your needs,
Studio Manager Andrew Sydenham
Photo-Science Consultant film camera days? I went to get some destroyed. It was all I could do not to but isn’t much lighter
Professor Robert Newman stepladders from my garage recently cry. I did think of trying to save some than your EOS 7D kit. An
Office Manager Hollie Bishop
and was horrified by the sight that of the negatives but they gave off even better option might
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPLIES TO UK AND EU RES DENTS ONLY
Special thanks to The moderators of the

AP website: Andrew Robertson, lisadb, Nick greeted me. The garage is situated such a foul smell I had to bin them. be to choose an all-in-
Roberts, The Fat Controller
Advertising
50 yards from my house and I hadn’t As far as good starts to the day go, one bridge camera, such
Commercial Director Dave Stone been in it for about six months. Much I’ve had better ones. as the Sony RX10 III or
07961 474 548 to my regret. I found the roof was Mick Bidewell IV, or the Panasonic
Senior Account Manager Samuel Shaw
07970 615 618 leaking and rainwater had landed on Lumix FZ2000. With
Production Coordinator Chris Gozzett
0203 148 2694 the cardboard boxes which contained Really sorry to hear of your loss, large 1-inch sensors and
Marketing negatives and prints dating back Mick. Thanks for raising a very valid long zooms, these offer
Head of Marketing Samantha Blakey almost 40 years. point. Prints can just as easily be both good image quality
Publishing team The boxes were reduced to pulp and lost or damaged as digital files and telephoto reach in
Chief Executive Officer Marcus Rich
Group Managing Director Andrea Davies it was heartbreaking to discover piles – Nigel Atherton, editor a relatively lightweight
Managing Director Gareth Beesley
set-up – Andy
Win!
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All contributions to Amateur Photographer must be original, A sincere thank you to AP image was first published data about the man and more understandable than
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medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE written tribute to one of anniversary of the fall of Thank you again for your Dave Beasley
Amateur Photographer® is a registered trademark
photojournalism’s leading Saigon. In 1993, it was tribute to a man who was
Back in the Day
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Photographer is published weekly (51 issues per year) on the
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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
Daisy May, Lockington, Leicestershire Vegetable Soup 2

This portfolio has a poignant story. Daisy tells us, 1 Daisy took this
10 years ago, I was suffering from anorexia and shot at home. With it,
was very ill. Fear of food was overwhelming and she wanted to show
my biggest enemy. I recovered, miraculously, and appreciation for each
began to see food in a new light. My husband individual ingredient.
(and biggest fan) bought me a Nikon camera and a Nikon D5200,
day’s photography course with a wonderful tutor, Caro. This 18-300mm, 1/500sec
started a new chapter in my life and the food that once took at f/5.6, ISO 1250
away my joy of living became my inspiration.’ See more of
Daisy’s work at daisymaydefined.smugmug.com.
Time for a Cuppa

3 This shot shows
that the time is
always right for a
cup of tea. Taken
from above, the
challenge was to get
the cups and spoons
centrally framed
without casting a
shadow from leaning
over the set-up.
Nikon D5200,
18-300mm, 1/200sec
at f/6.3, ISO 400
14
UR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY
The Reader Portfolio

winner chosen every week will receive a Manfrotto PIXI Submit your images
Please see the ‘Send us your
EVO tripod worth £44.95. Visit www.manfrotto.co.uk pictures’ section on page 3 for details
Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling or visit www.amateurphotographer.
you to shoot ground-level images. It’s adjustable, with two-section legs featuring five different steps that adapt co.uk/portfolio
the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90° to capture incredible images.
The World
of Ice Cream
2 This image depicts
vanilla ice cream
as the sun, with the
other flavours acting
as planets revolving
in space. It was a
challenge to get the
scene – and lighting
– correct before the
ice cream melted.
Nikon D610, 35mm,
1/200sec at f/5.6,
ISO 200, tripod
Pattie and Chips

5 Daisy took
this picture when
competing in
a Hull-themed
Facebook competition
– the city is famous
for its ‘pattie and
chips’. It took two
hours to set up the
scene before it was
ready to photograph.
Nikon D610,
35mm, 1/125sec
at f/16, ISO 160,
tripod, softbox,
speedlight
4 5
The Great British

Biscuit Barrel
4 Daisy wanted
to make the scene
look as enticing as
possible. She created
the look of the
biscuits floating in
the air to reflect the
excitement of opening
a biscuit jar and
wondering ‘which one
(or two) shall I have?’
Nikon D610, 35mm,
1/125sec at f/16,
ISO 200, tripod,
softbox, speedlight
Iw 15
Technique food phoTography
Food,
glorious
food
The 2019 Pink Lady Food Photographer of the
Year winners have been announced. We speak
to the category-winning photographers about
how they approach all manner of food subjects
T
he results of the prestigious Pink Cauldron Noodles
Lady Food Photographer of the Year Jianhui Liao, China
competition have been announced and
what a sumptuous feast for the eyes it
overall and food for
is. The competition has been running since 2011 Celebration sponsored
and to date has received almost 50,000 images by Champagne
from over 60 countries. The prize pool is worth Taittinger winner
more than £20,000, and finalists benefit from In Shexian County, Hebei
huge amounts of coverage. Province, China, every year
The 23 categories offer a diverse range of from the first to the 18th day of
imagery, from food production and stunning the lunar calendar, villagers wear
still-life plates of food good enough to eat to Qing Dynasty costumes to
celebrations, food in its natural settings, and celebrate the birthday of Nuwa
© jianhui liao
Sony A7R II, 24-240mm,

humanitarian and cultural studies. Visit www. Niang and eat big pots of noodles
1/200sec at f/8, ISO 100
pinkladyfoodphotographeroftheyear.com. at the village committee at noon.
Canon EOS 5D Mark II, 24-105mm, Cow Tantrum

1/125sec at f/8, ISO 100 Martin
Chamberlain, UK
politics of food
This cow probably
knew its destiny.
Having just been bought
from the market in
Nizwa, Oman, the cow
proved increasingly
reluctant to comply with
its new owners’ wishes
– resorting in the end to
collapsing its front legs,
leaving the owners
puzzled as to what to
do next. www.
martinchamberlain.com.
martin’s top tips
© martin chamberlain
Consider the
1 processing to best
reflect the scene and
subject. I converted this
Broken Egg
Phase One IQ250, 80mm,
1/125sec at f/18, ISO 100 Michael Hedge, UK
Fujifilm Award for Innovation
This shot is part of a series of images that
I photographed for an article in the RSA
image to mono to give it Journal illustrating the delicate relationship between
a photojournalistic feel. food, farming and the countryside.
This treatment also www.michaelhedge.co.uk
makes it appear timeless
to reflect the market michael’s top tips
environment, which has With general food photography, it’s important to
probably changed very
little over generations.
1 be ready to take the picture the minute the food
is served, rather than faffing about with lighting – so
keep it simple. This particular image was taken with a
The challenge when
2 shooting in markets is
isolating a subject from
single light going through a diffusion screen, with a
reflector for a bit of fill on the right.
the surrounding clutter. The image was photographed in my studio on a
For the best results,
arrive early and pick a
2 Phase One IQ250 digital back, and shot directly
to computer. Shooting tethered makes it so much
good location where the easier to compose and reflect on an image as you’re
lighting works. Then sit creating it. It can also turn the creative process into a
© michael hedge
and wait and soak up much more collaborative one, as in this case the
the atmosphere and stylist Kerry Hughes was invaluable in the creation
anticipate your shots. of this image.

Mussels Ready to Eat
Giles Christopher, UK
InterContinental food at the Table
This image was shot for Harry Ramsden’s
restaurants. I was shooting in a location with
no natural daylight and after going through the
photo brief with the client, we went for a lighting
set-up to create a cool masters look. With the
addition of rustic props and textures, the image
came together to complement the campaign for
autumn/winter. www.mediawisdom.co.uk.
giles’s top tips
Generally when photographing a plate of
1 food, it’s best to shoot it from a customer’s
perspective and select a focus that gently falls off,
drawing your eye to the focal point: the food.
It is very important not to over-light a set-up.
2 Simulating or controlling a natural light
source and adding reflectors is usually your best
starting point. Side lighting or backlighting works
best for food as it brings out textures and colours.
© matt wilson
Apple iPhone 8 Plus, back dual camera

3.99mm, 1/800sec at f/1.8, ISO 20
Rosemary Harvest
Matt Wilson, Chile
on the phone
This photograph is of one of my sons cutting
rosemary from our garden. He is wearing his
Barcelona football shirt and my wife´s Colombian hat.
I saw the image and only had my iPhone with me at
the time, so I captured this shot before he moved.
www.mattwilson.cl.
matt’s top tips
Understand the food you are shooting. Study
1 its colour, texture and shape to decide how
to approach it. Do some research, even if it’s just
looking at 30 photos on Instagram, as you will quickly
get an idea of what works and what does not.
Show the environment. I always try to show food
2 as a lifestyle, not a product: who cooked it, who
grew it, who harvested it or who butchered it.
I always try to shoot with natural light. Strong
3 and contrasted light rarely works, in my opinion.
Whereas a portrait should show the eyes with the
brightest light, in food the main ingredient should
© kazi mushfiq
have the brightest light, so I use reflectors to bounce

off some extra light when required.
18
Harvesting Gold
Kazi Mushfiq, Bangladesh
Bring Home the Harvest
This image was taken at the rice mill located
on the outskirts of Dhaka, Bangladesh,
in 2016. I visited the rice mill as part of a
documentary project I was working on to show the
process of rice production. This image depicts the
farmers hard at work harvesting the rice, which is
like gold to them. www.kazimushfiq.com.
kazi’s top tips
I wanted to capture the farmers working as well
1 as their surroundings, while ensuring a creative
composition. These are all the things to consider
when finding the perfect viewpoint and angle to
shoot from. It’s worth bearing in mind what focal
length of lenses you have to choose from.
In order to document projects such as this,
2
© giles christopher
make sure you do your research on the

Sony A7R III, 90mm TS-E (using a metabones location first, and in some cases, you may need
adapter), 1/125sec at f/4.5, ISO 200
to ask permission to photograph there too.
Canon EOS 6D, 17-40mm,

1/1000sec at f/7.1, ISO 125
© andrew newey
Canon EOS 5D Mark III,
16-35mm, 1/5sec at f/16, ISO 50
Pumpkins at Sunrise Nikon D750, 16-35mm,

Andrew Newey, UK 1/60sec at f/7.1, ISO 800
food in the field
Having recently moved to a house
situated at the edge of the New
Forest, I could not resist the lure of the
pumpkin patch just over the fields. I shot
this scene one cold autumn morning, as
the sun appeared through the mist.
www.andrewnewey.com.
andrew’s top tips
Get down low to make the
1 foreground more prominent in the
frame. When using a tripod get in the
habit of only pulling out the widest leg
section - it’s quicker and easier.
Be patient. Keep an eye on the
2 weather forecast to anticipate the
perfect conditions for the best results.
© debdatta chakrabOrty
Rishu Kesarwale months. www.facebook.com/debdatta.

Debdatta Chakraborty, India chakraborty.3.
Street food debdatta’s top tips
Rishu Kesarwale has his shack in one of Ambient light creates a far more interesting
Open to professional and
the busiest streets of Allahabad city in India.
Here he sells warm milk, yogurt, cottage cheese
1 and realistic impression of a scene, so I tend
to favour this and recommend working with the
amateur, old and young, and, of course, masala chai – India’s most popular
these awards celebrate available light you are given.
drink. He has inherited his shop from his father
the very best in food If you’re working in low-light conditions a lot,
photography and film
from around the world.
and is very proud that in these days of food
adulteration, he is still serving his clientele with 2 a full-frame sensor is a must as it handles
reduced lighting conditions much better than
pure milk, which is considered a great health food
by the Indians, particularly so during the winter its cropped counterpart.

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Learning photography
Quick
Amy’s image of
sheep returning
to the fell was
highly commended
in British Life
Photographer
of the Year
off the
mark
photography is a craft that takes
years to learn – but is it possible
to speed up the journey? Ailsa
McWhinnie speaks to three
photographers who are on a
fast track to success
The competitive edge

Cumbria-based farmer amy
bateman recently won the british
Life Photography awards with her
image ‘Lambing intensive Care’ (see
aP’s Big Picture, 30 march). What
few people know, however, is that
she only picked up a camera and, as
she puts it, ‘turned off auto’, three
years ago, after her husband bought Former physiotherapist
her a course at the brewery arts Amy Bateman gave up
Centre in Kendal as a gift. ‘i am her job when she started experience and knowledge. We all do this,”’ she says. She went on to be
extremely competitive,’ she says, a family. She fell upon a get something out of it. For instance, shortlisted in two consecutive years
laughing. ‘i’ve never done anything love for taking pictures i saw a spectacular macro image of in the Outdoor Photographer of the
in my life if it’s not to the best of my only three years ago, and a bluebottle, and it made me go out Year competition, and won a couple
abilities. as soon as i started doing is now combining her and buy the Sigma 105mm macro of competitions on Photocrowd, too.
photography, i got a subscription to work as a farmer with lens. Now, i can mooch around the She also won #fsprintmonday in
aP and swallowed it up every week, commercial photography. garden with my cup of tea in the 2018, and with the title came a
trying out all the techniques. i now She will soon be offering morning and take macro shots. but Canon Pixma Pro-100 printer.
live for photography, along with my photographic tours of it was the competitions, where i had ‘When you win things,’ she says, ‘it’s
family and the farm.’ the farm where she lives to submit something every week, very encouraging. Competitions
Entering Twitter-based that made me develop my vision and really helped me develop as a
in Cumbria. Visit
competitions such as #Wexmondays skill so quickly. They made me learn photographer. but i’m more
and #fsprintmonday helped spur www.amybateman about the vast range of techniques selective about what i enter now.’
her on, as did the feedback she photography.com, available to the digital photographer.’ in terms of processing, amy
received. ‘i would not be where i am Instagram signed up for evening classes where
today if i hadn’t joined Twitter,’ she @amybatemanphoto Winning streak she learned Lightroom. ‘This was a
asserts. ‘The photography an abstract image won her the big turning point when the shutters
community there is wonderful – so London Photo Festival in 2017. ‘a s really fell away,’ she says, and it’s
supportive and generous with their a beginner, you start to think, “i can still the program she favours over

© AMY BATEMAN
Photoshop, which she is only just
beginning to learn. ‘If you don’t
shoot raw, you’re never going to
understand dynamic range. And
even if something isn’t quite right
in camera, you can do so much in
Lightroom. The other biggest tip
I learned was at a talk by Carmen
Norman at my local camera club.
She said to make sure the contrast of
black & white images is always high
enough to not look grey. Now, it’s the
first thing I do with a conversion.’
Given the importance of the farm
where she lives and works in the
development of her photography,
does Amy think she’d have made the
same progress if she lived in an
urban environment? ‘I might have
gone into architecture or street
photography,’ she replies, ‘but here
there are so many opportunities
outside the front door.’
And opening her eyes to
photography means she is constantly In this shot of the
London Aquatic
on the alert for those opportunities,
Centre, Dan
© DAN PORTcH
be they characterful portraits of the softened the horizon

sheep, observing how light falls into in Photoshop
the woodshed, or close-ups of a
A forensic approach
worn-out barn door. ‘I always
capitalise on light,’ she says.
In advising beginners, she
suggests joining Twitter, going to
evening classes ‘to get flying with
settings’ and entering competitions. AN eNGINeer by degree but
‘The praise and rewards really keep a patent attorney by trade, Dan
you going,’ she concludes. ‘The more Portch has always had a forensic
photography you do, the more you mind – and he applied the same
will start to see.’ approach to his photography.
Buying a camera to document his
children, he spent a long time
Amy’s kit
researching what made a good
Amy has a Nikon D750 with a range of lenses, camera in order that he could Patent attorney Dan
but since winning the British Life Photography do justice to the images. But Portch lives in Kent
Awards – and with it a Sony A7R III – she is although he found there wasn’t a and tends to concentrate
making the transition to mirrorless. great deal of fulfilment in simply on shooting either nearby
l Sony A7R III taking snaps of the kids, he did locations or places in
l Sony FE 24-70mm F2.8 GM become interested in the kit Devon, where he grew up.
l Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS itself and the camera’s settings. He makes full use of
‘I wanted to get into manual Photoshop to create his
© AMY BATEMAN
This shot was also mode so I could learn properly,’ he images, and is the 2019
highly commended says. ‘It’s typical of my obsessive Wex Photographer of the
in British Life nature to want to do things well.’ Year. Visit www.
Photographer of
danielportch.com,
the Year, and won Play to your strengths www.flickr.com/
#fsprintmonday on
Dan is originally from Devon and
Twitter one week photos/
when he returned there for family
holidays, he realised he’d esotericrecollections
overlooked a lot of the area’s
beauty in the past. So, about three
years ago, he started taking
pictures there. He is also friends
with Neil Burnell (AP’s current
Amateur Photographer of the
Year) and David Hixon, as they’d
played football together as
youngsters. ‘They were an
inspiration,’ Dan says. ‘I
started to look at what they
23
do and how they do it, and it I know what I want before I go out
went from there. I’ve been far – be that the weather, the tides of
Dan’s kit
more inspired by them than I have the location, and I know how I want l Canon EOS 5D
by the big-name photographers.’ to process the image to make it Mark III and IV (he
rather than sign up for courses or work.’ Thus he often returns with upgraded to the IV
spend hours travelling to locations that one great shot. with his winnings
in the vague hope that he might get He turns to YouTube for its video from Wex
a shot, Dan played to his strengths tutorials on processing, but it was Photographer
in order to deconstruct the images also from conversations with Neil of the Year)
that inspired him. ‘A s a patent and David that he learned the l Canon EF
attorney, I have to look at things extent to which many images are 24-105mm
scientifically and understand manipulated in order to realise f/4L IS II USM
quickly what makes them work. a vision. ‘They aren’t landscape l Canon EF 16-35mm
I take the same approach to photographers in the classic sense,’ f/4L IS USM
photography. I’d look at people’s he says. ‘They are more conceptual. l Canon EF 200mm
images, the compositional rules This appealed to me because f/2.8L II USM
they followed and the processing I realised they were often looking
l Extender EF 2x III
they’d carried out, and start to at rather ordinary, mundane
understand what I could do to make landscapes and creating something
mine better. It was like learning different – be that cloning out
technology all over again.’ distractions, fading out the horizon
His process, as analytical as it is, or whatever. I didn’t want to steer
clearly works, because he is the away from this – instead, I realised
current Wex Photographer of the it would help me make my images
Year. After entering for some weeks look how I wanted them to.’
and getting nowhere, a shot of the In particular, he has found that
West Pier in a lightning storm won layer masks help him to realise his
– and he didn’t look back. ‘It was a vision by tweaking details in small
lot of effort,’ he recalls, ‘but it made areas of the frame, and can
me plan more and get out more.’ sometimes end up with 25 layer
masks in a single image. He’s also
On limited time happy to blend different exposures
In what might come as a surprise, to create a new image. ‘I watch © jULIEttE SCOtt
he puts his reasonably high hit rate a Photoshop tutorial until I The shot that
down to a lack of time. After family understand the fundamentals, and gave Dan the
and work, photography is third in then I apply what I’ve learned to my impetus to go for
On course
his list of priorities, and if he can own images,’ he says. ‘I know what I broke with the Wex
Photographer of the
grab an hour or so once a month, like, and I know what I want from
Year competition.
he’s doing well. As such, he has to the next image I take, and hopefully His persistence
for success
make every opportunity count. ‘I I produce it. I’m happy enough to paid off when he
don’t have a great imagination,’ he share my images, but I’m the first to was announced
admits, ‘so I have to plan my shots. admit I can do better.’ overall winner
© Dan POrtCh
Colour and pattern have

driven Juliette Scott for as long as
she can remember. It’s what led
her to study history of art, then to
a job at Bonhams auction house,
and finally into training as an
interior designer, which has been
her career for the past 14 years.
Being exposed to so much visual
stimulation over the course of her
life has meant that photography
has become something of a natural
progression for her, despite her
only ‘discovering’ it four years ago.
‘It was very sudden,’ she recalls.
‘like most people, I’d always taken
snaps, but one day I thought, “I
want to get better at this.” I’d never
been to Morocco, and I just found
myself googling “photography trip
Marrakech”, and up popped a
holiday with tuition.’
To say she’s never looked back
is an understatement. Since
typing those words into the

required a fair amount of discipline

Juliette’s kit
on her part, but a significant leap
l Fujifilm X-T1 forward in her development came
with kit lens when her sister became seriously ill
l Fujinon XF55- in 2015. Struggling to think of a way
200mmF3.5-4.8 to support her, Juliette hit upon the
R LM OIS idea of sending her a photograph of
l Fujinon XF10- something beautiful every day for a
24mmF4 R OIS calendar year. It proved particularly
tricky during the darker, duller
l Fujinon
winter days, but it provided a
XF60mmF2.4 focus and goal.
R Macro Once that year was over, Juliette
l Fujinon joined Instagram, in order to
XF80mmF2.8 R LM continue the discipline of posting
OIS WR Macro images several times a week.
In addition to this, and at the
suggestion of Doug Chinnery and
Valda Bailey, she has approached
Left: One of the and had work accepted by a few
images chosen galleries. One way in which she
for display at this has made her work stand out is
year’s Dancing Light to fuse her interior design skills
Gallery near
with photography, and she has
Edinburgh
now started to gild some of her
Below: As someone images with metal leaf. ‘I have to
who believes in be careful,’ she explains, ‘as it only
working with what’s works on certain images, but it
on your doorstep, makes them more bespoke as no
Juliette took this two are ever going to be the same.’
image in her
When it comes to advising
garden, which is
filled with poppies. beginners, Juliette has this
She used an ink suggestion. ‘Use what’s around you,’
filter in Photoshop she says. ‘I live in the countryside,
for the effect so I have nature at my doorstep. But
if you are in a position to try out
search engine on that dank and several different genres, you can
dark November evening, Juliette
‘Like most people, I’d always taken then decide what it is you really like,
has gone on courses with Anthony snaps, but one day I thought, “I want and there are things you are going to
Epes in Istanbul, Light and Land learn from each genre that you
in Santorini, and Valda Bailey and to get better at this”’ can take on to the next one.’
Doug Chinnery in London. She
© JuLIeTTe ScOTT
has also done an online course

with the New York Institute of
Photography and another called
Photocraft with Lyndsey James
– who now runs Photo Boards. Each
of the courses provided an intense
and focused opportunity for Juliette
to further her skills. Following a career at
Bonhams auction house,
Taking control
Juliette Scott moved to
On that first trip to Marrakech in
April 2014 (which was led by Chris Northumberland, where
Coe, founder of Travel Photographer she now runs an interior
of the Year), she only had a basic design company.
bridge camera, but she still learned She started taking
not only the ways in which she could photographs about four
take control of making images, but years ago, and has
also the transformative power of recently had work
light. In a few days, she went from accepted for sale by
total beginner to having her eyes a number of galleries.
opened to the possibilities offered Visit www.juliette
by photography. A few months later, scottphotography.
she ditched the bridge camera for a com, Instagram
Fujifilm X-T1, and this is still the
@crushedoncolour
only camera body she uses today.
The online courses she took
during the following couple of years
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019

NEW TALENT
RISING STAR
Jake
Kneale
Hollie Latham Hucker talks to young landscape
and wildlife photographer Jake Kneale about
what inspires his photography
When and why did you first become finally able to buy the big lens, just before
interested in photography? Christmas – after two years of saving!
It was during a fantastic month-long Eventually I want to upgrade to a full-
family holiday in New Zealand, three frame camera body, which will perform
years ago. Before leaving, I borrowed my better in low-light conditions.
uncle’s old Canon EOS 300D. Inspired
by the beautiful landscapes and wildlife Who are your main influences?
there, I began to look into the basics and I have been influenced by a huge number
buying photography magazines at every of photographers. That said I am hugely
opportunity, I was hooked! As soon as I inspired by Art Wolfe’s work: the
got back, I started saving up for new gear. enormous breadth of his subject matter,
his ability to create strong and artistic
When did you get your first camera? compositions and his incredible use of his
After returning from New Zealand, my photography for conservation. I am also
uncle’s camera broke, so I bought myself a big fan of Arthur Morris and have learnt
a second-hand Canon EOS 60D and used a lot from his fantastic bird photography
the 18-55mm kit lens and a 75-300mm blog and books. No list of influencers
telephoto. I realised that photography in would be complete without Sir David
the UK was very different and required a Attenborough, who has made a
lot more time and effort! Gone were the phenomenal contribution to conservation
fantastic vistas, the campervan and the and natural history filmmaking. I have time and travel have encouraged me to
approachable wildlife – it was then about been enthralled with his films and his explore different techniques and genres, to
walking, cycling or dragging my parents books from an early age (and still am). I photograph whatever’s available at the
out before sunrise! am very fortunate to have also met two time; hence last spring, I focused on
great wildlife photographers, who have flowers, and captured the ‘Ladies of the
What equipment do you use now? become key mentors and really helped Meadow’ shot, which won me the Young
Today I use a Canon EOS 7D as my main me to improve my photography. IGPOTY (International Garden
body and Canon EF 17-40mm f/4L USM, Photographer of the Year) title.
Canon EF 70-200mm f/4L USM and You shoot wildlife and
Canon EF 500mm f/4L IS USM lenses. landscapes – which came first? Do you plan to study photography?
I upgraded my gear gradually and was I love to shoot both. The limitations of I am not specifically studying
ALL IMAGES © JAKE KNEALE
A sanderling on
the shoreline
A misty sunrise at Avebury Canon EOS 7D, 500mm,
Canon EOS 7D, 17-40mm, 1/20sec at f/13, ISO 100 1/640sec at f/4, ISO 800

A pair of backlit
lady’s smock in a
Wiltshire meadow
Canon EOS 7D, 70-200mm,
1/160sec at f/7.1, ISO 100
photography, but I have been coastal landscapes. Skomer also has one Do you see yourself having a full-time
incorporating quite a lot of it into my of only a few colonies of Manx shearwater. career in photography one day?
art at school, as well as creating a couple They spend all day foraging at sea before I am passionate about photography and
of photobooks. returning to their burrows at night; it was it’s a big part of my life at the moment.
amazing to walk around in the middle of I’m still at school and studying, so
Are you working on any specific the night, as they flapped around our photography is a great thing to do on the
projects at the moment? heads and landed in front of us. side. I have met some young wildlife
I am always working on projects! I am photographers who are making a career
really motivated by the challenge of How did it feel to win the Young out of nature photography, so who knows
building a portfolio on a particular IGPOTY title this year? what the future will bring.
subject. I live close to Avebury, a World I was delighted to win the youth category
Heritage Site, and so I have an ongoing of IGPOTY; it’s such a great privilege to What piece of advice would you
photography project focused on this see your photo among so many other great offer to other young aspiring
unique landscape. I am also working on a images in such a prestigious competition. photographers?
long-term project on roe deer in my local I really enjoy entering competitions. The camera doesn’t take the picture!
area. Recently, I had a tip-off about a I find that it’s a good way to focus my Learn as much as you can about the art of
promising local badger sett, which I am photography around particular techniques photography. Make do with the gear you
excited to stake out over the summer. and subjects. I also think it’s very have and understand how to get the most
encouraging to have a direct comparison out of it. When you come to upgrade
What has been your most memorable to the images I entered a year before. I’ve remember there is some very good older,
photography experience to date? been very fortunate to be able to attend a second-hand gear out there – just make
Last April, I had a brilliant trip to Skomer number of award ceremonies, where it sure you research it well. On a practical
Island in Pembrokeshire. It’s a fantastic has been a privilege to meet a range of note, work on a project close to home
location to photograph puffins as well as photographers and some really interesting because that’s where you will be able
lots of other wildlife and the rugged judges as well. to put in the most time.
Jake is a 15-year-old wildlife and landscape photographer who lives in southern England. He loves exploring the natural world and conveying, through his photographs, the beauty that he experiences
in nature. He recently won the prestigious Young IGPOTY title and hopes for more success this year. See more of his work at jakeknealephotography.cf.

Photo Insight
Sun bear
behind bars
By Emily Garthwaite
Nigel Atherton speaks to Emily
Garthwaite about her heartbreaking
image in this year’s Wildlife
Photographer of the Year exhibition
at the Natural History Museum
A
sun bear gazes pangolin and Sumatran tiger
through the bars – of which there are only
of a filthy cage in about 600 left in the world.
a neglected corner He calls himself a professional
of an Indonesian zoo – its “conservation hunter” but he’s
claws overgrown and its face a one-man destroyer of nature.’
a picture of desperation. Emily managed to gain
The picture was taken by access behind the scenes of the
25-year-old London-based zoo by ‘batting her eyelashes’
photojournalist Emily and saying she wanted to see
Garthwaite during a trip to the tigers. At the end of the
Sumatra, and was Highly tiger enclosure she came to a
Commended in the Wildlife back building behind the zoo
Photojournalism category which had several concrete
of the current Wildlife enclosures where sun bears
Photographer of the Year were locked away on their own.
2018 exhibition. Emily was ‘When I walked up to this
in Indonesia working with cage I initially thought it was
an orangutan conservation empty,’ recalled Emily, ‘but This caged sun
bear lives in filthy
© EMILY GARTHWAITE/WILDLIFE PHOTOGRAPHER OF THE YEAR
charity but wanted to visit then I heard running footsteps

Medan Zoo as she had heard and the bear appeared at the conditions in an
of its reputation. bars. Every time I moved the Indonesian zoo
Leica M 240 + Zeiss
‘Medan Zoo is owned by an bear moved with me. As the Distagon T* 35mm
Indonesian businessman called apathetic keeper poked and f/2, 1/125sec at f/5.6,
Rahmat Shah,’ explains Emily, prodded the bear, it started ISO 1000
‘who, as well as being involved screaming and its long claws
in the Indonesian palm oil kept getting caught in the bars.
industry, is a keen game hunter I managed to quickly take
and also owns a taxidermy about five pictures.’
museum nearby filled with Sun bears are the world’s
over 5,000 stuffed animals, smallest and rarest bears, yet sun bears and Sumatran sun Sun bears are regularly
many of which he has are exploited for the pet trade bears, and this is a Sumatran confiscated by the authorities,
personally killed. They include and for their gall bladders and one,’ continues Emily. ‘The but with nowhere to put them
many critically endangered bile, used in traditional Chinese main issue they face in Sumatra they often end up languishing
species animals like the medicine. ‘There are Bornean is being trafficked for the pet in concrete prisons like those
trade, and habitat loss due to at Medan Zoo. Emily is
large-scale deforestation by the working with Sumatran Sun
Emily Garthwaite palm industry. It’s very hard to Bear Team (SSBT), a charity
Emily is a London-based photojournalist with an interest monitor how much their set up by Australian zookeeper
in conservation and documenting post-conflict zones. She population is declining Lesley Small. In the short term
shoots with a Leica M Typ 240. ‘It’s a perfect camera for because, unlike orangutans, the SSBT is trying to raise
me because it’s subtle. People don’t take me seriously their plight isn’t as well funds to renovate the sun-bear
© JULIA LISTER
anyway, as a woman, but to the uninitiated this looks recognised. But they are as enclosure at Medan. ‘The zoo
like an old film camera.’ See www.emilygarthwaite.com. critically endangered.’ said that if we raise the funds

we can at least take that step, unusual looking and they have Borneo is doing this very see the worth of their country
while we work on the bigger these huge claws for climbing successfully. The main whereas Sumatra is just a
sanctuary programme.’ trees. We just need to raise the sanctuary for the sun bears is mafia stronghold. I have no
The long-term goal is a funds. Lesley has already next door to the orangutans. doubt that the forests will all
permanent sanctuary, and they re-mortgaged her home to put Borneo is streets ahead of go – the illegal logging there is
have already been offered 5.3 money towards it; she’s quite Sumatra in terms of an absolute nightmare. Unless
hectares of land in Bukit extraordinary. The location is conservation, and in there is political leadership
Lawang, on the edge of a very accessible for tourists. understanding that there is that is prepared to step in and
UNESCO World Heritage Site Everyone who comes to see money to be made from stop it, it will all go, because
National Park. ‘Sun bears may orangutans in Sumatra will tourism, rather than just there is just so much
not be as fashionable as pandas go to see the sun bears too. destroying the habitat. They money to be made.’
and orangutans but they are
extraordinary,’ says Emily. The Wildlife Photographer of the Year exhibition runs until 30 June at the Natural History Museum, South Kensington, London.
‘They’re very friendly, very For more information about the Sumatran Sun Bear Team or to make a donation, visit sumatransunbearteam.org.

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adverTising feaTure
Capture
modern
engineering
This global photography competition
returns for a third year to banish outdated
engineering stereotypes and showcase an
exciting, creative and varied profession
E
ngineering and year. Updating the image of
© mike glendinning
technology is all around engineering to show its breadth

us and part of our and diversity through the use of
everyday lives: from our more appealing and engaging
smartphones, heating and lighting photography will help to portray
to the medicines we take and the a truer reflection of modern ‘By making this call for creative This image by
clothes we wear. engineering and hopefully inspire and standout images, we hope Mike Glendinning,
But it goes much further than the next generation to consider that we can help to highlight the ‘Engineers are hot
that. From space exploration, careers in this innovative sector. modern, exciting and creative stuff’, won the
overall prize in last
additive manufacturing and nature of an engineer’s work and year’s competition
autonomous vehicles to remote Competition demonstrate that their work is all
healthcare and sustainable energy The IET Engineering & Technology around us and central to our
– engineers and technologists are Photographer of the Year 2019 everyday lives.’
inventing new ways to do things and contest is open to any photograph of To enter, all you need to do is take
finding solutions that will make this an engineering-related subject that images of engineering-related
world a better place. captures the dynamic, creative and subjects that capture the innovative,
The Institution of Engineering progressive face of engineering and imaginative and fast-developing
and Technology (IET) is one of the engineers today. face of engineering and engineers
world’s largest engineering bodies Along with The Gadget Show host today. The winning images will help
to promote engineering and Georgie Barrat, the judging panel to challenge public misconceptions
technology, particularly among also includes our very own Nigel of engineering and demonstrate the
young people, helping them to Atherton, Editor of Amateur ingenuity, breadth and vibrancy of
see that engineering provides an Photographer; Gillian Abbott, its world. For full details, visit theiet.
exciting, creative and rewarding Picture Editor at E&T magazine; org/photographer-of-the-year.
career option. But despite endless and electrical engineer Dr Imran
opportunities across the profession, Shafique Ansari, who is a lecturer
there remains a severe lack of at the University of Glasgow and
How to enter
understanding about what Vice-Chair of the IET Young To enter, please send your images by 17:00 (BST) on
engineering and technology truly Professionals Committee. Friday, 30 August 2019, to photography@theiet.org
entails and the sector is suffering IET YPC Vice-Chair Dr Imran along with a completed entry form, available to
from a huge image problem. Ansari said: ‘This is the third year download from theiet.org/photographer-of-the-year.
When you search for images of the IET has run this competition
an engineer in Google, it returns and we’ve had some fantastic The competition is open internationally, subject to local laws, and is split
a mass of hard hats and high-vis images entered over the past two into two age categories: junior (16 and under) and adult (17 and over). Anyone
jackets. A stereotypical image that years, showing just how cool and who meets the age criteria is able to enter, completely free of charge.
only shows one small area of the varied engineering really is.
sector today. We want to build on this bank
To dispel these stereotypes, of images and banish the
the IET’s annual photography perception that engineers just
competition is returning for a third fix or mend things.

Categories
The competition is open
to everyone across two
age groups. You can
enter up to five photos
across any of the
following categories
Design and Production
This category celebrates innovation
around the design, development
and making of all the things that
people need. Images might
include mechanical, materials
and manufacturing.
Digital
This category includes photography
around robotics and electronic tools,
as well as systems, devices and
resources that generate, store or
process data.
Environment
and Energy
This category focuses on engineering
and technology within our
environment, as well as energy
efficiency, energy services, facility
management and alternative
Winning photography
energy technologies.
© KATHRYN GRAHAM
Structure
This category includes architecture,
The competition ran for the second Right: ‘Reflections construction, buildings, bridges
time last year, with some amazing on a spacecraft’, by
and cityscapes.
photography from a broad range of Kathryn Graham,
was a category
engineering and technology areas.
winner last year Transport
Mike Glendinning from Edinburgh This category is for all forms
was named overall winner of the of transportation.
competition last year for his photo
‘Engineers are hot stuff’ (see above), Best Smartphone Photo
which captures an engineer in the
The judges will be looking for the best
environmental testing facility at
photo taken on a smartphone across
Leonardo in Edinburgh. The facility
all of the categories!
provides extreme environmental testing
Prizes
on complex electronic systems to check
Below: Sudip Maiti’s
they are ready for real-world use.
image, which was
Kathryn Graham from Farnborough selected as the
won the Adult Design & Production best smartphone the satellite LVP1 with reflections of
category for her photo ‘Reflections on a photo in the 2018 some of the team who built it at Surrey The judges will look at every entry
spacecraft’ (see right), which captures competition Satellite Technology. and award £500 to each of the five
Winner of the best smartphone adult category winners and £250
© SUDIP MAITI
photo category was Sudip Maiti from to each of the five junior category
Kolkata in India (see left). His image, winners. An overall winner for the
‘Solar Energy. The Future’, captures a adult entries and an overall winner
young girl educating her grandmother for the junior entries will be selected
about the benefits of solar energy – for an extra cash prize of £250
showing its impact in a rural area. each. The best photo taken on a
Other winners included James smartphone will also win £150. On
Birchall from Leeds, who won the Adult top of the cash prizes, a selection of
Structure category for his photo which the winning images will be made into
captured the Subaru Telescope above a photographic exhibition in central
the clouds on the Summit of Mauna London and feature in Amateur
Kea in Hawaii. Photographer later on this year.
33
Technique double exposures
Claire Gillo
Claire Gillo is AP’s Acting Technique Editor, a freelance writer,
and photographer based in Devon. During the past decade She
has worked across a number of photography magazines shooting
a variety of features on all different types of photography-
related subjects. Claire loves working with both film and digital
mediums, and you can follow her at www.clairegillo.com.
Take two
Claire Gillo reveals how to master the art of
double exposing on film using her Hasselblad
T
here’s no getting around the 500C/M with an 80mm lens. To this day,
fact that shooting film is a this camera remains a beautiful and
far more laboured, expensive simple machine to use. Once you have a
and uncertain way to produce camera you need to work out how to trick
a photographic image. When it comes it from its default settings to take two
to taking a double exposure on film it’s exposures on the same piece of film. On a
even trickier, as not only do you need to Hasselblad the film is loaded into a film
consider visually how the two frames are magazine that can be attached and
going to work together, you also need removed from the back of the main
to apply the correct exposure settings camera body. This is why it’s easy to hack
to each without under or overexposing around. To take the double exposure first
the end result. However if you do all this shoot the scene as normal, then insert the
right then there is something far more dark slide back over the magazine film
rewarding and enticing about one that back, take the magazine off the camera,
has been captured on film. wind the camera on, put the magazine
To take a double exposure on film, the back on, remove the dark slide and shoot
first thing you will need is a camera that another exposure. It may sound a bit
can do the job. For our shoot we used our complicated, but once you’ve done it a
old 1970s medium-format Hasselblad couple of times it’s simple to master.
This view looks over the sea at

Slapton Sands towards Dartmouth
teamed against an image of the
jagged sea defences. The shapes,
All PiCTurES © ClAirE Gillo
textures and lines in both images

blend well together
If you have a 35mm camera, which for

many is more accessible, then the process
is a bit different. The idea is you take your
first exposure, hold the rewind knob lever
so your film can’t move, press the rewind
button on the bottom of the camera, and
push the advance lever to wind the film on
without actually winding it on. Then you
can take another shot again. There’s a
great instructional, short YouTube video
at bit.ly/1Qdkz5Z, on how to do this if you
need a visual guide.
Once you have your camera sorted then
the next step is your film. Decide if you
want to shoot black & white or colour, and
what speed you need your film to be. We
were shooting on 120 medium-format film
as our camera produces square 6x6 inch
With black & white there is
no colour to distract from KIT LIST
the shapes and structures.
This image shows the new
road along Slapton Sands,
Devon, teamed against an
exposure looking out to sea
▲ Camera
You’ll need to find a camera
that can do the job whether
it is a large-format, medium-
format, or 35mm camera. Our
500C/M is easily tricked into
taking two exposures in one!
Film
Consider the film speed (ASA or
ISO) and whether you want to
shoot in colour or black &
white. The latter is more
straightforward; however when
it comes to colour film the
results in tone and colour vary
across the brands.
frames. The ASA or ISO on ours was 400 Shooting with the
which meant we didn’t need to use a Hasselblad requires
tripod as we were shooting during the day. looking through the
Like with digital the higher the ISO the mirrored viewfinder
grainier the image; however grain from above
compared to digital noise is far nicer and
less of a technical flaw, so you can use it to
create a more stylised look if desired.
For this double-exposure film shoot we ▲ Light meter
shot on both black & white and colour There are a few options when
film. Despite doing the same technique for it comes to metering. You can
both rolls of film our colour shots came out either use an external light
far better, going to show that each film meter, your film or digital
and brand all require a slightly different camera (our film camera did not
approach. For our colour film we have one), or a smartphone app.
underexposed each frame by -1 stop to We tried the app called Light
avoid overexposing the end result. Meter - EV for Photography on
Film can be forgiving so don’t be the app store for free.
Technique double exposures
The Hasselblad This image shows the
comes apart (film passing of time as the
magazine on the tide goes in and out.
back) making it easy Sometimes a simple
to trick the camera approach is all it takes
A removable film
back allows you to
shoot multiple films
simultaneously if you
have more backs
afraid to let a little more light in as you

normally would. With our black & white
film we underexposed by -1 stop, but the
results were unusable. On our next shoot a
few weeks later with the same black & white
film we set each scene to correctly expose,
which came out much better. You may also
want one image to be more present in the
frame (therefore you’ll need a brighter
exposure value) and the overlaying subject
more faint (underexpose). It really is a case of
experimenting and writing down what you
have done so you can learn what does and long time to shoot a roll of film. It helps if
doesn’t work. Part of the process with double your subject/s and settings are in the same
exposures on film is making mistakes, place (but this isn’t essential if you have
experimenting and hopefully getting closer the patience).
to perfection next time. The images taken on our photo shoot are
When it comes to finding good subject part of an ongoing project that looks at the
matter then there are many approaches you relationship between the sea and the erosion
can take. Shapes, strong lines and patterns all and shaping of the land. Therefore not only
make interesting visual effects, and if you’re was it important for the two images to work
after a dreamlike avant-garde type result together from a visual standpoint, but we
then people (silhouettes), buildings, flowers, also wanted the images to highlight the
water all make fantastic subjects to merge relationship between nature and man and
together. You’ll need to think about how the ongoing battle of the changing land. If
you can make the exposure work logistically. you want to see more, you can follow the
For example if you need to travel 20 miles project at www.instagram.com/
between each frame then it’s going to take a theroadphotographyproject.
Claire’s Top Tips
Monochrome or colour? Light and dark areas Remember where

Some argue that black & white film works When exposing your frames remember you place objects
better for the double-exposure technique that white or bright areas will destroy the Your first image will be your primary subject.
as the shapes and tones are easier to blend information on a negative. Anything that is dark Remember where you place key objects in the
together without the distraction of colour; will maintain it for the next frame. So if you scene so when you frame up your next image
however we found that really it’s just a case of take a silhouette of a figure, underexpose the (your second subject) they work together in the
experimenting and seeing what works! It’s all figure/face first and then this area will be filled frame. Shoot a few frames of the same subject
down to personal preference. with what you shoot in your next image. to get it right and have some variations.

‘Part of the process with
double exposures on film
is experimenting so you
can learn what works’
Scan your negatives to digitise your files for

greater control over the final outcome
Developing
and scanning
If you have the facilities to develop and print
your own images then you will have more
control over the end result. However for
many of us this is not an option. We sent our
films to be developed at Digital Lab (www.
digitalab.co.uk/film-processing). As they
have a postal charge it makes more sense
to send off a few films at one time. They did
a great job and quickly turned our films
around in a few days. As we have a scanner
at home we only ordered the negatives. If
you don’t have a scanner at home then
scanning negatives is another service most
film developers offer.
To digitise our negatives we used the
Epson V600 Photo. This is a great mid-
range affordable scanner that comes with
negative holders and an easy-to-use
software programme.
After we scanned our images we quickly
cleaned up the dust and scratch marks using
the Spot Healing brush in Photoshop and
boosted the contrast a little.
Write it down Hasselblad history

Film can be quite forgiving, but it can be a For any keen Hasselblad enthusiasts out
useful exercise to write down all your camera there, have a look at this visual feature on its
settings for each exposure and then you can website of the history of its 500 model: www.
see where you went wrong and how to make hasselblad.com/history/500-series/. The iconic
improvements next time. Our black & white 6x6in square format is lovely to work with,
film was underexposed and unusable, and making a refreshing change from the 2:3 We used the Epson V600 Photo scanner to
we had to try again. landscape ratio. digitise our negatives at home

© cliff harvey
© caron harrison
2
1 Into The Light by Cliff 2 Epiphany by Caron

Harvey a perfect use of Harrison intentional lens
light and shadows for a flare adds a point of
street silhouette that interest to this intriguing
looks like something from monochrome shot – as
1 a film-noir movie. do the moody clouds.
5
5 Common Blue by Gill 6
McLennan lots of detail
and an elegant use of
space around the subject
makes for a beautiful
macro shot here.
6 Ice Bar, Jukkasjärvi,

by John Dunn The toning
of this image perfectly
suits the subject – while
© gill mclennan
the lone human figure

© john dunn
adds a great sense

of scale.
Join
When was the club founded? programme chairperson who introduces the
The Bedford Camera Club was founded in speaker for the evening, or to the internal
1906. We currently have over 70 members. competitions chairperson who introduces the
judge for the evening. We break for tea, coffee
What does the club offer to new members? and biscuits at around 8.30pm, then back to
Club
The club is always looking for new members, the activities until around 9.45pm, when the
the and current members are keen to help

anyone with their camera craft. We have
occasional member evenings where
meeting is adjourned and the members tidy up
- and have a good chat at the same time.
workshops and demonstrations are offered, Do you invite guest speakers?

and during the summer we have weekly The club routinely invites 10 guest speakers
outings for members to learn about various each season, sometimes more. The subjects
genres of photography. are varied and always interesting, from camera
craft, landscape photography, portraiture,
Describe a typical club meeting. wildlife, monochrome and so on. We’ve also
We find out about the Members start arriving from around 6.45pm enjoyed presentations and talks by some very
and set up the chairs and tables for the famous photographers who live in our region,
113-year-old enthusiastic evening. The president calls the meeting to and on occasion we have a visit from a
order at 7.30pm, makes announcements, representative of a specific camera system
Bedford Camera Club then turns the meeting over to either the such as Fujifilm, Canon, Olympus or Nikon.

YOUR PICTURES IN PRINT
3 Meg and Red by

Ian Whiting Clever
framing of the
material at the front
© BRUCE DEACON
of the shot ensures 4
that eye contact
is retained in this
unusual portrait.
© IAN WHITING
4 Sheepdog Kyle by 8 Togetherness by

Bruce Deacon Getting Richard Burn LRPS
down low is the perfect Monochrome makes a lot
perspective for this of sense for this most
beautiful pet portrait. The black and white of
ear standing to attention subjects – great eye
helps to add character. contact too.
7 Glass and Steel

by John Gough
A close-crop
of architectural
reflections has
created a dramatic
©RICHARD BURN
abstract which works

© JOHN GOUGH
incredibly well.
Do members compete in competitions? on the screen. Sounds easy, right? Well, the
Our members are very active in external images on the screen were pictures of the Club essentials
competitions. As a member of the East Anglia committee members when they were babies,
Federation (EAF) we participate in their print so the question became a whole lot more Bedford Camera Club
and PDI competitions every year, as well as difficult at that point!
numerous regional and inter-club competitions.
Scott Primary School, Hawk Drive,
Several of our members have their LRPS What are the club’s goals for the future? Bedford MK41 7JA
distinction, so our club is often represented The Bedford Camera Club is an enthusiastic Meets Tuesdays from 7.30pm to 10pm, from October
in various national and international salons, and talented group of people ranging in age to the end of April
including the London Salon. from mid-20s to mid-80s. Some have been Membership Annual membership is £60, students’
with the club for 60 years or more, so for fee is £30, and couple’s membership is £100
Are any residential trips or outings planned? the future of our club, we’re always looking
Nothing formal, but there are several members to attract younger members. Our goal for
Contact Cliff Harvey at fireguy999@gmail.com
who plan hiking and photography workshops the future continues to be adding to our
or call 07860 360059
with other members during the year. membership numbers, increasing awareness Website www.bedfordcameraclub.co.uk
of the club within the local and regional area,
Do you have any funny club stories? displaying our collective work at competitions
Recently there was a quiz at our President’s and exhibitions throughout the year, and
Evening, and one of the questions was to offering help and guidance with photography Want to see your club featured on these pages? Drop
identify which committee member was shown to any members who need the help. us a line for more information at ap@ti-media.com.

Testbench CAMERA TEST
At a glance
£2,800 body only

● 20.4MP Four Thirds MOS sensor
● 121-point phase-detection AF
● 15fps shooting (10fps with C-AF)
● 2.36m-dot EVF, 0.83x magnification
● 3in fully articulated touchscreen
● 5-axis in-body stabilisation,
up to 7.5 stops
Olympus
OM-D E-M1X
Andy Westlake investigates Olympus’s
innovative new flagship camera: a pro-focused,
rapid-shooting Micro Four Thirds powerhouse
I
For and against Data file n October it will be 100 first sight this is a strange choice
years since Olympus’s from Olympus, but after using the
Superb build quality and Sensor 20.4MP Live MOS, 17.4 x 13mm foundation, and to camera for a while, I can see the
ergonomics make the camera Output size 5184 x 3888 celebrate, the firm has point. Many photographers
a joy to shoot with Focal length mag 2x produced a real statement model habitually use add-on grips when
Lens mount Micro Four Thirds for Micro Four Thirds. The OM-D shooting action with long lenses,
Excellent JPEG output with Shutter speeds 60sec – 1/8,000sec (mechanical), E-M1X takes all the things that and integrating the grip has
well-judged exposure and 60sec - 1/32,000sec (electronic) its previous flagship OM-D E-M1 allowed the firm to make a more
attractive colour Sensitivity ISO 200-25,600 standard, Mark II did particularly well – high- robust body with additional
ISO 64-25,600 extended speed shooting, autofocus tracking, controls and features.
Incredibly effective in-body Exposure modes PASM, B, Movie
in-body stabilisation and durability Olympus is making a number
stabilisation keeps Metering Pattern, Centre Weighted, Spot,
– and cranks the dial up to 11. of eye-catching claims for the
images sharp Highlight Spot, Shadow Spot
Exposure comp +/- 5EV in 0.3 EV steps At £2,800 body only, it doesn’t E-M1X. It says it has the world’s
Very effective continuous Continuous Up to 60fps replace the Mark II, but instead best dust-, splash- and freeze-
autofocus and subject shooting forms a new tier in the line-up. proofing for shooting in severe
detection Screen 3in, 1.04-million-dot fully In essence, the E-M1X is weather; the most effective image
articulated touchscreen designed for shooting sports stabilisation, with up to 7.5 stops
Huge range of useful additional Viewfinder 2.36m-dot, 0.83x magnification and wildlife under demanding of shake reduction; the industry’s
photographic features AF points 121, all cross-type conditions. It’s one of only a highest viewfinder magnification,
Video 4K, 30p, 102Mbps handful of cameras to include an and a remarkable battery life of
ALL PR CES ARE APPROX MATE STREET PR CES
Bulky body External mic 3.5mm stereo integrated vertical grip for portrait- 2,580 shots. Notable new
Lower high-ISO image quality Memory card 2 x SD, SDHC, SDXC format shooting, alongside the features include AI-powered
(both UHS-II compatible) Canon EOS-1D X Mark II and subject-detection autofocus, a
than larger-sensor peers Power 2 x BLH-1 Li-Ion Nikon D5. Its mirrorless design handheld version of the firm’s
Restricted top-quality Battery life 2,580 shots means that it’s not as huge as high-resolution composite mode,
telephoto lens range Dimensions 144.4x146.8x75.4mm these two behemoths, but it still and a Live ND function for
Weight 997g (with batteries and cards) weighs in at almost a kilogram. At shooting long exposures.

Here the E-M1X allowed me to shoot handheld at
840mm equivalent, while holding focus on cars
driving at high speed directly towards the camera
Olympus 300mm F4 IS Pro + MC-14, 1/2000sec at f/5.6, ISO 1250
Features mode can record up to 35 frames of 5, 9 or 25 points, and even uses the IBIS system to sample
The E-M1X is based around a at 60fps before the shutter button define custom AF-area patterns the image with increased
20.4MP Four Thirds sensor which, is fully depressed, meaning you to suit your own needs. Face and accuracy, it’s based around the
at approximately 17.4x13mm, is can capture shots before you’d eye detection are available, too. concept of ‘super resolution’, with
roughly half the area of APS-C, normally have time to react. The E-M1X gains an uprated the inevitable slight differences
and a quarter that of full frame. It Shutter speeds range from version of the firm’s already between up to 16 handheld
offers a standard sensitivity range 60sec to 1/8,000sec using the industry-leading 5-axis in-body frames exploited to construct
of ISO 200-25,600, extendable mechanical shutter, extending to image stabilisation (IBIS) system. a 40MP image.
down to ISO 64 at the risk of an ultra-fast 1/32,000sec with Thanks to a new gyrosensor, There’s a whole stash of
clipped highlights. Two TruePic VIII the electronic shutter. There’s also Olympus is claiming an incredible additional features on board, too,
processors provide the necessary an electronic first curtain shutter 7.5 stops of stabilisation when the including a vast array of bracketing
horsepower for its remarkable mode that eliminates any image camera is used with an optically options, high-dynamic range
speed, along with many of its blur due to shutter shock. The stabilised Zuiko lens such as the shooting, in-camera keystone
other special features. mechanical shutter is rated for 12-100mm f/4 IS, with the body correction for removing unwanted
Continuous shooting is available 400,000 actuations, and is and lens working together to give converging verticals, and a
at 15 frames per second with exceptionally quiet; the electronic ‘Sync IS’. Sadly this doesn’t work comprehensive intervalometer.
focus fixed at the start of a burst, shutter is completely silent. with Panasonic lenses; instead you Olympus’s Live Time and Live Bulb
or at 10fps with continuous AF, Autofocus employs on-chip have to choose between in-lens modes remove the guesswork for
with a 287-frame raw buffer. phase detection, with 121 and in-body stabilisation. shooting long exposures by
Switch to the silent electronic cross-type focus points. This may Olympus was one of the first displaying the image as it builds
shutter and this increases to 60fps not match the sheer number of to introduce a high-resolution up, while Live Composite is a
with fixed focus or 18fps with AF AF points on recent mirrorless multi-shot mode, but until now it’s clever way of extending light-trail
tracking, but at the risk of image cameras, such as the 493 used been strictly tripod-based. On the shots beyond what would normally
distortion due to rolling shutter by the high-speed Sony Alpha 9, E-M1X the firm has debuted a be possible. New on the E-M1X is
artefacts. For unpredictable but it still means you can focus version for handheld shooting, Live ND, which allows the shooting
subjects where timing is practically anywhere across the which outputs 40MP JPEGs. of long exposures just like
everything, Olympus’s Pro Capture image area. You can utilise groups Unlike the tripod mode, which using a neutral density filter.

The remarkable IS system enables
multi-second handheld
exposures, as with this shot of the
Painted Hall in Greenwich
Olympus 12-100mm F4 IS PRO at 12mm,
1.6sec at f/5.6, ISO 200
The E-M1X can record operate even when you’re wearing huge improvement on using the method for adding items, by
video in Cinema 4K (4096 x gloves, and I certainly appreciated d-pad on the E-M1 II. The AF pressing the video button when
2160) resolution at 30fps, with a this when shooting a total lunar area is highlighted in an easily they’re selected. This leaves the
new OM-Log 400 profile available eclipse at 5am on a freezing visible green when you move it, other manufacturers’ far more
to produce footage that’s more January morning. which is a welcome contrast to complicated approaches looking
suitable for colour grading. It’s The control layout is broadly Sony’s insistence on ‘highlighting’ pretty silly.
even possible to set different levels based on the E-M1 Mark II, but the focus point in invisible grey.
of image stabilisation for video. the larger body means there’s Some photographers will be Viewfinder and screen
Smartphone connectivity is space for even more controls. surprised by the fact that Olympus As usual for an OM-D, the E-M1X
provided by built-in Wi-Fi and Most notably, there are new ISO hasn’t provided a separate AF-ON sports a centrally mounted
Bluetooth. This lets you use and exposure-compensation button for activating the autofocus viewfinder above an articulated
your phone as either a simple buttons adjacent to both shutter independently of the shutter. The touchscreen. The EVF is huge,
Bluetooth remote shutter release, releases, and a white-balance idea is that you use the AEL/AFL
or as a comprehensive remote button on the back. A large lever button instead, which changes 10fps shooting allowed me
control over Wi-Fi, including full on the back allows you to disable function to AF-ON when you to catch the moment this
access to exposure settings and a the vertical grip, or alternatively switch to C-AF. You can configure heron took off from its nest
live view display. You can also copy lock-off a user-specified exactly how you’d like it to behave, Olympus 40-150mm F2.8 Pro + MC14
your favourite images across to combination of buttons and dials. and set it up differently for S-AF, (cropped to 840mm equivalent),
1/1000sec at f/4.5, ISO 500
your phone for sharing. Olympus Almost all the main controls fall C-AF and MF modes.
says a new version of its OI Share perfectly to hand, aside from the With all these buttons, dials and
mobile app will support raw file portrait-format ISO button which switches, the E-M1X has all the
transfer, while Olympus Capture requires an uncomfortable stretch external controls you could
software enables Wi-Fi tethered of your forefinger. possibly ask for, and arguably
shooting from a computer. Three buttons above the power more. Not only do you barely have
switch on the left shoulder give to enter the menus, you rarely
Build and handling quick access to metering, flash, have to bother with the onscreen
With its rugged weather-sealed drive, focus and bracketing modes. super control panel. Indeed the
magnesium alloy body and Function buttons placed beneath camera is so well set up out-of-
integrated vertical grip, Olympus the tips of your second and third the-box that I found little need
is placing the E-M1X squarely in fingers operate depth-of-field to change anything.
the same bracket as Canon and preview and one-touch white Olympus’s huge and convoluted
Nikon’s pro sports cameras. Its balance, but can be reconfigured menus haven’t changed, with the
build quality really is excellent, with to almost any other setting. custom menu now stretching to
the big chunky handgrips making In a long-overdue move, 23 pages. Thankfully, Olympus
the camera extremely comfortable Olympus has included a pair of has finally added a My Menu
to hold for extended shooting. The joystick controllers for positioning where you can compile up to 35
controls are large and well spaced, the focus point. Both fall naturally of your most-used settings. It’s
making the camera easy to beneath your thumb, and are a also come up with an elegant
42
CAMERA TEST Testbench
offering 0.83x huge magnification, trains, planes, or motorsports. The
Focal points
but the choice of a 2.36-million- camera will outline any object of
dot panel is surprising given that the correct type in the viewfinder,
its competitors now all use and ignore everything else.
3.7-million-dot units at least. The Olympus says that the detection Olympus has incorporated an array of advanced
firm’s explanation is that this aids algorithm has been trained using features into the E-M1X’s ultra-tough body
driving the finder at 120 frames a ‘deep learning’ approach, which
per second for lag-free action means that the camera could in Weather-sealing
shooting; however the relative lack principle be updated to detect Both the SD card door and battery-tray release use twist-latch doors to prevent
of crispness is clearly visible. other subject types in future, accidental opening. Olympus says sealing isn’t compromised when using a
Having said that, the viewfinder such as birds or animals. If it can’t microphone, headphones or a wired remote release.
is still very good, giving an find any object of the specified
accurate preview of colour, type, the AF falls back to its Connectors Cable release Olympus has included a 2.5mm
exposure and depth-of-field. conventional subject tracking. On the left electronic release socket, cross-compatible with those
You can display plenty of useful Subject detection works really of the body used by Canon, Pentax and Fujifilm.
information, including a live well, and did a brilliant job when you’ll find
histogram, electronic levels, and I tested it at a couple of motor 3.5mm stereo Dual card slots
highlight and shadow clipping sports events. It’s able to pick microphone and It’s possible to use the
warnings. It’s possible to choose up cars wherever they enter the headphone two UHS-II SD card
whether exposure data is overlaid frame, rapidly acquire focus, and sockets, behind slots either sequentially
on the preview image or displayed then follow them and track focus separate chunky or simultaneously, and
below to give a cleaner view. no matter how they move. One rubber covers. choose which file types
One real advantage of the clear real-world benefit is that it’s The HDMI to record to each.
E-M1X over its competitors is its rarely confused by any extraneous and USB-C There’s even a button
fully articulated LCD, which makes objects that temporarily obstruct connectors sit for switching between
it much easier to shoot at unusual your view. This ability to specifically below, under a cards, which is really
angles in both portrait and track the desired subject is shared cover. handy for playback.
landscape formats. Touchscreen revolutionary, making it so
functionality is relatively limited, straightforward to get good
but includes the most important results that it feels like cheating.
options including focus-point However while the E-M1X
selection, operation of the performs superbly with relatively
on-screen control panel and large, well-defined subjects, I
75.4 mm
image browsing in playback. don’t think it’s quite on the same

level as the class-leading Sony
Autofocus Alpha 9 in its ability to lock onto
Perhaps the camera’s most small, distant ones. Nor is it as
interesting feature is its Intelligent capable of keeping track of
Subject Detection autofocus, randomly moving objects such
which allows it to recognise and as birds when it’s working purely
track specific kinds of subjects. by pattern and colour. It’s still no Field sensors Power
This works in the C-AF + TR focus slouch, but with wildlife you’ll A GPS unit, thermometer, manometer The two BLH-1 batteries provide
mode, and can be configured for often be better off using and compass are built in. These 2,580 shots between charges.
can record the camera’s longitude, They can be recharged via the
latitude, elevation, temperature and camera’s USB-C port, and a pair
shooting direction into the EXIF data. of external chargers is provided.
146.8m
144.4 mm
43
Handheld multi-shot gives
extra detail, but can show
ghosting with moving subjects
Olympus 12-100mm F4 IS PRO at 41mm,
1/640sec at f/4, ISO 200 Detail crop, showing ghosting
groups of focus points low light. I was particularly accomplished camera that’s touching the second battery; using
instead of subject tracking, impressed to find it could focus on capable of turning out great- the electronic shutter I recorded
and the hit-rate probably won’t the edge of the eclipsed moon looking images shot after shot. well over 5,000. You’d need a
be as high. using a 300mm f/5.6 telezoom. Like most mirrorless models it serious day’s shooting to get
With static subjects the AF takes a second or so to start up, through both batteries.
likewise works extremely well, Performance but from then on it’s as fast and As usual from Olympus, the
being practically silent, accurate Put the E-M1X to work shooting responsive as you could hope for. E-M1X’s in-body stabilisation is
and almost instantaneous. It also fast-moving subjects, and you’ll It’s just worth bearing in mind how truly phenomenal. It’s possible
continues to work in remarkably quickly find that it’s an extremely easy it is to eat up the buffer and to routinely shoot handheld
card space when shooting at high exposures way longer than you’d
frame rates, especially when believe possible, even into multiple
Live ND
recording raw files. seconds. This works with any
Typically for Olympus, though, lens you can fit onto the camera,
JPEG files are superb, with but you’ll get best results with
New to the E-M1X is a Live ND function that can be used for excellent colour and well-judged Olympus’s optically stabilised
shooting long exposures equivalent to using neutral-density filters exposure. Indeed there are few lenses such as the remarkably
from 1 to 5 stops, with the effect previewed in the viewfinder. It’s only cameras with which I’d be versatile M.Zuiko 12-100mm F4
available in manual-exposure mode, and is generally best used with more confident turning off raw IS Pro. It can be used much more
the camera on a tripod. It works well, and means you no longer have recording. The only real caveat is creatively than simply to combat
to stop down to resolution-sapping small apertures to shoot long over-aggressive noise reduction camera shake, for instance to
exposures. However with a maximum of 5 stops effect, it’s not yet a smearing away fine detail, and obtain a long shutter speed so
substitute for the really deep ND filters that are fashionable among there’s a strong case for setting as to blur moving water.
landscape shooters. the Noise Filter to Low if you want Even the handheld multi-shot
to make large prints. It’s also mode works well, although the
Live ND was used to blur the waterfall. 12-100mm F4 Pro, 1.3sec at f/5.6, ISO 200
crucial to shoot at larger apertures camera locks up completely for
than you’d use with larger formats, 13 seconds to complete the
to avoid diffraction blurring. In my processing. The resultant 40MP
experience this isn’t remotely a JPEG files look soft at the pixel
problem with Olympus’s high-end level, but down-sampled to 20MP
PRO lenses, which deliver great they show visibly more fine detail
results at all apertures and than conventional single-shot
focus distances. images. The camera still has
Battery life is exceptional, problems dealing with subjects
especially in burst mode. For that move while it’s recording the
example, shooting at 10fps with exposures, but even so it’s the
the mechanical shutter, I managed most practical version of this
over 3,400 frames without even feature to date.
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details.
With its 20MP Four Thirds sensor, the E-M1X is capable of easily resolving enough detail for
an A3 print. It may not quite match its 24MP peers in this respect, but the difference is of little
practical importance. The smaller sensor does mean that it lags behind its rivals for image noise
when comparing ISO-for-ISO, but in some situations this can be offset by its outrageously Recommended
effective image stabilisation. While you’ll get best results at ISO 1600 and below, I’d happily
shoot at up to ISO 6400 as a matter of course.
With the OM-D E-M1X, Olympus appears to

Resolution have given its designers free rein to build the
best camera they can, regardless of price.
At low ISOs, using the Olympus 60mm f/2.8 Macro with resolution dropping to around 3400 l/ph. By ISO The result is an innovative and highly
at f/4, the E-M1X cleanly resolves at least 3600 l/ph. 6400 this falls to about 3000 l/ph, before plummeting accomplished camera that’s built like a tank
However false colour and maze patterns due to to 2400 l/ph at ISO 25,600. Olympus’s JPEG processing and packed full of clever features, with its
aliasing creep in at higher frequencies. Noise only gives slightly lower resolution in a bid to reduce intelligent subject-detection autofocus being
starts to have a clear negative impact at ISO 1600, artefacts and noise. particularly impressive. But the question is,
how many photographers will be prepared to
RAW RAW RAW RAW
ISO 64 ISO 1600 ISO 6400 ISO 25,600 shell out £2,800 for a large, high-end Micro
Four Thirds body?
Indeed in terms of value proposition, I
suspect few cameras will polarise opinion
On the right we show details quite like the E-M1X. In reality it’s a
from our resolution chart test niche product that will appeal mostly to
pattern (above). Multiply the photographers who shoot fast-moving,
number beneath the lines by unpredictable subjects in demanding
200 to give the resolution in outdoor conditions, especially those who
lines per picture height. need to carry their kit long distances to get
the shot. But one problem is that there
aren’t many high-end telephotos to match:
Noise just a 40-150mm f/2.8 and 300mm f/4
from Olympus, and 100-400mm f/4-6.3
There’s little to fault about low-ISO images from the E-M1X, which display and 200mm f/2.8 optics from Panasonic.
strong colour and plenty of fine detail with no visible noise. Indeed it’s Of course, it’s impossible to get away from
only at ISO 800 that a little luminance noise creeps in, but you’ll only see the fact that the relatively small sensor limits
it when viewing files close-up on screen. However by ISO 3200 noise is the image quality, especially if you want to
having a much stronger impact, with fine detail disappearing and colour shoot in low light or make very large prints.
saturation suffering too. At ISO 6400 image quality is still acceptable for But the flip side is that Olympus’s PRO
smaller output sizes, but personally I’d avoid using ISO 12,800 unless lenses offer superb resolution in relatively
The crops shown below are taken there was no other choice, and reject ISO 25,600 completely. The camera’s small, lightweight packages, backed up by
from the area outlined above in red noise reduction goes much further in blurring detail to suppress noise. the E-M1X’s astonishing stabilisation. I had
no trouble shooting handheld with the
RAWISO64 RAW ISO 800 RAW ISO 3200 300mm f/4 and 1.4x teleconverter, which
give an 840mm equivalent combination.
Try that with full frame.
Ultimately the E-M1X doesn’t deliver
quite as high image quality as its APS-C or
full-frame rivals, and that’s a concern given
its price. But for many purposes it’s plenty
good enough, and it may just let you capture
shots you wouldn’t otherwise get. Hopefully
Olympus will be able to provide many of its
eye-catching features in a smaller, more
RAW ISO 6400 RAW ISO 12,800 RAW ISO 25,600
affordable body later this year.
FEATURES 9/10
BUILD & HANDLING 9/10
METERING 9/10
AUTOFOCUS 9/10
AWB & COLOUR 9/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 8/10

MASTERS OF
COLOUR
Over 80 years of experience in
photography goes into every camera
we make. It’s part of what makes
the FUJIFILM X Series special
FUJIFILM-X.COM
IMAGE TAKEN BY UK X-PHOTOGRAPHER CHRIS UPTON
A big attraction of smartphones

is the ease of sharing images. I
post-processed this in Snapseed
before uploading to Instagram
1/50sec at f/1.8, ISO 158, 2x digital zoom
Google Pixel 3 XL
Google’s latest smartphone offers little in terms of
manual control but is a remarkably accomplished
pocket point-and-shoot. Andy Westlake reports
A
s the old adage goes, models from the likes of Huawei. cameras (one of which is
the best camera is the On the face of it, the Pixel 3 XL wideangle), with the space on
one you have with you. doesn’t appear to be in the same either side used for status icons. I
Except I find this to be class, as it only has a single main can’t say I like this look much, and
an oversimplification – there’s little camera and offers little manual wish Google would let you hide the
point in carrying around a small control. But it makes up for this by notch, but it’s not a deal breaker.
camera if it takes terrible pictures. being possibly the best point-and- The device measures 158mm
What you really want is a pocket shoot camera I’ve ever used. tall x 76.7mm wide, which means
camera that’ll consistently produce you can just about use it one-
good-looking photos, even if you Design and handling handed. If you prefer a smaller
don’t have time to adjust settings. Before we have a detailed look phone, take a look at the Google At a glance
Enter the Google Pixel 3 XL. at the camera, let’s first take an Pixel 3 (see page 48), which gives
Smartphones have now overview of the device itself. The up very little in comparison.
supplanted standalone point-
and-shoot digicams as the
Pixel 3 XL is designed much like
other current flagship Android
There’s a fingerprint reader on the
back for unlocking the phone, and
£969 128GB £869 64GB
● Android smartphone
carry-everywhere camera of smartphones, with a 6.3in OLED a single USB-C port that can also
● 6.3in display
choice, and we’ve been really screen covering most of its face. be used for wired headphones. On
● 12.2MP main camera
impressed by the photographic There’s a very deep ‘notch’ at the the right side you’ll see two
● 28mm equivalent f/1.8 lens
capability of recent multi-lens top for its unusual dual selfie volume buttons, either of
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019

Testbench CAMERA TEST
Panoramas are packed full of

detail, with few stitching errors
which can be used to take smartphones, but it’s all the artificial intelligence to construct
a picture in the camera app, surrounding technology that its images. So rather than using
with the on/off button placed elevates this device above a single exposure to produce a
above them. I’m not a fan of this the ordinary. photograph, it routinely combines
layout and constantly found myself First is the use of dual-pixel data from multiple frames
turning the phone off by mistake. autofocus, which splits every pixel captured in rapid succession.
In terms of software, the Pixel 3 on the sensor into two, allowing This is touted to bring a range
XL runs the latest Android 9 Pie on-chip phase detection. This is of benefits, including expanded
operating system, without any of the same technology used by dynamic range, reduced noise,
the extraneous extra apps or Canon in its EOS cameras to improved auto white balance, and
interface layers that get added by provide fast and accurate even increased detail.
the likes of Huawei and Samsung. live-view autofocus, and if All of this cleverness is accessed
This gives the cleanest possible anything, it’s even more from Google’s rather minimalist
Android experience, and I really impressive in Google’s hands. The camera app. Unlike many other
appreciated its slickness and firm has implemented extremely Android phones, there’s no Pro
speed in everyday use. capable subject tracking that’s mode offering manual exposure
similar to Sony’s latest Real-Time control; instead it’s all about
Camera features Tracking AF. All you have to do is simplicity. There are four modes
The Pixel 3 XL’s camera employs a tap the subject on the screen and for stills photography – camera,
12MP sensor that’s approximately the camera will track it and keep it portrait, panorama and night
5.7x4.2mm in size (according to in focus, no matter how you sight – along with video and slow
my calculations), along with a recompose or it moves around motion modes. The app is easy to
28mm equivalent f/1.7 optically the frame. use, but enthusiast photographers
stabilised lens. This may not sound Equally importantly, the might find it limiting.
special when you consider the device makes extensive use of The basic camera mode
40MP sensors used in some other computational photography and provides brightness, white balance,
zoom and flash controls, along
with a self-timer. But it also takes up to 15 frames and uses
includes a couple of more the slight differences between
advanced options, specifically them caused by hand shake
Pixel 3 or Pixel 3 XL? DNG raw-format recording and
Google’s Auto HDR+ control. The
to build a higher-resolution
composite image. The idea is that
While this review is based on the Pixel 3 XL, Google also makes latter effectively overcomes the you can then zoom up to 2x, or
a smaller, cheaper version with exactly the same camera and a limited dynamic range of the 50mm equivalent, without the
very similar feature set. The Pixel 3 has a 5.5in display, measures phone’s tiny sensor by combining usual catastrophic drop in image
68.2x145.6x7.9mm, and costs £739 for the 64GB version or £839 images captured with different quality. It’s reasonably effective,
for 128GB. Like the XL, it comes in a choice of three colours. exposures. As a result, images but it’s still no substitute for the
shot in high-contrast situations telephoto lenses used on its rivals.
routinely include well-balanced
shadow and highlight detail Special camera modes
without looking unnatural. Auto HDR extends to the Pixel 3
Google also has a trick when XL’s panorama mode, which is
it comes to zooming. It uses a one of the best I’ve ever used. It
computational method called stitches seamlessly as you sweep
‘super resolution’, which is across a scene, and is able to deal
completely different from with huge brightness differences
conventional digital zoom. Rather without completely losing highlight
than just enlarging the central detail or blocking up shadows. It’s
section of a single exposure, it a class above Huawei’s equivalent.
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Google’s camera app is extremely simple, with little manual control
very best possible image quality, the Pixel 3 XL won’t match a

not only at night but also during ‘proper’ camera if you want to
the daytime. make a large print, it’ll beat many
for Facebook and Instagram use.
Image quality Perhaps surprisingly, though, I
Looking back at the hundreds wouldn’t generally recommend
of images I’ve shot with the Pixel processing raw files. In most cases
3 XL, what’s most striking is how I struggled even to match the
consistently attractive they are. camera’s JPEG output, let alone
Google does a brilliant job with get better results. This just
exposure, colour, white balance underlines how large a role such
and auto HDR, which means technologies as Auto-HDR and
images look natural without being AI-based white balance play
overblown. In fact, on these terms in the image processing.
the Pixel 3 XL more than holds its
own even against most high-end
cameras. To me, the big
disappointment is the lack of a
second telephoto camera, as
detail disappears very quickly
Verdict
when you zoom in, even with OVERALL, the Pixel 3 XL is a
super-resolution processing. surprisingly capable camera. It’s
Let’s be clear though; no matter not the smartphone to buy if
what anyone might claim about you want the maximum possible
the Pixel 3 XL offering ‘DSLR- compositional flexibility; in this
level’ images, it really doesn’t. case, a multi-lens device such
By the metrics photographers as the latest Huawei P30 Pro
Google’s AutoHDR+ has normally use to assess image would serve you better. But it
done an astonishing job of quality, specifically resolution and produces consistently good-
balancing naturally the huge noise, it simply can’t match a looking images, and its specialist
range of tones in this shot
camera with a larger, higher- modes such as Panorama and
1/23000sec at f/1.8, ISO 81
resolution sensor and a larger Night Sight work exceptionally
lens. But given that its images will well. If you just want a really
Naturally there’s also a portrait shorter exposures, then adding most likely be viewed at a relatively good point-and-shoot to
mode, in which the camera applies them together to make the final small size on smartphones and complement a ‘proper’ camera,
post-processing to blur the image. The image is divided into tablets, it’s debatable how much then it’s definitely worth a look.
background while leaving the tiles for processing, which allows this matters. In other words, while
subject sharp. Unlike on some moving subjects to be recorded
other phones, this isn’t previewed without ghosting or blur. It’s The Pixel 3 XL makes
live; instead the device stores extremely effective, giving do with just a single
the processed image alongside remarkably good results in camera Recommended
the original version. It works conditions where you’d normally
reasonably well, and can even need to use a tripod.
make a decent effort with complex Night Sight even includes
subjects such as flowers. an unadvertised Easter Data file
Photographers used to working egg. If you place the
with large-aperture lenses will phone on a tripod, its Google Pixel 3 XL
have no problem spotting its flaws, accelerometers will detect Rear camera 28mm equiv f/1.8, 12MP
but it’s fine for social-media use. that it’s completely still. It’ll Front cameras Wideangle and normal, 8MP
Then there’s Night Sight, which then switch to its lowest ISO, Display 6.3in 18.5:9 OLED,
is designed to give sharp images select as long shutter speeds 2960 x 1440
handheld in low light. This as possible, and use controlled Operating system Android 9
circumvents the blurring you movements of the OIS group Storage 64GB/128GB (inbuilt)
usually get with long shutter to enable full-colour sampling at Dimensions 76.7x158.0x7.9mm
speeds by taking a series of each pixel location. This gives the Weight 184g

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ACCESSORIES
Kaiser KR90 LED

ring light Tripod mount
The light has a standard 1∕8in
thread that allows it to be
Andy Westlake tests a rechargeable attached to a tripod
or bracket.
LED ring light for macro shooting
● £269 ● www.fotospeed.com Power input
This coaxial socket is used
IF YOU’VE ever tried shooting close-ups, you’ll know to charge the battery or power
that lighting can be troublesome. It’s often necessary the light from the mains.
to shoot at small apertures to achieve sufficient depth The adjacent LED turns red
of field, quite possibly combined with high shutter during charging and green
speeds to combat subject movement or camera when finished.
shake. This generally means either using high ISOs
or investing in a macro flash set-up. Another option
is to use an LED ring light, which has the advantage
of showing exactly how your shots should turn out.
Last year I tested the £76 Kaiser R60 (AP 20
October 2018), which is a small lightweight AA-
powered unit that I found gave decent results. The
KR90 is an altogether different beast: it’s a chunky
device over 3cm thick, with 30 surface-mount LEDS
placed behind a frosted-plastic diffuser and powered
by a built-in rechargeable battery. It’s also more
expensive, priced in the same ballpark as third-party
macro flashes from Metz, Sigma and Nissin.
Adapter rings
The light itself has a 77mm
Everything about this unit feels a considerable step
thread for attaching to lenses,
up from the R60. It features a sturdy-feeling
and Kaiser supplies step-up
aluminium-alloy construction rather than
rings for all common sizes
plastic, and the controls are larger and
down to 52mm.
easier to operate. The rotary dimmer
dial provides a wide range of control,
covering seven stops at least, and
the LEDs’ colour temperature is
bang on the advertised 5500K.
Surprisingly, though, the KR90
is less bright than its cheaper
sibling by Kaiser’s own ratings,
giving 1650 lux at 30cm from the
subject compared to 2300 lux. In
practice, I had to set the sensitivity to
ISO 2000 when using an exposure of
1/200sec at f/8, at a subject distance of
30cm. In part this reflects the wide 110° field of
view the light covers, which gives lovely soft
shadowless illumination for macro shooting, but with
the penalty that the majority of the light output is
usually wasted. The sheer depth of the unit means Power source
it vignettes with lenses wider than 50mm (or Along with a mains block,
equiv), so you can’t use it for wideangle close-ups. a car charger is included in
the box. Both provide a
Verdict 1-amp 12-volt output.
The KR90 feels like a well-made and sturdy piece
of kit, and should certainly take a lot more abuse
than its cheaper sibling. However it suffers from many
ALL PR CES ARE APPROX MATE STREET PR CES
of the same problems, with low output compared to

flash, and the inability to control the LEDs on each
side independently to introduce a degree of three-
dimensionality to the lighting. But I could envisage
plenty of scope for experimenting with home-made Recommended
light modifiers to address these issues. If you’re a fan The KR90 gives soft shadowless light for close-ups. Sony Alpha 7 II,
of the ring-light look, it’s a solid piece of kit. Canon EF 100mm f/2.8 USM Macro via Sigma MC-11 adapter, 0.5sec at f/16, ISO 100

COMPETITION
A place on a
Win! portrait workshop
shooting Japanese geisha
© graham armitage
Now here’s an opportunity you don’t get historic towns such as Kyoto and Aizu, home
every day. sigma has teamed up with AP to of the sigma factory.
offer 10 lucky readers the chance to attend From a photographic perspective, geisha
a workshop in London with top portrait and look amazing, with their beautifully coiffured
fashion photographer, Dave Kai Piper. on hair, expertly applied make-up and
the workshop, you will get a once-in-a- photogenic kimono. so winners of this
lifetime chance to take portraits of a pair of unique competition will be guaranteed some
traditional geisha, who have come over from fantastic photo opportunities, as well as
Japan especially for the occasion. learning more about the finer points of
As fans of Japanese culture and history portrait photography from Dave Kai Piper
will know, geisha are women entertainers – a very engaging and charismatic teacher
who are experts in dancing, singing, art and as well as a great people shooter.
other traditional pursuits. Geisha have been what’s more, we will then choose an
a fixture of Japanese society for hundreds oVerALL winner from the 10 workshop
of years, and although their numbers greatly attendees, who will receive a sIGMA 50mm
reduced as the country modernised, they F1.4 DG hsM Art lens from sigma and be Winners will be able to photograph these geisha
can still be found practising their art in featured in a subsequent article in AP. from Japan during the portrait session
How to enter
All you have to do to be in with a
chance of winning one of the 10
places is to upload your best
portrait(s) to the Photocrowd
website via amateurphotographer.
co.uk/geisha.
The geisha event will take place

at the Ham Yard Hotel in central
London on Thursday, 27 June,
between 11am and 2pm. Dave will
focus on everything involved in
© getty images/LoneLy PLanet images
portrait photography, from posing

and lighting to lens selection. Sigma
will have a selection of products
there for the 10 winners to try
during the shoot.
The images will be judged by AP staff and the 10
winners will be contacted by email. Before you
enter, please note you must be free to attend
the experience and portrait workshop on
Thursday, 27 June, between 11am and 2pm at
Ham Yard Hotel in central London and be able to
make your own way there (travel expenses not
included). Full terms and conditions can be
found at www.amateurphotographer.co.uk.
The closing date for entries is
midnight on Tuesday, 28 May 2019
For your chance to win visit amateurphotographer.co.uk/geisha

Tech Talk
ofessor Newman on…
Sensor Subscribe to
detective work
An interesting look into the development of column-
Amateur
Photographer
parallel analogue-to-digital converters (ADCs) for just
G
iven that the image
sensor is at the
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With the sensor in Nikon’s D5300, Sony Semiconductor started arranging the 597
One face
E cameras
& lenses
active team of experienced (and ADCs in small blocks. This layout was repeated in the sensor for Sony’s A7S
therefore highly paid) specialists, in 50 ways
Fresh approaches for
‘Most of the connections to an image

creative portraits
order to extract maximum value a APOY’s top
portraits
sensor manufacturer needs to be
sensor are power lines’
Which people shots
did well, and why?
continuously developing sensors. Top-notch

Tokina
Superb fast 20mm
This factor gives the larger sensor prime tested
manufacturers a worthwhile research and development wide strip along the top and/or the
advantage over smaller ones. They needed to get such things working bottom of a sensor. In this respect, Collodion
creativity
can employ larger teams, which well enough to have state-of-the- all sensors with column ADCs A modern twist on
a classic technique
The perfect small camera bag Lovely new Billingham ticks the boxes
enable them to create, develop art performance. looked somewhat similar. The
and refine new technologies. Sony IMX193 sensor used in
One of the most important The human element the Nikon D5300 displayed a
such technologies in the past few Another fact about engineering somewhat different pattern.
years was the column-parallel design teams that is often Instead of forming a continuous • Never miss an issue
analogue-to-digital converter forgotten is that they are stripe, its ADCs, along one edge of with delivery
(ADC). Instead of feeding the composed of human beings. This the sensor only, were arranged in direct to your door
whole of the output from the means that over time they evolve a sequence of blocks. The same
sensor into a single ADC or a small their own, often idiosyncratic way arrangement became apparent in • Peace of mind with
array of them, one, or sometimes of doing things. One example of later Sony sensors, including that our money back
two, are placed in each column of this is how the power-supply for the Sony A7S, which had these guarantee if you
pixels. The advantage of this connections are arranged around blocks at both the top and bottom change your mind
arrangement is that the sheer the chip. Most of the connections of the chip. The reason for this
number of ADCs allows them to an image sensor are power became apparent from a research
• Access to exclusive
to operate slowly, which means lines, which are critical to the way paper entitled A 17.7Mpixel 120fps
offers, giveaways
they generate less noise. While the the sensor works. In most sensors CMOS Image Sensor with 34.8Gb/s
and prizes with
column ADC arrangement is these power lines are arranged in Readout published by Sony
subscriber Rewards
simple in principle and design, it is an orderly pattern around the engineer Takayuki Toyama and
tricky to refine to the point where edge of the chip. In Sony sensors, colleagues, in which they
it delivers the whole potential of however, we see something described how they dramatically
the technique. This is because with different. Their arrangement is increased the operational speed
thousands of individual converters, more haphazard. My guess is that of their column ADCs by splitting
they must all perform extremely Sony engineers have developed a them into fast and slow halves, in Subscribe online at
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Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
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Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
camera and equipment?
If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
theft is always present. Accidents can also happen, whether its your fault or someone else’s – dropping
a lens or knocking over a tripod are easy but can be expensive mistakes to make.
As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
have the potential to damage your kit in the pursuit of the perfect shot.
Amateur Photographer Insurance Services can be there to help protect against the things that
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Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services
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FUJI X10 WITH CASE, HOOD & FILTER ��MINT £199�00 CONTAX 50mm f1�4 MM PLANAR WITH FILTER��MINT £225�00 HASSELBLAD 150mm f4 SONNAR CF�� MINT-BOXED £395�00 TOKINA 80 - 400mm f4�5/5�6 AT-X D��MINT BOXED £245�00
FUJI XT 10 BODY WITH CHGR, 2 BATTERIES �� MINT-BOXED £265�00 CONTAX 50mm f1�7 AE LENS ��MINT £95�00 HASSELBLAD 50mm f4 DISTAGON SILVER ��EXC++ £195�00 TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��MINT BOXED £295�00
FUJI X30 SILVER WITH BATT & CHARGER ��MINT CASED £295�00 YASHICA/CONTAX 55mm f2�8 ML MACRO LENS ��MINT £175�00 HASSELBLAD 150mm f4 SONNAR SILVER ��EXC++ £175�00
FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW) ��MINT CASED £425�00 CONTAX 135mm f2�8 SONNAR WITH FILTER ��MINT £175�00 HASSELBLAD 250mm f5�6 SONNAR SILVER ��EXC+ £179�00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��MINT BOXED £195�00 CONTAX 300mm F4 TELE TESSAR MM ��MINT BOXED £295�00 HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR��MINT BOXED £2,995�00 Nikon Manual Focus
NIKON D600 BODY WITH 2 BATTS,CHGR�� MINT- £499�00 CONTAX MAGNIFIER F2 ��MINT BOXED £49�00 HASSELBLAD GPS UNIT FOR H SYSTEM ��MINT BOXED £399�00
NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS��MINT £175�00 NIKON F3 HP BODY REALLY NICE WITH MANUAL�� MINT-BOXED £595�00
CONTAX TLA 30 WITH DIFFUSSER��MINT CASED £69�00 HASSELBLAD H13 EXT TUBE ��MINT £165�00 NIKON F3 BODY UNUSED FROM A COLLECTION NEW��MINT BOXED £895�00
NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II�� MINT- £175�00 CONTAX TLA 280 FLASH�� MINT- £59�00 HASSELBLAD PM90 PRISM FINDER �� MINT- £275�00
NIKON D300S BODY + BATT GRIP, BATT & CHARGER��EXC++ £245�00 NIKON F3HP BODY REALLY NICE�� MINT- £595�00
CONTAX TLA 280 FLASH UNIT��MINT BOXED £75�00 HASSELBLAD PME3 METERED PRISM FINDER �� MINT- £275�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT-BOXED £195�00 NIKON F3 BODY WITH MD4 MOTOR DRIVE �� MINT- £375�00
CONTAX TLA 360 FLASH�� MINT-CASED £65�00 HASSELBLAD VFC-6 METERED PRISM��MINT BOXED £175�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT- £179�00 NIKON F3 BODY��EXC+ £245�00
HASSELBLAD A12 BACK CHROME�� MINT- £129�00
NIKON SB 800 SPEEDLIGHT WITH CASE�� MINT-CASED £145�00 NIKON F2AS BODY BLACK ��EXC++ £200�00
LEICA “M” , “R” , & SCREW & RANGEFINDER HASSELBLAD WINDER CW AND REMOTE��MINT £275�00
NIKON ML-3 REMOTE CONTROL SET��MINT BOXED £145�00 NIKON FM2n CHROME BODY ��EXC+++ £245�00
MAMIYA 55mm f4�5 SEKOR FOR C220/330 etc��MINT BOXED £165�00
NIKON MB-D16 BATTERY GRIP FOR NIKON D750��MINT BOXED £195�00 NIKON F2 A BODY FULLY WORKING ��EXC+ £199�00
LEICA M7 BLACK BODY WITH LEICA 1/2 CASE�� MINT- £1,495�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £199�00
SIGMA EF 610 DG SUPER FLASH NIKON FIT ��MINT BOXED £95�00 NIKON F2 BODY FULLY WORKING��EXC+ £169�00
LEICA M MONO 10 760 COMPLETE�� MINT-BOXED £2,995�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ��MINT £365�00
SIGMA EF-530 DG ST ELECTRONIC FLASH ITTL NIKON FIT��MINT BOXED £75�00 NIKON F2 BODY BLACK WITH DW2 FINDER �� MINT- £265�00
LEICA M9 BODY WITH CHARGER AND BATT etc�� MINT- £1,795�00 MAMIYA M645J COMPLETE WITH 80mm f2�8 �� MINT- £299�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS��MINT CASED £325�00 NIKON F2 PHOTOMIC BODY CHROME�� MINT- £275�00
LEICA MDA BODY SER NO 12659XX CIRCA 1970�� MINT- £425�00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC�� MINT-CASED £365�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM��MINT £95�00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS��EXC++ £250�00
LEICA MDA BODY SER NO 14111XXCIRCA 1975-76��EXC++ £399�00 MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ��MINT £299�00
PANASONIC 45 - 200mm f4/5�6 MEGA OIS ASPH��MINT £175�00 NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4�� MINT- £399�00
LEICA IIIG BODY WITH 5cm f2 SUMMITAR & CASE �� MINT- £1,195�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ��MINT £145�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS��MINT BOXED £145�00 NIKON FE2 BLACK BODY��EXC++ £165�00
MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ��EXC++ £375�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £295�00
PANASONIC 45-200mm f4/5�6 LUMIX G VARIO M 4/3RDS�MINT BOXED £199�00 NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ��MINT £975�00
LEICA 35mm f2�8 SUMMICRON WITH SPECS�� MINT- £475�00 MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��MINT £199�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS��MINT BOXED £325�00 NIKON 24mm F2�8 AIS SUPERB SHARP LENS��MINT £199�00
CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR �� MINT- £275�00 MAMIYA 250mm F4�5 LENS FOR RZ �� MINT- £195�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��MINT BOXED £115�00 NIKON 28mm f2�8 SERIES E SUPERB CONDITION��MINT BOXED £115�00
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ��EXC+++ £695�00 MAMIYA 210mm F4 SEKOR C FOR 645��MINT CASED £195�00
SONY 500mm f8 REFLEX LENS WITH FILTERS��MINT BOXED £395�00 LEICA 50mm f2�8 COLLAPSIBLE ELMAR�� MINT- £375�00 NIKON 28mm f2�8 AI��MINT £165�00
MAMIYA 180mm F4�5 SEKOR FOR RB��MINT £169�00
SONY ECM - XTST1M STEREO MICROPHONE�� NEW UNUSED £69�00 LEICA 90mm f2�8 TELE ELMAR + HOOD �� MINT- £395�00 NIKON 28mm f3�5 AIS��MINT £89�00
MAMIYA 220 BACK FOR RZ 67�� MINT- £95�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��MINT BOXED £95�00 LEICA 90mm f2 SUMMICRON BLACK�� MINT- £895�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD �� MINT- £199�00 NIKON 35mm f2�8 PERSPECTIVE CONTROL LENS�� MINT- £295�00
SONY DSC-HX90V COMPLETE VERY LOW USE��MINT BOXED £275�00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M�� MINT- £295�00 PENTAX 55mm F4 SMC FOR 6X7 ��MINT £175�00 NIKON 45mm F2�8 GN NIKKOR �� MINT- £199�00
LEICA 90mm f4 ELMAR M MOUNT �� MINT- £165�00 PENTAX 55mm F2�8 FOR PENTAX 645��MINT BOXED £199�00 NIKON 50mm F1�8 AIS SERIES E ��MINT £69�00
Canon Autofocus, Digital Lenses, Canon FD LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE��MINT BOXED £375�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008�� MINT- £575�00 NIKON 55mm f2�8 MACRO AIS �� MINT- £165�00
LEICA 135mm f4�5 HEKTOR��EXC+ £75�00 YASHICAMAT 124G COMPLETE WITH HOOD + CASE�� MINT-CASED £325�00 NIKON 85mm f2 AIS�� MINT- £215�00
CANON 14mm f2�8 USM “L”�� MINT-BOXED £795�00 LEICA 90mm FINDER ��MINT £99�00 YASHICA 124G TELEPHOTO AUX LENS SET�� MINT- £69�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��MINT BOXED £295�00
CANON 24mm f1�4 “L” USM��MINT £499�00 VOIGTLANDER BESSA T WINDER��MINT BOXED £149�00 NIKON 135mm f2�8 AIS�� MINT- £125�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL��MINT BOXED £1,045�00 VOIGTLANDER BESSA R GRIP FOR R,R2,R3 ETC��MINT BOXED £49�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £895�00 LEICA 35mm f3�5 SUMMARON SCREW �� MINT- £295�00
Nikon Auto-Focus & Digital, Lenses Accessories NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS��MINT-CASED £1,295�00
CANON 300mm f4 USM “L” IMAGE STABILIZER��MINT CASED £825�00 LEICA 5cm f2 SUMMAR SCREW �� MINT- £175�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE��MINT BOXED £399�00 NIKON 1000mm f11 MIRROR LENS WITH CAPS��EXC++ £495�00
CANON 400mm f5�6 USM “L” LATEST VERSION�� MINT-CASED £699�00 LEICA 135mm f2�8 ELMARIT M WITH SPECS��EXC+++ £299�00 NIKON 16mm f2�8 A/F D FISHE EYE LENS WITH FILTERS��MINT £495�00 NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS�� MINT- £169�00
CANON 8 - 15mm f4 USM “L” FISHEYE ��MINT CASED £799�00 LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT��EXC++ £99�00 NIKON 28mm f2�8 A/F “D” ��MINT £165�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��EXC++ £119�00
CANON 16 - 35mm f2�8 USM “L” MK 2 ��MINT CASED £725�00 LEICA 135mmf4�5 HEKTOR IN KEEPER��EXC+++ £199�00 NIKON 28mm f2�8 A/F��MINT £135�00 NIKON 35 - 135 F3�5/4�5 AIS �� MINT- £149�00
CANON 24 - 70mm f2�8 “L” USM MARK II LATEST ��MINT BOXED £995�00 LEICA 90mm f4 ELMAR BLACK SCREW ��EXC++ £145�00 NIKON 35mm f1�8 “G” ED AF-S L��MINT + HOOD £365�00 NIKON 35 - 135 F3�5/4�5 AIS ��EXC+ £125�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER��MINT CASED £645�00 LEICA 135mm f4�5 HEKTOR + HOOD SCREW��EXC++ £99�00 NIKON 35mm f1�8 “G” DX AF-S LATEST�� MINT+HOOD £119�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��EXC+++ £99�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER��MINT BOXED £795�00 LEICA SF20 FLASH FOR M6 etc��MINT BOXED £89�00 NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD��MINT £189�00 NIKON PK13 AUTO EXTENSION RING�� MINT-BOXED £55�00
CANON 70 - 200mm f2�8 USM “L”��MINT BOXED £699�00 LEICA FONOR BLACK RANGEFINDER�� MINT-CASED £175�00 NIKON 50mm f1�8 A/F D �� MINT- £79�00 NIKON PK12 AUTO EXTENSION RING��EXC++ £49�00
CANON 20mm f2�8 USM��EXC++ £245�00 LEICA R8 BLACK BODY WITH STRAP �� MINT- £395�00 NIKON 50mm f1�8 “G” AF-S WITH HOOD��MINT £145�00 NIKON PK11 AUTO EXTENSION RING��MINT £49�00
CANON 24mm f2�8 EF ��MINT £175�00 LEICA R7 CHROME BODY�� MINT- £365�00 NIKON 50mm f1�4 A”G” AF-S LATEST �� MINT-BOXED £295�00 NIKON TC 200 CONVERTER��MINT £69�00
CANON 28mm f2�8 EF ��MINT £169�00 LEICAFLEX BODY CHROME �� MINT- £195�00 NIKON 60mm F2�8� A/F D MACRO LENS��MINT £265�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2�� MINT-CASED £115�00
CANON 50mm f1�8 MARK 1 (VERY RARE NOW)��MINT £129�00 LEICA 28mm f2�8 SUPER ANGULON PC WITH HOOD��MINT CASED £745�00 NIKON 85mm f3�5 ED DX AF-S VR MICRO NIKKOR�� MINT+HOOD £325�00 NIKON SB 16 FLASH FOR F3��EXC++ £65�00
CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��MINT £345�00 LEICA CURTAGON 35mm f4�� MINT-BOXED £395�00 Nikon 300mm f2�8 G ED VR II AF-S WITH HOOD �� MINT-CASED £2,795�00
CANON 50mm f2�5 COMPACT MACRO ��MINT BOXED £169�00 LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR��EXC++ £395�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�� MINT- £425�00 Olympus Manual
CANON 60mm f2�8 EFS USM MACRO LENS ��MINT BOXED £325�00 LEICA 90mm f2�8 ELMARIT 2 CAM�� MINT- £299�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��MINT BOXED £395�00
CANON 60mm f2�8 EFS USM MACRO LENS �� MINT- £295�00 LEICA APO-EXTENDER 2 X ROM��MINT CASED £475�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S�� MINT-CASED £365�00 OLYMPUS 28mm F3�5 ZUIKO�� MINT-CASED £39�00
CANON 100mm f2�8 MACRO��EXC++ £195�00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS �� NEW UNUSED £1,695�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �� MINT-CASED £1,075�00 OLYMPUS 35mm F2�8 ZUIKO�� MINT- £69�00
CANON 10 - 22mm f3�5/4�5 USM ��EXC++ £295�00 SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS�� MINT- £565�00 NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS��MINT BOXED £795�00 OLYMPUS 50mm F1�8 ZUIKO�� MINT- £39�00
CANON 10 - 22mm f3�5/4�5 USM ��MINT £325�00 LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ��MINT £595�00 NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS�� MINT-CASED £725�00 OLYMPUS 50mm F3�5 MACRO�� MINT- £99�00
CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ��MINT £499�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN �� MINT-CASED £275�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL��MINT BOXED £745�00 OLYMPUS 35 - 70mm F4 ZUIKO �� MINT- £75�00
CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��MINT £149�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK �� MINT-CASED £279�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS��EXC++ £49�00 OLYMPUS EXT TUBE 14mm, 25mm�� MINT- £55�00
CANON 18 - 135mm f3�5/5�6 EF-S IMAGE STABILIZER��MINT £175�00 NIKON 35 - 135mm f3�5/4�5 A/F + HOOD�� MINT- £129�00 OLYMPUS VARIMAGNI FINDER ��MINT BOXED £59�00
CANON 18 - 200mm f3�5/5�6 EFS IMAGE STABILIZER��MINT BOXED £285�00
CANON 70 - 300mm f4�5/5�6 IS USM DO REFRACTIVE�� MINT- £345�00
Medium & Large Format
CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ��MINT BOXED £269�00 BRONICA ETRSI COMPLETE WITH S/GRIP, AEII FINDER �� MINT- £445�00
KENCO DG CANON FIT TUBE SET 12,20,36MM��MINT BOXED £99�00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS��EXC++ £325�00
CANON EF 2�0X EXTENDER MK I��MINT BOXED £129�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS ��EXC++ £295�00
CANON EF 2�0X EXTENDER MK II ��MINT CASED £179�00 BRONICA 45 - 90mm f4/5�6 PE ASPHERICAL��MINT BOXED £425�00
KENCO DG CANON FIT TUBE SET 12,20,36MM�� MINT- £99�00 BRONICA 40mm f4 PE LENS��MINT BOXED £199�00
KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER��MINT CASED £99�00 BRONICA 50mm f2�8 PE LENS��MINT £179�00
SIGMA EX 1�4 TELECONVERTER ��MINT £75�00 BRONICA 50mm F2�8 ZENZANON MC��EXC+++ £99�00 We urgently require your used photographic equipment.
SIGMA 4�5mm f2�8 EX DC HSM CIRCULAR FISHEYE��MINT CASED £475�00 BRONICA 105mm f3�5 LENS FOR ETRS/i�� MINT- £99�00
SIGMA 10mm f2�8 EX DC FISHEYE HSM ��MINT BOXED £345�00 BRONICA 110mm F4 MACRO LENS PS�� MINT- £295�00 We have customers waiting for: Nikon, Canon, Leica,
SIGMA 14mm f2�8 EX HSM ASPHERIC ��MINT CASED £365�00 BRONICA 135mm f4 PE LENS��MINT £125�00
SIGMA 105mm f2�8 MACRO EX WITH CASE��MINT £179�00 BRONICA 150mm F4 E�� MINT- £89�00 Contax, Bronica, Hasselblad and most other makes of
SIGMA 105mm f2�8 MACRO EX DG OS HSM�� MINT- £279�00 BRONICA 200mm f4�5 PE LENS��MINT £95�00
SIGMA 150mm f2�8 EX DG-OS HSM MACRO LATEST ��MINT BOXED £595�00 BRONICA AUTO EXTENTION TUBE E-14��MINT BOXED £45�00
camera lenses, accessories, binoculars and collectables.
SIGMA 12 - 24mm f4�5/5�6 DG HSM MK2 II��MINT CASED £475�00 BRONICA PROFESSIONAL LENS HOOD E ��MINT BOXED £45�00 We will buy for cash from you, or we are happy to sell on
SIGMA 17 - 35mm f2�8/4 EX HSM APHERIC �� MINT- £179�00 BRONICA ETRSI 120 BACK FOR ETRSi LATEST VERSION ��MINT BOXED
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS �� MINT-BOXED £165�00 BRONICA ETRSI 120 BACK�� MINT- £69�00 your behalf on a commission basis. Best prices paid.
SIGMA 18 - 250mm f3�5/6�3 DC SLD HSM OS ��MINT BOXED £199�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ��MINT BOXED £59�00
SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II�� MINT- £325�00 BRONICA AEII METERED PRISM �� MINT- £115�00 We can arrange collection and even call and collect and
TAMRON 180mm f3�5 A/F SP DI MACRO LATEST��MINT BOXED £329�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��MINT £75�00
TAMRON 500mm f8 MIRROR LENS & FILTERS FD MOUNT MINT-CASED £175�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��EXC++ £59�00
pay on the spot if necessary anywhere in the UK.
Visitors are welcome, please phone for an appointment.
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2018.
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Lenses
EF 100-400mm f4.5-5.6L IS USM II. £1949 70-200mm f2.8E AF-S FL ED VR...... £2499 18-300mm f3.6-6.3 C DC OS HSM.... £369
£1702 inc. £250 Cashback* 70-300mm f4.5-6.3 G ED DX AF-P £329 24-70mm f2.8 DG OS HSM................... £1149
CANON LENSES EF-S 35mm f2.8 Macro IS STM .......... £369 200-500mm f5.6E AF-S ED VR......... £1299 24-105mm f4 DG OS HSM..................... £579
EF 35mm f1.4L II USM............................. £1629 EF-S 60mm f2.8 USM Macro ............... £439 50-100mm f1.8 DC HSM Art ............... £949
£1409 inc. £220 Cashback* EF-S 10-18mm f4.5-5.6 IS STM ........... £239 70-200mm f2.8 EX DG OS HSM ........ £899
EF 35mm f2 IS USM ................................. £519 EF-S 10-22mm f3.5-4.5 USM ............... £529 100-400mm f5-6.3 DG OS HSM........ £689
EF 40mm f2.8 STM .................................. £199 EF-S 17-55mm f2.8 IS USM ................... £779 TAMRON DSLR LENSES 120-300mm f2.8 OS ................................ £2699
EF 50mm f1.2L USM ................................ £1269 EF-S 18-200mm f3.5-5.6 IS.................. £479 with 5 Year Manufacturer Warranty 150-600mm f5-6.3 C DG OS HSM .... £779
EF 50mm f1.4 USM................................... £349 EF-S 55-250mm f4-5.6 IS STM........... £299 85mm f1.8 SP Di VC USD....................... £749 150-600mm f5.0-6.3 S DG OS HSM £1329
EF 50mm f1.8 STM ................................... £119 TS-E 24mm f3.5L II .................................. £1799 16-300mm f3.5-6.3 Di II VC PZD....... £499
EF 85mm f1.2L II USM............................. £1849 TS-E 50mm f2.8L Macro ....................... £2199 18-200mm f3.5-6.3 Di II VC ................. £199
EF 85mm f1.4L IS USM ........................... £1379 TS-E 135mm f4 L Macro ......................... £1999 18-400mm f3.5-6.3 Di II VC HLD ...... £649
£1279 inc. £100 Cashback* 24-70mm f2.8 Di VC USD G2............... £1199 SONY E-MOUNT LENSES
EF 85mm f1.8 USM ................................... £389 70-200mm f2.8 Di VC USD G2........... £1289 FE 85mm f1.4 G Master .......................... £1649
EF 100mm f2.8 USM Macro.................. £479 70-210mm f4 Di VC USD ....................... £599 £1549 inc. £100 Cashback*
EF 100mm f2.8L Macro IS USM.......... £849 70-300mm f4-5.6 SP Di VC USD....... £329 FE 85mm f1.8 .............................................. £599
£749 inc. £100 Cashback* NIKON LENSES 100-400mm f4.5-6.3 Di VC USD ...... £749 £549 inc. £50 Cashback*
EF 135mm f2 L USM ................................. £959 20mm f1.8 G AF-S ED ............................. £729 150-600mm f5-6.3 SP Di VC USD .... £799 FE 100mm f2.8 G Master....................... £1499
EF 300mm f4 L IS USM.......................... £1269 24mm f1.4 G AF-S ED ............................. £2179 150-600mm f5-6.3 VC USD G2.......... £1129 £1399 inc. £100 Cashback*
EF 500mm f4 L IS II USM ...................... £8299 35mm f1.8 G ED AF-S ............................. £489 FE 135mm f1.8 G Master......................... £1749
EF 11-24mm f4L USM............................... £2789 35mm f1.8 S Lens ...................................... £774 FE 12-24mm f4 G ....................................... £1449
EF 16-35mm f2.8L III USM..................... £1844 50mm f1.4 G AF-S .................................... £429 £1369 inc. £80 Cashback*
£1594 inc. £250 Cashback* 50mm f1.8S L.............................................. £509 SIGMA DSLR LENSES FE 16-35mm f2.8 G Master ................... £2199
EF 16-35mm f4L IS USM ....................... £949 60mm f2.8 G AF-S ED ............................ £579 with 3 Year Manufacturer Warranty £2099 inc. £100 Cashback*
EF 17-40mm f4 L USM ............................ £689 85mm f1.8 G AF-S..................................... £469 20mm f1.4 DG HSM Art.......................... £699 FE 24-70mm f2.8 G Master .................. £1829
EF 24-70mm f2.8L IS USM II................ £1679 105mm f2.8 G AF-S VR IF ED.............. £849 24mm f1.4 DG HSM .................................. £629 £1729 inc. £100 Cashback*
£1459 inc. £220 Cashback* 300mm f4E AF-S PF ED VR ................ £1709 30mm f1.4 DC HSM.................................. £359 FE 24-70mm f4 ZA OSS C.Zeiss T* .. £749
EF 24-70mm f4L IS USM ....................... £789 500mm f5.6E PF ED VR AF-S ............ £3699 35mm f1.4 DG HSM .................................. £649 £669 inc. £80 Cashback*
EF 24-105mm f3.5-5.6 IS STM ............ £399 8-15mm f3.5-4.5E ED Fisheye............. £1229 50mm f1.4 DG HSM Art.......................... £579 FE 70-200mm f2.8 G Master............... £2399
EF 24-105mm f4L IS II USM.................. £999 10-24mm f3.5-4.5 G AF-S DX ............. £799 85mm f1.4 Art DG HSM .......................... £929 £2299 inc. £100 Cashback*
EF 28-300mm f3.5-5.6 L IS USM....... £2289 16-80mm f2.8-4E ED AF-S DX VR.... £989 105mm f2.8 APO EX DG OS HSM...... £358 FE 70-300mm f4.5-5.6 G OSS ........... £1079
EF 70-200mm f2.8 L IS III USM.......... £2099 18-200mm f3.5-5.6 G AF-S DX VR II£429 8-16mm f4.5-5.6 DC HSM...................... £599 £999 inc. £80 Cashback*
£1879 inc. £220 Cashback* 18-300mm f3.5-5.6 ED AF-S VR DX £989 10-20mm f3.5 EX DC HSM.................... £329 FE 100-400mm f4.5-5.6 OSS GM..... £2449
EF 70-200mm f4 L IS II USM ............... £1299 24-70mm f2.8 G ED AF-S...................... £1799 17-70mm f2.8-4.0 DC OS HSM............ £349 £2349 inc. £100 Cashback*
EF 70-300mm f4-5.6 L IS USM .......... £1199 24-70mm f2.8E AF-S ED VR................ £2099 18-35mm f1.8 DC HSM ............................ £649 *Canon Cashback ends 14.05.19
EF 70-300mm f4-5.6 IS II USM .......... £464 28-300mm f3.5-5.6 G ED AF-S VR .. £929 18-250mm f3.5-6.3 DC OS HSM ........ £349 *Sony Cashback ends 01.09.19
Photo Bags & Rucksacks Computing
Flipside 300 Anvil Slim Hadley

AW II Professional Pro PIXMA Pro 100S ............ £358
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Digital Compact Cameras Digital compact camera accessories are available on our website
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optical zoom optical zoom optical zoom PowerShot G9 X II...............................£329
PowerShot G5 X....................... £599 PowerShot G7 X Mk II............. £479 PowerShot G1 X III................ £1089 PowerShot G3 X...................................£779
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Legends
of photography
© BRUNO BARBEY/MAGNUM PHOTOS
Boys jump into the

Amazon River.
Brazil 1966
Bruno
his words, ‘inherently project. But perhaps most
theatrical’ and therefore ripe significantly, it was here that
for documentation. Bruno’s Barbey began using colour
images burst with energy. Each film and pioneered its use in
Barbey
black & white frame seems to photojournalism. He took
© VCG ViA GETTY iMAGES
contain an entire narrative. with him several rolls of film,

They look as though they could including Kodachrome. While
have been lifted from the best it was slow – ISO 25 – it was
examples of Italian neorealist relatively resistant to heat and
cinema. But in this realist humidity. From then on, he
Oliver Atwell considers a pioneer approach, they are relatable.
We see ourselves there. But
dedicated himself to the use
of colour.
there’s one key thing missing: His work was so significant
in the field of colour photojournalism colour. We see life in colour, sothat he became a creative force
who documented global culture if we’re expecting a relatable within Magnum Photos. He
I
and realistic depiction of the served as vice president for the
f we know one thing in the hands of Bruno Barbey. world, then colour is required. European offices during 1978
about photojournalism His journeys to photograph and 1979 and then President
it’s this: ‘Photography is enigmatic cultures have Natural fit for photography of Magnum International
the only language that provided the photographer That is what makes the image between 1992 and 1995. In
can be understood anywhere endless opportunities to show we see here so significant. This the years that followed,
in the world.’ This quote not that we are all one people, was shot during a trip to the Barbey travelled the world
only speaks a powerful truth despite our disparate customs. Amazon River in Brazil in photographing on all five
about the command of visual It’s unsurprising that Barbey 1966. The trip was a result of continents, covering all manner
media but also perfectly would feel so strongly about a commission he received by of culture including its war and
encapsulates the career using his work to create an Editions Recontres in Lausane. conflicts (though he eschews
of the speaker, Moroccan inclusive view of the world. Their wish was for Barbey to the term war photographer,
photographer and Magnum While he was born in Morocco, compare the cultural customs seeing it as a cynical label).
member Bruno Barbey. he possesses dual nationality, and lifestyle of European His latest work has been
Through photography, the both French and Swiss. A first and African countries. As documenting China, and the
alien and unknowable become major project took Barbey to mentioned earlier, Barbey had images are no less significant.
familiar. Nowhere is this truer Italy between 1961 and 1964. genetic stock invested in both. There seems to be no
than in photojournalism and His view of the people was, in He was a natural fit for the slowing him down.

om//
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ON SELECTED CANON CAMERAS & LENSES
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POINTS
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In stock at You pay £2349.00 & claim
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£2,099.00* £250 from Canon UK.

T&Cs apply £1,199.00* £150 from Canon UK.
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£220 £220 £250 £50

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Saturday 11 May 2019

Passionate about photography since 1884

Inspiring tales of how three talented

Feed your Seeing

who are on a fast track

2019 a tough year so far for Canon

‘flying start’ – so full-frame mirrorless models are a key priority.

‘Bowens’ ﬂash head from Wex

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Antarctica, the images in the book are as

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Fast Tokina macro and many AP readers - £3,999,

Titled ‘The King of Scotland’,

International photo contest closing soon

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Exhibition overlooking the

breathtaking drone images, sitting them

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© Stephen Shore. CourteSy 303 Gallery, new york

One of the most popular exhibitions on display at this

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GLOBAL AWARDS 2018-19

TESTED BY THE EXPERTS n WWW.EISA.EU

Special thanks to The moderators of the

Editorial Complaints We work hard to achieve the highest

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All stock is quality 30-day returns All used items

Daisy May, Lockington, Leicestershire Vegetable Soup 2

Time for a Cuppa

The Reader Portfolio

Pattie and Chips

The Great British

Sony A7R II, 24-240mm,

Canon EOS 5D Mark II, 24-105mm, Cow Tantrum

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Apple iPhone 8 Plus, back dual camera

have the brightest light, so I use reflectors to bounce

make sure you do your research on the

Canon EOS 6D, 17-40mm,

Pumpkins at Sunrise Nikon D750, 16-35mm,

Rishu Kesarwale months. www.facebook.com/debdatta.

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Beneﬁt from SPECIAL OFFERS with

FREE FREE FREE

LEICA TL Nikon D800E ZEISS 25mm

on selected products in In Excellent In Good In Excellen

www.parkcameras.com/used-clearance £449.00 £699.00 £409.00

Visit our website - updated daily or call us 7 days a week

The competitive edge

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be they characterful portraits of the softened the horizon

Colour and pattern have

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required a fair amount of discipline

has also done an online course

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