Amateur Photographer - October 22, 2024 UK

Tuesday 22 October 2024
MPP adveounttu re
if a 1960s MPP
John Gilbey finds practical today
Micro Technical is
PREMIUM
NOVEMBER 2024
EDITION Passionate about photography since 1884
£5.99
Bumper issue
Powerful portraits dedicated to
KELSEYmedia
Top portrait shooter Phil the magic
Sharp shares his philosophy of mono
Minimal landscapes
With landscapes less is
more, says Mostafa Nodeh
Better by
design
Documenting USA The striking fine
1980s America as seen art photography
by Michael Ormerod of Bruin Feskens
Plus B&W editing software • Readers’ best B&W photos • Fujifilm X-M5 First Look
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Inside this issue
3 7 days
Welcome
4 First look: 66 There’s something
magical about
Fujifilm X-M5 black & white
10 Books and photography that
exhibitions continues to
enthrall successive
14 It’s good to share generations of photographers.
18 Phil Sharp There is a purity and a simplicity
interview to mono, an elimination of visual
noise and distraction, and a paring
25 Alfie Cameras down to the bare graphic elements
Tych+ review that can be very satisfying both as
28 Reader portfolio a creator and a viewer of such
© MOSTAFA NODEH
images. This issue we showcase a
35 Inbox variety of photographers past and
38 Accessories present, all working in different
genres, but all of whom are
41 Tech talk
42 APOY R6 results
25 masters of the art of b&w. If you
haven’t worked in mono for a
while I hope that this inspires you
48 Best of the rest to take a fresh look, whether you
50 MPP Micro shoot some new work using an
Technical Mark in-camera mono mode or go
VIII field test through your existing colour
images and convert them.
57 Black and White Nigel Atherton, Editor
Photo Awards
2024 winners
18
62 Altered States:
INSET PICTURES, TOP TO BOTTOM: @ PHIL SHARP / © MOSTAFA NODEH / © MICHAEL ORMEROD
© PHIL SHARP
Michael Ormerod
66 Mostafa Nodeh:
minimalist b&w
landscapes
72 Bruin Feskens:
fine art black &
white portraits
76 Readers’ best
COVER PICTURE © BRUIN FESKENS.

b&w film images
80 Best software for
b&w editing
84 GuruShots winners
© BRUIN FESKENS
72
87 Best Buys Our cover image is by Bruin Feskens
98 Final analysis 50 (Instagram @_mrbrownphotography). See
more of his work on page 72
THIS ISSUE’S CONTRIBUTORS

Connect with us
@ EMAIL US at ap.ed@kelsey.co.uk with your
letters, send us a link to your online gallery, or
attach up to 5MB of low-res sample images
JOIN US ONLINE in one of these AP communities:
WEBSITE: www.amateurphotographer.com
ANDY WESTLAKE BENEDICT BRAIN GEOFF HARRIS JOHN GILBEY JESSICA MILLER PETER DENCH FACEBOOK: amateur.photographer.magazine
Technical Editor Deputy Editor
The AP regular
Dep. Online Editor TWITTER: @AP_Magazine
The photographer The AP regular
Our chief reviewer and author talks to Geoff speaks to writes about using Jessica tests talks to family and INSTAGRAM: @AP_Magazine
takes a first look photographer Bruin top pro Phil Sharp, a large-format a premium friends of Michael FLICKR: flickr.com/groups/amateurphotographer
at Fujifilm’s X-M5 Feskens, and also about how he camera, the Micro half-frame camera, Ormerod about
for still images and interviews Mostafa creates beautifully Technical Mark VIII, the Alfie Cameras Michael’s photos
vlogging Nodeh executed portraits made by MPP Tych+ of the USA
Fujifilm X-M5
Andy Westlake takes a first
look at Fujifilm’s new
affordable, entry-level hybrid
camera
At a glance
£799 body only Audio

The camera has three
£899
with 15-45mm zoom
built-in mics that offer a
range of directional sound
recording modes.
■ 26.1MP X-Trans CMOS 4
APS-C sensor
■ ISO 125-12,800
(standard)
Viewing
■ 8fps continuous shooting;
30fps with 1.25x crop
Video There’s no electronic
Vlog-friendly features viewfinder, with the camera
■ 6.2K 30p, 4K 60p, and include 6.2K open gate
Full HD 240p video relying purely on a fully
recording
recording and a unique Retail box articulated rear screen.
vertical Full HD option with Fujifilm has switched to
■ 3in 1.04m-dot
articulating screen the camera held more eco-friendly
horizontally. packaging, with a brown box
made from recycled paper
that minimises ink and controls, including a mechanical shutter.
plastic use. In this respect it’s more like the Nikon
Z30 and Olympus PEN E-P7.
While Fujifilm’s other recent models
have used 40MP sensors, the X-M5 is
Fujifilm has unveiled a new compact, built around a 26.1MP sensor. However,
lightweight entry-level camera in its it boasts the firm’s latest X-Processor 5,
APS-C format X-system, the Fujifilm X-M5. which means that it shares a lot of its
The firm says it’s aimed at ‘everyday siblings’ latest features, including
storytellers’ who are stepping up from a subject-detection autofocus and a full
smartphone for the first time and like to set of Film Simulation modes. This
record both still images and video sensor and processor combination is
equally. At £799 body-only, and £899 also employed by the Fujifilm X-S20,
with a 15-45mm kit zoom, it’s one of the which sits above it in the firm’s line of
The rear screen can be folded in against the body most affordable cameras in Fujifilm’s ‘hybrid’ models. This means we can
range, alongside the SLR-style X-T30 II. expect the X-M5 to deliver much the
Design-wise, the X-M5 is a fairly simple same performance and image quality as
camera, with a small, box-shaped body, the X-S20 – i.e. very good indeed.
no viewfinder, and a fully articulating In terms of photographic features, the
screen. Fujifilm first used this body style X-M5 naturally has a lot in common with
with the original X-M1 back in 2013. the X-S20. The sensor offers a standard
There haven’t been any other X-M sensitivity range of ISO 125-12,800,
models in between, but instead a range extendable to ISO 25,600. Shutter
of similarly styled X-A models up to the speeds cover 30sec to 1/4000sec, or
X-A7 of 2019. Like the X-M1, the X-M5 as fast as 1/32,000sec using the
employs Fujifilm’s proprietary X-Trans electronic shutter. Continuous shooting
CMOS sensor, in contrast to the X-A is available at 8 frames per second
cameras that used conventional using the mechanical shutter, 20fps
Bayer-type sensors. with the electronic shutter, and 30fps
Unlike the superficially similar Sony with a 1.25x crop.
ZV-E1 II, the X-M5 is not designed mainly Subject detection covers animals,
as a vlogging camera. Instead it has a birds, cars, motorcycles and bikes,
A dedicated Film Simulation dial is found on the top left good set of photography features and airplanes, and trains. As usual for
4 www.amateurphotographer.com
Down-sized 16-55mm
f/2.8 premium zoom
Fujifilm has also
revealed an updated
version of its premium
standard zoom, the
Fujinon XF 16-55mm F2.8
R LM WR II. This new lens
is considerably smaller
than its predecessor and
37% lighter, at 410g the aperture ring can be
compared to 655g. switched to clickless
The X-M5 is Fujifilm’s Measuring 78.3mm in operation for video.
smallest and lightest
X-system camera diameter and 95mm long, As indicated by its WR
it uses 72mm filters. badge, the lens boasts
Optically the new lens weather-resistant
Fujifilm, human face/eye detection is Build and design employs 16 elements in construction. It also
also available as a separate but Despite its compact size and light 13 groups, including 4 employs a fluorine coating
mutually exclusive option. There’s no weight, the X-M5 handles quite nicely, aspherical lenses for to keep help the front
in-body stabilisation, so the camera thanks to a small finger grip on the cross-frame sharpness, element clean. Thanks to
relies on in-lens optical stabilisation for front and a thumb hook on the back. plus 3 extra-low dispersion the use of a linear motor
stills, which is complemented by I think it looks pretty stylish in its silver (ED) and 1 super ED glass for focusing, it promises
electronic stabilisation for video. incarnation, although the black version element to suppress rapid autofocus in as little
Video features are impressive for the is somewhat plain in comparison. colour fringing. The as 0.02sec. The minimum
price, with the X-M5 capable of 6.2K Fujifilm has made good use of the aperture diaphragm is focus distance is 30cm.
30p ‘open gate’ recording, which uses limited body space to offer a decent set formed of 11 curved The XF 16-55mm F2.8 R
all the sensor pixels for cropping to of controls. You get two electronic dials blades in a bid to deliver LM WR II is due to go on
different aspect ratios in post- to change exposure settings, front and attractive out-of-focus sale at the end of
production. The camera can also record rear, while a small joystick on the back areas. In a first for Fujifilm, November for £1,149.
in 4K at up to 60fps, or Full HD up to is used to move the focus area and
240fps. Uniquely, there’s also an option change onscreen settings. The front
to record Full HD vertical format video
while holding the camera horizontally.
dial can be clicked inwards, which
provides quick access to ISO setting. Long telephoto for
While many of the X-M5’s video
modes use the full sensor width,
enabling digital stabilisation imposes a
One feature that’s sure to be divisive
is the dedicated Film Simulation dial on
the top left of the body, like on the
X-system
1.32x crop. This will take the 15-45mm recent X-T50. Some photographers In a move that’ll be particularly welcome to
kit zoom from 23mm equivalent at the would prefer a dial that could be used X-system users shooting sports, wildlife and action,
wideangle end to 30mm. In terms of for other purposes, as on the X-S20; Fujifilm has also produced a new long telephoto prime.
recording times, the camera should personally, though, I really like it. After The Fujinon XF 500mm F5.6 R LM OIS WR has a lot in
keep going for up to an hour at 25°C all, one of the great attractions of common with the medium-format GF 500mm F5.6 that
and is compatible with Fujifilm’s add-on Fujifilm cameras is the wide variety of appeared earlier this year. It offers an impressive
fan unit for extended durations at film simulation modes, which allow you 750mm equivalent view, which can be extended even
higher ambient temperatures. to apply a range of attractive colour further using the XF 1.4x or 2x teleconverters.
One notable new feature is the looks, depending on the subject and Most specs are identical to its GF sibling, with built-in
addition of a third capsule to the built-in lighting. I’m all for having a prominent optical stabilisation and a minimum focus distance of
microphone. This allows the recorded external control that helps me make 2.75m. The lens is 255.5mm long and 104.5mm in
sound to be weighted in various ways: best use of them and switch quickly diameter, weighs 1,335g, and accepts 95mm screw-in
front priority, back priority, front-and- between all my favourites, including filters. It’s fully weather-sealed, too. Controls include a
back priority, and full surround. Astia and Acros for black & white. focus limiter switch and a focus control button that can
be used to recall a preset focus distance. It should be
available at the end of November for £2,899.
First impressions
I have to be honest – the X-M5 isn’t particularly a camera that I’m predisposed to
like, as I much prefer using an eye-level viewfinder. However, of all the cameras of
this type currently available, I do think it’s the most attractive. While the camera I
was using didn’t have final firmware, the sample photos I took with it looked every
bit as good as those from Fujifilm’s other 26MP models. Even so, I suspect
photographers who will mainly be shooting stills will most likely prefer the
SLR-style X-T30 II, despite its older technology. But for anyone attracted to this
kind of small viewfinderless camera, the X-M5 looks set to be a fine choice. The XF 500mm comes with an Arca-Swiss tripod foot
www.amateurphotographer.com 5
The Lumix S5D is designed
for photo and video
Panasonic tweaks Lumix S5,

reveals new 18-40mm lens
PANASONIC has announced the Lumix Such a lightweight
S5D full-frame camera, and the Lumix S As for the new Lumix S 18-40mm F4.5-6.3,
18-40mm F4.5-6.3 full-frame L-mount lens. Panasonic claims it’s the world’s smallest
The S5D is a ‘refresh’ of the Lumix S5 and lightest full-frame autofocus zoom,
rather than a revamp, and includes the same measuring 67.9x40.9mm and weighing just
24.2MP full-frame CMOS sensor, ISO 155g. The lens employs 8 elements in 7
100-51,200 (expandable to 50-204,800), groups with a 7-bladed diaphragm, a close
5-axis in-body image stabilisation, and a shooting distance of 0.15m, fluorine coating
weather-sealed magnesium alloy build. Video and a dust-, splash- and freeze-resistant
performance is another key selling point of body. Focus breathing is also suppressed for
© HERLINDE KOELBL
the S5D – it is capable of 4K 60p 4:2:0 video recording. Panasonic describes the
10-bit recording internally with an APS-C crop lens as the perfect partner for the (also
and also records 4K 30p footage internally compact) Lumix S9, noting that it is capable
with 4:2:2 10-bit colour using the full width of of 18-120mm when used with the S9’s
the sensor for up to 30 minutes.
New for the S5D is compatibility with the
Hybrid Zoom function. The Lumix S 18-40mm
F4.5-6.3 lens is available now for £519.
The Leica Hall of Fame
DJI LiDAR AF system. When paired with the
optional LiDAR rangefinder unit and DJI RS 3
welcomes…
Pro Gimbal, distance measurement THIS evocative image of a German
information is sent to the camera via USB. family with a thing for antlers was
As the camera drives the focus, no focus taken by Herlinde Koelbl, the latest
motor is required, enabling easier handling entrant to the Leica Hall of Fame. Born in
with a more compact size and greater 1939, Koelbl swapped the fashion
freedom of shooting, according to Panasonic. industry for photography in the mid-
Furthermore, there is no need for lens 1970s, and specialises in extensive
calibration adjustments, which saves setup long-term studies. She’s best known for
time. Thanks to the LiDAR’s high-speed ‘Traces of Power – The Transformation of
43,200 ranging points within a 14-metre People Through Governance’, where she
distance, ‘extremely fast’ AF is enabled, observed German politicians over an
which is also effective when shooting in eight-year period up to 1991. She then
low-light conditions. went on to work more closely with former
The Panasonic Lumix S5D will be available Chancellor Angela Merkel until 2021. An
from the end of October for £1,399 with the exhibition of Koelbl’s work will be on
S-series 18-40mm F4.5-6.3 lens, or £1,799 display at the Leica Gallery in Wetzlar,
with the 28-200mm F4-7.1 lens. The lens is for full-frame L-mount cameras Germany, until January 2025.
6
From the series ‘The
German Living Room’
New Magnum square print sale Behind ‘Made

MAGNUM Photos has teamed up with The Photo Society for
its latest square print sale, which offers 6x6in prints from
in China’
Magnum photographers at more affordable prices. The theme, Eden, THE BRITISH Library
explores the beauty of Earth’s landscape, ecosystems and people, has added an
and the sale runs intriguing photo book
until 27 October. about the lives of
More than 120 migrant workers in
limited-edition China’s manufacturing
© YOUBING ZHAN
prints are available, hothouses to its

with featured collection. ‘Made in
photographers China – Life Record of
including Steve Migrant Workers in Migrant workers in China
McCurry, Alec Soth, Dongguan Manufacturing
Susan Meiselas, Hub’, was created by photographer Youbing Zhan, who has taken a
Myriam Boulos and staggering 1.6 million images on the subject since 2006. As of
©CRISTINA DE MIDDEL
Harry Gruyaert. 2022, 295 million migrant workers had moved from China’s
See store. countryside to its fast-growing cities, including the photographer
magnumphotos. himself. Youbing Zhan was also a winner in the Global SinoPhoto
com One of the photos on the theme of Eden Awards 2024 (GSPA).
The pink overlay
highlights people to
be removed from the
image with
Distraction Removal
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Photoshop, Lightroom SOME RECENT VIDEOS
ADOBE used the recent Adobe Max products to adopt the Frame.io Camera
event in Miami to reveal several to Cloud Standard are the Leica SL3,
significant changes to Photoshop, Nikon Z6III, Z8, and Z9 (through the NX
Lightroom, Premiere Pro and the MobileAir app for iOS and Android) and
Frame.io collaboration platform. the Canon C400 and C80 cine cameras.
Photoshop’s new Distraction Removal The updates to Lightroom were more
smart technology is meant to help low-key, mainly focusing on Quick Actions
remove people, power cables, and other for the mobile and web versions (these
‘complicated’ distractions from images. are ‘early access’ features so you can
Distraction Removal sits inside the expect further development). This claims
‘Remove’ tools and should deliver more to speed up your edits by automatically
flexibility than the background-object creating masks based on the subject
removal tools offered by many phones. matter of your photo. For example, you
Meanwhile more AI photo-editing tools, can use Quick Actions to quickly edit a
powered by Firefly, Adobe’s umbrella term portrait: it will detect your subject, the
for its AI technologies, are now available background, and features to retouch like
in Photoshop. These include Generative teeth, eyes, or skin. Quick Actions
Fill, Generative Expand, Generate Similar creates masks of each selected element
and Generate Background. to either enhance with available controls
Adobe claims its latest version of or refine further in the masking panel. It
Generative Fill makes it easier to add or can also suggest the best presets to
remove content from your images using enhance your image in one tap.
simple text prompts inside Photoshop. Adobe also unveiled the beta version
‘Imagery is automatically generated with of the AI-powered Firefly Video Model,
the appropriate shadows, reflections, enabling you to generate video from
lighting, and perspective,’ said the firm. text/image prompts, extend video clips
and smooth out transitions. It is
In the Frame.io integrated with Premiere Pro, Adobe’s
Adobe also used the event to raise the high-end video editing software.
profile of this collaboration platform via See YouTube/AmateurPhotographerTV
the new version 4, and the big news is it for more from Adobe Max, including an
is now fully integrated with Lightroom. in-depth look at the firm’s Content
So you can pick your favourite images Authenticity initiative, designed to make
from a recent shoot in Frame.io’s it easier to spot which shots are fully or
Camera to Cloud and automatically copy partly AI generated.
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Canon, Nikon and Leica are also now Lightroom’s mobile and web versions get
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A curated range of PCs for specialists,

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ALL IMAGES © COURTESY ARCHIVIO LETIZIA BATTAGLIA
Letizia Battaglia: Life,

Love and Death in Sicily
The Photographer’s Gallery, Until 23 February 2025, society. Police officers, judges and prominent
establishment figures also faced her lens – a
£10 (concessions available) powerful symbol of the corruption and
A photographer whose work was so powerful she violence that was endemic. Indeed, the fact
that her work was used as evidence of links
received death threats from the Mafia... this is a between corrupt politicians and the Mafiosi is
testament to the power of photojournalism.
must-see show, says Amy Davies Of course, none of this made her popular,
often receiving death threats to the extent
One of Italy’s most important social retrospective – the first of its kind in the UK that she was never sure if she’d make it
documentary photographers, Letizia Battaglia – we see work that extends beyond that for home alive. As the photo director at L’Ora,
started tracking the brutal reality of life under which she has become most well-known. It Palermo’s daily newspaper, Battaglia attended
the Mafia in the late 1960s – when the intertwines her professional work with her almost every major crime scene in the city
photographer herself was already in her 40s. personal life to focus on how her sensitivity before L’Ora closed in 1990. It’s estimated
The results are some of the best-known and humanity influenced her photographs. she took 600,000 pictures for the paper. This
records of what conditions were like in the Self-taught as a photographer, Battaglia first collection she described as ‘an archive of
1970s and 1980s. But it’s not just the began to take photos in an effort to better blood. An archive of pain, despair and terror’.
harshness of living in the shadow of the sell her writing. Her desire for justice, In the exhibition we see vintage and new
organised crime group, there’s everyday and independence and change saw photography prints, as well as archive materials, contact
ordinary scenes too. as the perfect vehicle to portray all of that. sheets, books, magazines and film.
Battaglia was also a civil rights activist, Her courage saw her photograph victims of Battaglia died in 2022, aged 87. This
publisher, film director, politician, photo the Mafia murders, as well as fierce in-fighting extraordinary exhibition celebrates a hugely
museum director and journalist. In this major between rival gangs and their attacks on civil important figure, and is highly recommended.
Left: Desperation of a
son. (Disperazione di
un figlio.) Palermo,
1976
Right: He was killed

on his way to the
garage to get his car.
(È stato
ucciso mentre andava
in garage a prendere
la macchina.)
Palermo, 1976
Below: The arrest of

the ferocious Mafia
boss Leoluca
© ANASTASIA SAMOYLOVA
Bagarella.
(L’arresto del feroce
boss mafioso Leoluca
Bagarella.)
Palermo, 1979
Breakfast with Gerhard Richter 2000, 2004
Bottom: Feast of San
Giuliano. (Festa di
San Giuliano.) Pollina,
Anastasia Samoylova –
1986 Adaptation
£45, Thames & Hudson, hardback, 224
pages, ISBN: 9780500027189
The first career survey of photographer
Anastasia Samoylova examines how
modern practitioners may look at photo
projects in a different way. Bringing
together six bodies of work, Samoylova
uses observational and studio photography alongside
art forms such as collage and painting. Her use of
colour is masterful, while she draws her influences
from the Russian Avant Garde, Cubism and Pop Art
to blur the lines between reality and the final image.
She is Russian-born and now living in Florida, and
there’s a cheeky sense of humour throughout the
book that perhaps comes as a result of being an
outsider looking in. It also gives you pause to
contemplate what you’re looking at, as well as the
issues represented.
The book is edited by David Campany, the noted
British writer, artist and curator. He puts the work
into context, and describes her as ‘one of the most
original image makers to have emerged in recent
years’. I found this book fascinating, and would
highly recommend it if you’re looking for something a
little outside the normal.
© ANASTASIA SAMOYLOVA
Except Sunday, Panama City Beach, Florida 2021
Human Stories:
The latest edition of NOW’s ‘Human
Stories’ exhibitions takes a look at the
work of documentary photographer
Unreported
Inès Elsa Dalal.
In it, we’re presented with a series of
photographic essays documenting the
protests of striking workers in the UK.
Uprisings
Captured during the first quarter of
2023, at a time when many in the public
sphere were striking, including
firefighters, train drivers, teachers, junior
doctors, nurses, public civil servants and
many more groups, the photogrographs
are an important record of a time when it
NOW Gallery, London, Until 17 November 2024, Free looked like we might be heading towards
a General Strike.
A timely and important look at striking workers in Having spent time among those
striking, Dalal’s work shows off the
the UK, this free exhibition takes a look at many importance of photography to capture
these moments in history – and those
disenchanted groups in society, says Amy Davies men and women depicted within are
Documentary work like this
acts as an important record
of powerful moments in social
history
Corsica, France, 2023 © Julian Lennon
Life’s Fragile Moments by

Julian Lennon
£59.95, teNeues,
Hardback,
240 pages,
ISBN: 9783961716142
The first photography book from
the artist Julian Lennon, who is
usually better known as a
musician, is an interesting
insight into how artists might like
to explore a variety of avenues for
their creativity.
His work spans many different subjects and
genres, with lots of them being on display in this
sumptuous coffee table book. There are beautiful
landscape images sitting amid intimate portraits and
street photography work.
If you’re somebody that is genre polyamorous, then
it’ll likely appeal to you, and shows a good
willingness to take on anything which may present
itself as a photographic opportunity.
Of course, there will be many people who are
simply interested in the life of the artist, as the child
of a famous father. To that end, there are also
personal insights in the pages in the form of texts
written by the artist himself, meaning that readers
can learn what motivates and inspires Lennon
behind the camera.
given the space to tell their own stories learn, pause and reflect.’
and demands. Dalal started work as a documentary
Curator of the exhibition Kaia Charles photographer in 2011, after being moved
says, ‘The Unreported Uprisings to record the uprisings taking place
exhibition is a powerful missive, across England in response to the
capturing the spirit of the right to strike. shooting of Mark Duggan by the police.
Inès Elsa Dalal’s body of work at the In the years since, she has worked not
gallery reflects brave, diverse only with photography, but also with
communities galvanising in solidarity video and audio archives.
with workers’ rights. In our charged and The NOW Gallery has presented
rapidly evolving political landscape, Dalal several interesting and important
has dedicated her work to documenting exhibitions in recent years, including
movements within social justice. She shows by Thandiwe Muriu, Nadine
combines documentary and street Ijewere, Charlotte Colbert, Stephen Tayo
portraiture to photograph in a human- and more. It is fast becoming an
centred, tender way. We are pleased to excellent place to visit for the latest in
be able to bring that to life and create a contemporary photography – the fact
contemplative space for audiences to that it’s free is a bonus, of course. Cuba, 2018 © Julian Lennon
Our favourite photos posted by readers
on our social media channels this week
AP picture
of the week
Silver Shadow II by Fred
Ostrovskis-Wilkes
Pentax SFXn, SMC Pentax-DA 50mm F1.8, Kodak
Gold 200
‘I came across this striking old Rolls-Royce whilst
walking through London and had to stop to take a few
shots. There’s something beautiful about the marriage
between vintage cars and shooting on film – they bring
the best out of one another.’
Instagram: @fredshootsfilm
#appicoftheweek
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their winning image worth up to £100.
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Visit thispicture.co.uk
Barn owls
soaking up the
early morning
summer sunrise
by Craig Dibdin
Sony Alpha 7 IV, GM 200-
600mm, 900mm crop,
1/1250sec at f/18, ISO 2500
‘Early one May morning,
I arrived at 5:30am to
photograph barn owls. As the
sun rose, I spotted an adult and
a juvenile perched on a wall,
staying for about 20 minutes,
until a kestrel tried to poach a
potential catch. The peaceful
encounter made my early start
completely worthwhile.’
Instagram: @Craigydibs
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Nikon D3400, 1/160sec at
f/11, ISO 100
‘I was descending towards
Kriens from the mighty Pilatus
Kulm in Switzerland, via the
cable car. I was capturing the
alpine trees from up top. Then
I wanted to switch places
and capture the cable cars
going towards Pilatus Kulm
instead. Since it was nearing
noon, the light was so harsh
that I decided to increase
the vibrance during post
processing, resulting in a
gorgeous green-filled outcome.’
Instagram:
@nanda.gopal.photos
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Technique PORTRAITS
Phil Sharp
Phil Sharp is a London-based portrait photographer who is noted for his
expressive, atmospheric, sometimes quirky style. As well as specialising
in headshots for actors, Phil has been included in the Taylor Wessing
Portrait Prize four times and has worked with brands including Apple,
Adidas, SkyTV, Audible and the BBC. See www.philsharp-photo.com
and follow him on www.instagram.com/philsharp/
Look sharp
Phil Sharp is one of the most interesting commercial
portrait photographers working in London. He
discusses his unique approach and fresh thinking
with Geoff Harris, including how he shoots mono
O
ne thing that AI can’t from scratch, as you do with Right: Grace
do at the moment is portraits. As for specialising in Cooper Milton
generate the kind of portraits of actors, this came about Fujifilm GFX100S, 1/125sec at
convincing, revealing
f/1.4, ISO 100
simply because I had friends who
portraits you get when a subject were in the acting business. I realised Below: Fisayo
sits down with a skilled portrait there was space and scope for me to Akinade
photographer. Phil Sharp is one develop new approaches for Fujifilm GFX50S, 1/250sec at
of the more interesting portrait headshots of actors, and turn it into f/4, ISO 400
specialists we’ve come across something I wanted to do.’
recently, particularly as he
specialises in headshots of actors. Lighten up
Just describing Phil as a ‘headshot Phil has developed a very
photographer’ singularly fails to recognisable style over the years,
do him justice, however, as his characterised by the skilful use of
beautifully executed portraits are
about much more than slick mug
shots of thespians, churned out in
the hope of catching some casting
director’s eye.
Phil’s portraits are hugely
expressive, particularly the way he
captures his subjects’ eyes and
hands. As he also does a lot of work
in black & white, our Black & White
special issue gives the perfect
opportunity to find out more about
Phil’s striking approach.
‘I’d always been drawn to
portraiture, as it seemed quite hard
to do,’ Phil explains from his north
London studio. ‘You are dealing with
another person, and people can be
full of complications and sometimes
messy… I knew I wanted to make a
living as a photographer, and
portrait photography is something
that still allows this if you do it well.
Yes, I could have tried food, sports,
architecture, or fashion, but they
didn’t interest me as much. I really
like the idea of making a photograph
natural light and his ability to get
actors to reveal more of themselves
in the portraits, without it ever
looking posed or contrived. He cites
a wide range of influences.
‘The portraits by US photographer
Philip-Lorca diCorcia were a big
influence when I was younger. He
understands how light works, and
that was something I also needed to
do in order to get better as a
photographer. I don’t think you ever
totally master light, but I guess it is
one of my continuing motivations.
Then there was Irving Penn, Diane
Arbus and latterly, Stephan
Vanfleteren and Roger Deakins. I am
also influenced by painters like
Vermeer and Rembrandt who, again,
were attempting to understand how
light works.’
As mentioned, Phil mainly uses
natural light as a key light on his
portrait shoots, backed-up by the
judicious use of artificial illuminaton
such as LEDs. ‘I guess natural light
provides a natural variance, so it
stops me from getting bored! It also
comes with certain frustrations,
however. At this time of year, the
light in north London can be very
changeable, but developing the
processes to accommodate this has
set me apart a bit from other
photographers. I am able to
change things quickly according
to the light.’
Know your tools

Some of Phil’s subjects are well
known, with busy schedules, but
he’s comfortable working quickly.
‘After doing this for a certain
amount of time, you don’t have to
stop to think about stuff like f-stops
and shutter speeds so much.
Knowing my tools and how to use
the light to my advantage gives me
the confidence to work quickly with
people, if required. I always prefer to
shoot in my studio because I am
more confident making technical
decisions than I am on location, as I
have more control. I am about to do
a shoot with some political
podcasters, and I really pushed hard
to shoot them in my studio. All my
gear is here, but also I know the
results will be more refined. I know
what the light levels will be and how
to adjust my lighting approach.’
As an interesting aside, Phil reveals
that shorter, time-pressured shoots
can sometimes be more productive.
‘It can depend on the sitter but
if they have any kind of
Technique PORTRAITS
experience, you hopefully win
them over as being non-
threatening. They sense your only
aim is to get an interesting photo of
them and they help you
accordingly.’
Imperfectly perfect
You’d assume actors would want
very flattering, squeaky-clean
headshots to (literally) show them in
their best light, but as Phil reveals,
this is not so much the case any
more. ‘Most good actors know
themselves, and that their
imperfections make them
interesting. I think actors like
working with me as they know I am
not trying to make them perfect.
‘On an editorial shoot, with hair
and make-up etc, the goal to try and
make them look perfect, and actors
understand it’s a big construct… the
actor is playing a part of a well-
known or up-and-coming actor.
What I do is different, because I’m
trying to connect with them on a
more professional level – in other
words, capturing the “craft” of
acting becomes more important
than them looking like a movie star.
It’s the same reason actors will
appear in a film crying, with snotty
noses – they are not embarrassed as
they are trying to connect with the
viewer on an emotional level. This is
more what I am after.’
As Phil observes, the times have
changed too, with the days of the
flawless Hollywood-style headshot,
all perfect hair and dazzling teeth,
long gone.
‘There used to be more pressure on
young actors to just look beautiful
and for this to be the main criteria
for a shoot. In some small way, I
have helped change things from a
headshot-photography perspective,
but there has also been a larger
cultural shift, where prettiness is less course, being interesting and Carola Colombo interesting arrangement of hands –
important than “interesting-ness”. attractive need not be mutually Fujifilm GFX100S, 1/80sec at something that can be a particular
Every year there will be one or two exclusive, but good actors want to f/1.4, ISO 320 challenge, as most portrait
incredibly beautiful people who get play interesting roles, so I like my photographers will know.
plucked from obscurity to become pictures to speak to that – rather ‘I got bored with just
stars, but I say to actors, unless you than simple sexual attractiveness.’ straightforward head and shoulder
are this one person, prettiness is only shots and see it as my job to push
one string to your bow.’ Just get over it the subject a bit. I will say, use your
Casting directors are very aware of Over the years Phil has developed a hands for this shot, it’s going to feel
this, and there are many aspects to good understanding of actors, and weird to start with, but then I will
choosing an actor for a particular has studied acting theory and start shooting, and after a while it
role. ‘Casting directors are looking at practice to help with this. So he isn’t will stop feeling weird. Careful
hundreds of photos of actors every afraid to push his subjects to be as observation is crucial too. Sometimes
day, and they are not just “wowed” expressive as possible, within the a subject will “relax” and do
by looks. I strive to make an boundaries of why he’s been booked. something when I am changing a
interesting photograph the priority, This is revealed in the memorable lens or a battery, and I will be like,
as this will get more attention. Of expressions he captures, and the “don’t move a muscle!” They will
tense-up slightly but they will know Music matters
what I mean, and replicate what Playing music during a shoot is also
they were doing with their hands, integral to Phil’s approach, and this
say. A crucial part of a portrait shoot is about much more than having
is getting your subject over this Kiss FM or BBC 6 Music on in the
“feeling weird” thing, as yes, having background. ‘Music is crucial to the
your photo taken feels weird, but way I photograph, certainly with
you’ll get over it. You need to absorb actors. When I started out, I’d
that awkwardness and encourage the acquiesce when subjects would ask
sitter to get over the hump.’ to put something else on, but now I
You’d think actors, by the nature push back. I want my sitters to have
of their calling, would be less prone a fresh reaction to the music. If it’s
to stiffness and self-consciousness in something they already know, they
front of Phil’s camera, but this is not will have a pre-prepared feeling they
always the case. ‘I have to tell actors can slip into. Music can help to
that this is about trusting your create a mood, sure, but it’s more
instincts – they can be worse than interesting when music is touching
anyone about saying, “I hate having someone emotionally and it moves
my photos taken.” As I get older, them as a human being. That is
I do sometimes get frustrated with really when I know I am taking good
somebody who is still uptight after pictures of somebody, when they are
I have been working with them for letting that happen.’
two hours. I may need to kick them Phil uses a variety of music on his
up the arse a bit – “I am doing my playlists, which he is happy to share.
job, now you need to do yours.” It’s ‘It’s no great secret. The music I use
funny though, politicians or business is eclectic, from classical to drum
people often get it straight away!’ and bass, hip hop, bands, music
from films… it intentionally jumps
Above: Lottie May
around in tone, to keep my sitters on
Fujifilm GFX100S, 1/200sec at
f/2.5, ISO 100 their toes. I have different playlists,
some are more emotionally focused,
Right: Garrick and I love shoots when I know
Hagon somebody is really “getting it”.
Fujifilm GFX50S, 1/250sec at Actors need something to play off.
f/2.8, ISO 3200 Having studied a bit about acting
and acting techniques, I have
learned to try to help them “do their
thing” – music can help me capture
an emotional response. Most actors
get what I am trying to do. When I
ask them to treat this as an acting
exercise, it’s much easier for them
than being asked to be a tree or all
the other crazy stuff they have to do
at drama school. A lot of other
photographers are not really taking
advantage of what actors can do.’
Open minded on black & white

Phil also shared his approach to
black & white. While he recognises
the value of trying to “see” in black
& white, particularly as you are
learning photography, he takes a
more suck-it-and-see approach. ‘I
noticed recently that I have been
working better in black & white, but
I tend to conceive of a shoot in
colour, and then see how it works
when I take the colour out. At times
I have thought I’ve been pushing the
colours too much – maybe the
portrait is becoming about the
colour rather than the sitter, and less
interesting as a result.
‘One of the great things about
Technique PORTRAITS
digital technology is how easy which reveals exactly how that Below left: the manager of your local KFC. ‘A lot
it is to convert to black & white. picture is supposed to look. I can Michelle Gomez of younger photographers feel they
With film cameras, you had to make find this by just playing around with Fujifilm GFX100S, 1/640sec at need to really light up their subject,
a decision right from the start. I am
f/2,2, ISO 100 but this is not always the case, as I
the image in Photoshop trying
still primarily thinking about light different things, experimenting, not Below centre: show by mainly using natural light.
and shape and texture and those being too beholden to the original. Robert Rhodes Take a shoot with an estate agent, for
things, and I have become more After all, there is nothing inherently Fujifilm GFX100S, 1/400sec at example – they will often have big
sensitive to colour and how to use it, truthful in the raw file – it has been f/1.4, ISO 100 glass windows with amazing natural
but I think I am just getting better at processed already, with lots of light or big maps on the wall, and
being prepared to throw that all creative decisions made by Fujifilm. I Below right: both of these make for interesting
away. Thinking in black & white is a Poppy Lawless graphic backgrounds. Try not to
don’t change people’s body shapes,
Fujifilm GFX100S,
handy tool to get started as it makes but when it comes to light, colour, 1/500sec at f/1.4, ISO 125 second-guess that your client just
you think about light a bit more tone, texture, vibrancy, you can wants a boring headshot, and don’t
starkly, but I am not sure that it really make the photograph at the be afraid to make something
should be a rule as you progress. If editing stage.’ Phil does most of his intriguing (do both if you’ve got
you are not shooting in colour as it editing in Photoshop, having time). If you always do what you’ve
is distracting or confusing, converted the raw file from his GFX always done, really, what’s the point.
absolutely, but to claim that black & series cameras to a TIFF using Use the environment to your
white pictures are somehow more Fujifilm’s X-Raw Studio software. advantage. Then look at portraits
artistic feels a bit of a pre-William you like – how is it remotely possible
Eggleston argument.’ Work with what you have I could photograph this estate agent,
When it comes to editing, Phil is It might seem like Phil lives a rather for example, in a similar way?. What
prepared to work a lot on images he rarefied existence, shooting actors is the best possible outcome for me,
particularly likes. ‘Sometimes I feel from a studio in trendy north shooting this Trump-style guy in a
like the raw file is like a lump of clay London, but he reckons the kind of badly fitting suit? You need to have
– I know there is a good picture in values and approaches he brings to some feeling in your mind what you
there, can I bring it out. Can I really his work can benefit all portrait are trying to achieve, and a
elevate it via editing. Often I sense photographers – whether you are perception of what you are
there is a sweet spot in the raw file, shooting TV stars like Ross Kemp or trying to create.’
Sharp practice: Phil’s gear choice

‘To be honest, I am not that romantic about camera bodies – they are just boxes
that hold a sensor to a lens, and a lot of what goes on in the box is a mystery to
me, to be honest. But I have enjoyed using the Fujifilm GFX series of medium
format cameras for the past five or six years, and before that, the Sony A7R and
A7R II. I shoot fairly wide open, as wide as f/1.2, and the effect is amplified on a
medium-format sensor. The magic for me is really in the lenses. I use Zeiss Otis
55mm and 85mm lenses, also native Fujifilm glass, particularly the 63mm f/2.8.
I like trying out older lenses too, including some Minolta glass and an old
Hasselblad lens I found a tilt-and-shift adapter for. It makes me laugh on photo Phil currently uses
forums when people ask, ‘why would you use a cheap third-party lens on a very the Fujifilm GFX
expensive camera body?’ It is a stark reminder that there are photographers and series of medium
there are people into imaging equipment. They’re not necessarily the same thing!’ format cameras
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CAMERA TEST Testbench
The 33mm f/8 premium
lens gives plenty of detail
Kodak Gold 200
Alfie Cameras
Tych+
The Alfie Cameras Tych+ is an intriguing, premium Data file
half-frame camera. Jessica Miller takes the compact Price £499
rotary-lens design for a spin… Film type
Frame size
35mm
24x17mm
A
Film speeds 12 to 6400
lfie Cameras is a main difference is in the also available, including a Lenses 33.3mm f/8 premium glass
family-run business additional premium glass shutter release cable, external 30mm f/8 single-element glass
that started creating 33.3mm f/8 lens (the Tych flash and collapsible sport finder. 25mm f/56 zone plate
compact 35mm camera has three lenses only) Being similar in price, the 25mm f/125 pinhole
half-frame cameras after a and bright glass viewfinder. Tych+ will certainly be rivalled by Shutter speed 30sec to 1/500sec
successful Kickstarter campaign The Tych+ is available for £499 the new big-brand half-frame film Focusing Fixed focus
in 2022. The lineup started with and is currently only for sale via camera on the block, the Pentax Metering Partial
the Alfie Cameras Tych model. the Alfie Cameras website at 17. But the Tych+ stands on its Exposure comp. +/- 2EV
We first saw it at The Photography alfiecameras.com. The original own, not only in terms of build Power USB rechargeable
Show, and the Tych+ is its Tych retails for £299. The Tych+ and features, but also for its Battery life Approx 200 photos when switched
off between pictures
premium successor. Though comes with a lens hood, camera target audience and purpose. Dimensions 16x13x8cm
having the same compact build strap and USB-C charger cable. Read on to find out how Weight 120g
and rotary lens board design, the A range of other accessories is I got on with it.
Testbench CAMERA TEST
notice, in my ignorance) each the viewfinder and a small LCD
auto mode and the ability to screen which allows the user to
change between f-stops. But see settings and the electronic
once found, it was simple enough shutter count. A small button
to use the pinhole and 25mm just below the screen allows
lenses as well as the standard you to change settings. The
f/8 lenses, without using the camera is charged by USB-C,
fully manual mode. a handy inclusion.
The wind-on wheel doesn’t It is very small in size,
automatically stop when you lightweight and fits in the palm
reach the next shot. The good of your hand. It weighs just 120g
thing about that is you can take and is 90x79x45mm. That’s
multiple exposures without any much smaller than other film
hacks or tricks needed; as the cameras such as the Pentax 17,
camera doesn’t require you to fitting easily into a pocket or
wind on for the next shutter. slipped into a bag. I found it easy
But this could be seen as a to hold and use in my small
blessing and a curse if you hands; others with larger hands
aren’t aware of the status of may have a fiddlier experience.
your current film position. The only issue I have had when
using the camera is the rewind
Design and handling knob; even with small fingers it
The Tych+ camera has a smart, was quite awkward to rewind
all-black, unique design. The without the viewfinder or my
camera body is made using own fingers getting in the way.
a hybrid anodised-aluminium However, the viewfinder can be
and 3D-printing approach. slid off, which makes winding
On the front, we have the lens back the film much easier.
rotary board and neat-looking There is a large wind wheel at
TYCH branding. The top contains the bottom of the camera, and
Shot with the 33mm

f/8 premium lens
Kodak Gold 200
Features and the 30mm 1.5m to infinity.

The Tych+ offers a hybrid The lens rotary board is easy to
shooting experience. It gives you use, with each lens clicking into
the feel of shooting film while place upon rotation. The different
also having electronic metering, options encourage some
screen, and rechargeable battery. creativity and opportunities to
The camera itself looks quite create unique images. It’s a
complicated. However, after feature that hasn’t been seen
reading the quick start guide before on cameras like this, if at
and looking through the settings all, allowing it to fall into its own
menu a few times before starting, experimental niche and put it
I got my head around it. apart from other cameras.
A rotary board on the front of The camera has a built-in
the camera holds four lenses: lightmeter for automatic exposure
the 33.3mm (50mm equivalent) and ISO from 12 to 6400. Each
f/8 rapid rectilinear lens; 30mm lens has an auto mode, you can
(45mm equivalent) f/8 single- switch between auto f/8, f/56
element meniscus lens; 25mm and f/125, or manual mode.
f/56 zone plate and 25mm There is also a mode for flash
f/125 pinhole lens (both 38mm use. There is a self-timer and
equivalent). All four lenses are exposure compensation is
fixed focus. The pinhole and available up to +/-2 stops in The 30mm single-element
lens gives softer images
25mm lens range from 0m to ½-stop increments. It took me Kodak Gold 200
infinity, the 33.3mm 2m to infinity some time to find (or perhaps
load the film, but it took some
time to figure out the different
settings and options.
From a standard 36-exposure
roll of film, I was able to get over
Verdict WHILE it
72 shots (approx 76-80 photos). looks quite
I generally shot in Auto mode, complicated
and found the best, and initially,
Recommended
sharpest, results came from the Alfie
the 33mm f/8 lens. I found the Cameras
30mm meniscus lens produced Tych+ is a good challenge and
some images that were softly fun to use. It offers a lot of
blurred. Once I got the hang of room for experimentation and
finding and changing the settings brings modern design and
I gave the pinhole and 25mm electronic features to film
lenses a try. But in a lot of cases, photography. It is small, quiet
the results were indecipherable. and discreet, which is great for
I did have some luck when using travel and street photography
manual mode and the pinhole in particular.
lens, however. So, this camera It’s on a par with the
really is about trial and error, Pentax 17, in terms of price.
which might not be to everyone’s But this feels like a camera
taste. During shooting I found nerd’s investment piece.
myself making a few notes so Despite being one that you
I could try to remember which can indeed go out and point
lens matched up to the photo. and shoot with in Auto and
The LCD is a great addition, the standard 33mm lens,
and through which you can this camera needs a lot of
set your ISO, reset your shutter time dedicated to fully
count and more, including change understand and make use
A 1-second exposure settings. The Tych+ also has a of its full functionality.
with the pinhole lens useful electronic lightmeter that The Alfie Tych+ is definitely
worked well in this selects the appropriate shutter for more competent
woodland scene
speed for the chosen lens and photographers and camera
Kentmere 400
aperture settings. users. Depending on your
The camera and shutter were style, the results produced
next to it is the frame indicator. the white square was half visible very discreet and quiet, which are very interesting and more
It’s worth noting you need to having wound on. If you do go too works well for street photography. experimental and creative.
watch until you wind on to the far, you can use the rewind knob I also enjoy doing multiple Sometimes that means
next white square, as it doesn’t to return to the correct position. exposures, and being able to sacrificing sharpness and
automatically stop when you do them on this camera without clarity. It would make a great
reach the next frame like other Performance needing any hacks was a plus. gift for hardcore film
film cameras. It does also have a Overall, whilst the Tych+ has I had no issues with battery life enthusiasts. However, it’s
habit of winding too far – whether been interesting to use – for me, – during my time using the likely too expensive for a
that’s from human error or when it doesn’t feel as straightforward camera I didn’t need to recharge, point-and-shooter, or for a
in a bag. I made sure to check as other film cameras – which is it still remained on the full three beginner film photographer
each time I got the camera out of part of its niche. The camera bars after two films, and who wants something for
my bag, as more often than not was easy enough to set up and being switched on and off. more sporadic use.
It’s easy to make The tiny camera

creative double body weighs
exposures just 120g
Kodak Gold 200
Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1
meant I couldn’t fill my weekends or

evenings with photography, so when
Take That the backstage banter, the hard-
working teams that people don’t
the children were old enough I took
Odyssey Tour usually see behind the scenes. It’s
my hobby to the next level and slowly
1 I was asked by a very special place to be.
progressed from there. I started my
Mark Owen to get this I am also one of the photographers
photographs concerts part time. She true journey aged 40.
specific shot for a for the Murray Parish Trust and
is a mother of two, has been married
picture gift they wouldFlackstock – I donate all of my time
for 27 years and loves travel and pets. What do you love about photography?
be giving to their and photography to help these
The ability to create, to show things
teams at the end of wonderful charities.
How did you get into photography? that others may miss. The excitement
the tour. I shot the
It started way back on our wedding and the nerves all wrapped into one
whole show at the How and where do you find
day when we hired a photographer perfect shot. There’s no feeling like it.
Southampton inspiration?
to do candid black & white shots
Stadium. I find most of my inspiration from
unstaged. They are still my favourite Favourite subjects
Nikon D810, Nikon 24- the shows that I attend – but I also
photographs. While it was a hobby By far my favourite photography is
70mm f/2.8, 1/250sec follow a lot of photographers who
that I took up, having young children concert-related. The buzz of the pit,
at f/2.8, ISO 1600 are similar to myself, it’s a sort of
YOUR PICTURES IN PRINT
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Reader Portfolio winners receive a one-year subscription to a Gold Submit your images
Portfolio Series website worth £300. UK domain name included. See page 3 for details of how to submit. You
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2 Rick Astley and

his backing
vocalists
2 From Rick
Astley’s ‘Are We
There Yet’ Tour.
Nikon Z7 II, Nikon 24-
70mm f/4, 1/320sec
at f/6.3, ISO 3200
Faye Tozer
from Steps
3 This was taken at
Carfest, where I was
working behind the
scenes with Steps.
Nikon D810, Nikon
24-70mm f/2.8,
1/200sec at f/2.8,
ISO 160
‘unwritten club’ where we can

discuss problems, inspirations,
goals and support each other.
That’s extremely important to me,
always rooting for each other and
admiring each other’s work.
What was your first camera?

A Canon PowerShot compact.
Current kit
A Nikon D810 and Nikon Z7II with
various lenses.
Favourite lens
Tamron 70-200mm f/2.8 G2.
www.amateurphotographer.com
YOUR PICTURES IN PRINT
Favourite accessory Favourite tips 6

My leather concert and festival Keep going! It’s a really tough industry
harness. to get into, I find this even harder as
a woman in this profession. Start
Dream purchase small and practise, practise, practise.
Nikon Z9. Get to as many local gigs as you can
and offer your services. But also
What software do you use for editing? remember to know your worth and
Lightroom mainly – I might sometimes never be taken for granted.
use Photoshop if I need further editing.
About your pictures
Favourite photographers When I take concert photographs
Rankin, for his incredible black & white I try to take what I think the
portrait work. Christie Goodwin and audience would like to see – the
Scarlet Page – these brilliant ladies close-ups, the expressions, the
have such a fabulous collection of happiness, the little moments that
concert photography. happen on stage or the interaction
with the audience – that’s how I
Favourite photography books edit them too. I take what people
I am more of a magazine hoarder – so would like to see on their socials,
AP magazine, of course! websites and programmes.
30
JLS
4 From the JLS Tour
at Bournemouth
International Centre.
Nikon Z 7II, Nikon 24-70mm,
1/250sec at f/4, ISO 1250
Beverley Knight
5 From the Beverley Knight
‘50’ Tour in Bournemouth.
Nikon Z7 II, Nikon 24-70mm
f/4, 1/250sec at f/4,
ISO 2000
Olly Murs
6 Olly was supporting Take
That on their ‘This Life’ tour.
Nikon Z7 II, Sigma 500mm
(with adapter), 1/320sec
at f/6.3, ISO 400
Alfie Boe and

Michael Ball
7 From the Ball and Boe
Show at Hampton Court.
Nikon D810, Nikon 24-70mm
f/2.8, 1/200sec at f/2.8,
5 ISO 1250
7
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YOUR LETTERS
Inbox
Amateur Photographer
Email ap.ed@kelsey.co.uk l The model industry is
difficult to break into and
Editorial
Group Editor Nigel Atherton would-be models should
Deputy Editor Geoff Harris never be promised riches
Technical Editor Andy Westlake
Features Editor Amy Davies by a photographer.
Technique Editor
Online Editor
Hollie Latham Hucker
Joshua Waller
It would be interesting
Deputy Online Editor Jessica Miller to discover if there are any
Online Writer Isabella Ruffatti other experiences from AP
Staff Writer Musa Bwanali Write to the Editor at ap.ed@kelsey.co.uk and include your full postal address. Please don’t send letters in
Production Editor Jacqueline Porter the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated readers about individuals
Design atg-media.com (Calum Booth) using modelling as a front
Photo-Science Consultant
Professor Robert Newman to scam older
Advertisement sales & production
Head of Investment: Photography
LETTER OF THE WEEK photographers.
Adrian M Ashurst
Mike Pyatt
Camera vs phone 140 years

Production Manager Nick Bond
are printed and yes, screen-only
Management
Publishing Director Mark Winterton cameras suffer similar limitations. Thank you for such a
Retail Director Steve Brown Film directors on set use nifty wonderful 140th
Subscription Marketing Manager
Molly Walton I was surprised that your well-argued hand-held scopes which underlines anniversary edition of AP.
Print Production Manager Georgina Harris
Print Production Controller Hayley Brown
comparison of camera versus phone the point I suggest. A phone camera Brilliantly written and
made no mention of the differences is great for everyday shots and mine concluding beautifully with
Subscriptions between viewfinder and screen under gets a lot of use, but when it counts Maria Falconer’s Final
51 issues of Amateur Photographer are
published per annum. ‘Ease of Use’ which, for me, is the it’s the big boy every time! Tom Borg Analysis. As well as
UK annual subscription price: £379.62
Europe annual subscription price: £430.62
most challenging aspect of photography and art,
smartphone photography. In the In the piece we did mention that many history has also been a
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0044 (0) 1959 543 747 It’s eyepiece-corrected to confirm described using a camera without a John Heywood
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1-888-777-0275
UK customer service team 01959 543 747 visualisation of the finished image. and watching a movie with all the Birthday treat
Customer service email cs@kelsey.co.uk My phone screen is surrounded by lights on. Some users seem better What a treat your 140th
Customer service and subscription postal
address Amateur Photographer Customer distracting context and reflections, it able to block out distractions than anniversary edition was.
Service Team, Kelsey Publishing Ltd, needs specs at normal viewing others. Personally I can’t abide John Wade’s feature on
Kelsey Media, The Granary, Downs Court,
Yalding Hill, Yalding, Maidstone, distance and takes much longer to cameras without viewfinders, though landmark cameras was
Kent ME18 6AL
Find current subscription offers on
ensure capturing what I want. I rarely have a problem using a phone fascinating and your
our website shop.kelsey.co.uk/AMP Yes, monster pixel counts enable – perhaps because phone screens history of AP reminds us
Already a subscriber? cropping, particularly as few images are so much bigger and brighter. of why the magazine has
Manage your subscription online at
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Tel 020 7429 4000 www.seymour.co.uk I recently learned of a through proposed expenses.
Distribution in Northern Ireland number of senior amateur photoshoots. These l Ensure that a ‘model
and the Republic Of Ireland
Newspread. Telephone +353 23 886 3850 photographers who have photoshoots are often release’ form is signed,
been victims of elaborate cancelled, and the indicating who has
Kelsey Media 2024 © all rights reserved. Kelsey Media financial scams. The scam photographer loses the copyright and where
is a trading name of Kelsey Publishing Ltd. Reproduction
in whole or in part is forbidden except with permission in involves a small minority studio booking fees and images can be published.
writing from the publishers. Note to contributors: articles of would-be models who will unfortunately never (Some examples can be
submitted for consideration by the editor must be the
original work of the author and not previously published. target older amateur see the money again. found online).
Where photographs are included, which are not the photographers who are Therefore, the advice l Pro photographers
property of the contributor, permission to reproduce them
must have been obtained from the owner of the copyright. members of photographic is simple. should ensure they have a Two readers write in with
The editor cannot guarantee a personal response to all societies. Once the l Never offer to lend public liability insurance praise for AP’s special
letters and emails received. The views expressed in the
magazine are not necessarily those of the Editor or the individuals are introduced money to a would-be policy in place. 140th Anniversary edition
Publisher. Kelsey Publishing Ltd accepts no liability for they often attempt to model.
products and services offered by third parties.
Kelsey Media takes your personal data very seriously. For
strike up a friendship and l It is advisable to book a YOUR FREE APOY ENTRY CODE
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YOUR LETTERS
THIS WEEK WE ASKED... Improve

What do you wish you’d known before you your
bought your first camera? photography
You said... Shaun Hurd with a subscription to
That I should’ve also blagged
Chris Prichard my dad’s old darkroom equipment Amateur Photographer
How obsessed I’d get and from him! magazine!
how much it would cost. I’ve two First camera I bought for myself was
hobbies, photography and Land a Pentax MX. By that time my dad’s
Rovers, God help my wallet! darkroom equipment wasn’t being
used, but I never got into that side of
the hobby.
Mike Jones @corporal51

That one is never enough!
Adam Little
@adamclittle
Steve Fairclough @SteveF_Content After I bought my first
That 110 wasn’t the most popular camera, I wish I’d
format... understood that I didn’t
need to buy the next model,
but did need to work on my
skills and understanding!
Faye Louise
I spent a long time researching the
specs and made my choice. I never
considered the weight, and find it very heavy Ali Muspratt
The joy it would bring!
SAVE
lugging it around and holding it.
Richard Sheppard
UP TO
70%
That I’d prefer the Pentax MX over the
Hazel Dunlop ME. But both were great cameras. *
At 18 years
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Photographers Visit shop.kelsey.co.uk/
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Nikon Wanted for Cash
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Testbench ACCESSORIES
Original Spares
If you regularly use
SpeediGimbal Kit
more than one camera
support or lens, spare ball
and cup sections are
available individually
for £40 each.
Andy Westlake tests an ingenious

head that’s perfect for monopod users
● £79 ● speedigimbal.co.uk
If you shoot a lot with large telephoto lenses,

you’ll know that hand-holding them for long spells
of time can be tiring and impractical. The classic
solution to this is to use a monopod to take the
weight. But having what is essentially a long stick
attached to your camera or lens can be awkward,
especially when you need to be able to move
quickly, for example to keep track of moving
subjects such as wildlife.
SpeediGimbal is a head that aims to makes
things easier for photographers who use
monopods. It’s like a ball-and-socket head, except
the two parts are separate from each other. Screw
the ball onto your monopod and the cup onto your
camera (or vice versa), and you can use a monopod Reversible
to support a long lens without having it physically You can use the setup
attached to your camera. with either part attached
The advantages of this setup over traditional tilt to your camera and the
or ball-and-socket heads are huge. For a start, you other to your monopod,
can just drop the camera onto the monopod depending on your
preferences.
instantly, with no need to mess around with a Two sizes Fitting
screw fixing or even a quick-release plate. Likewise, I tested the Original With 3/8in threads
you can take your camera off your monopod just as SpeediGimbal designed for and 1/4in adapters
quickly when needed. Most importantly, you get large lenses. A smaller supplied, the head should
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if you fit the ball onto your monopod, it provides a for £49. lens and monopod.
comfortable grip for using the monopod as a
walking pole.
SpeediGimbal is manufactured from black nylon
plastic, and at 125g, it adds minimal weight to your
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I tested the SpeediGimbal shooting at an airshow GOLD
with the Fujifilm GFX100S II and GF500mm F5.6
lens. This is by no means the heaviest combo
around, but I still appreciated being able to drop it
onto a monopod and make use of the additional
support, especially when slowing the shutter speed
for increased propeller blur. Crucially, the design
meant I could freely and easily pan and angle the
ECOSYSTEM
camera to track the airplanes’ movements. At a glance
SpeediGimbal is at the centre of a wider ecosystem of camera
Verdict ● Two-part monopod/tripod head supports and accessories.
ALL PRICES ARE APPROXIMATE STREET PRICES
I’ve never enjoyed using monopods in the past, as ● 3/8in attachment threads This includes a car window
I find it awkward and annoying having one attached ● 1/4in thread adapters included attachment, hide base plate,
onto my camera. This device fixes that at a stroke. ● Ball: 42mm diameter mini monopod, and sling strap.
I dislike using the term ‘game-changer’ as it’s ● Cup: 50mm diameter, 44mm There’s even a full support
become devalued by over-use, but here it’s entirely tall system for wheelchair users
justified. If you regularly use long lenses with a ● 125g total weight (right). See the firm’s
monopod, I’d strongly recommend getting one. website for full details.
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Tech Talk
BLAST FROM THE PAST

Improve
Primar- your
photography
with a
Reflex II
John Wade looks over a
subscription
to Amateur
Photographer
magazine!
heavyweight roll film reflex
LAUNCHED 1951
PRICE AT LAUNCH about £100
GUIDE PRICE NOW £160 (recent auction buy)
The German Curt Bentzin

company made its first Primarflex
in 1935, and several variants
were produced pre-World War II.
Post-war, the camera was
relaunched in a new, more The Primar-Reflex II,
streamlined design. In its home making a reasonably
country it was called the priced introduction to medium
Primarflex II, but for export format reflex photography
purposes the name was changed
to Primar-Reflex II.
The camera is big and heavy:
18x15x10cm and 1.6 kilos. Its
small square aperture in the
back. Later models allowed the
waist-level finder to be removed
shutter speed setting from
1-1/1,000sec, frame counter
reset, manual mirror lowering,
SAVE UP TO
modular design consists of a box
with a reflex mirror inside and a
detachable lens in a broken-
thread mount, that’s like a
and replaced with an eye-level
pentaprism. Sadly, there is no
evidence of such a device being
produced.
delayed action winding and
delayed action release. Twin
sockets for flash connection
are here too.
70%
JUST £2 PER ISSUE
*
bayonet with a screw thread on Press down on the hood The camera reviewed sports a
the lugs. Pull back a catch on release catch, and the back falls 10.5cm f/3.5 Tessar lens. Other
the top, and a viewing hood open to reveal a removable lenses from 8-50cm were made
incorporating a magnifier springs
into place for waist-level viewing.
cartridge into which the film is
loaded. It shoots twelve 6x6cm
for the Primar-Reflex by
prestigious manufacturers that WAYS TO
Its eye-level sports finder is found
by opening a flap at the front of
images on 120 film. Frame
numbers are indicated in a tiny
included Zeiss, Meyer, Kilfitt,
Novoflex, Rodenstock, Schneider, SUBSCRIBE
the hood and sighting through a window as the film is advanced, Berthiot, Krauss, Dallmeyer, Ross Visit
an action which also tensions the and Taylor Hobson. shop.kelsey.co.uk
shutter and lowers the mirror.
Intriguingly, there are six knobs What’s good A near- /APUG24
on the side of the body. They Hasselblad experience at a Call us on
control film wind, focal plane fraction of the cost. 01959 543 747
What’s bad Very heavy, no and quote APUG24
rangefinder to aid focusing,
extra lenses are hard to find.
With the back open and

showing the cartridge
into which film is loaded
Lines are open Mon-Fri 8.30am to 5.30pm. Calls are

charged at your standard network rate. *Offers available
for UK customers only. You will pay £26 for your first 13
issues then continue to pay £34.99 every 3 months.
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using the standard cover price plus a standard postage
price per issue. Offer ends 31/12/24. Prices correct at time
of print and subject to change. For full terms and
conditions visit shop.kelsey.co.uk/terms. To see how we
The eye-level sports finder flap use your data view our privacy policy here shop.kelsey.
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opened for action
Amateur
Photographer
of the Year
IN ASSOCIATION WITH
Here are the top ten images uploaded to Photocrowd

from Round Six, People, with comments by the AP
team and our guest judge
Round Six 1
People
Portraiture is always a challenge. It
can be easy to become overwhelmed
by our own desire for creativity, or
distracted by the technicalities of
studio flash, or confused by the matter
of controlling natural light. There’s
potential to forget there’s an individual
in front of the camera who needs
directing. A successful portrait has an
edge – a certain something that, in a
split second, reveals some small detail
or nuance about the person. It’s a
wonderfully fulfilling, creative genre,
and the top ten images in this month’s
round all succeed on a range of levels.
1 Patrick Reilly Ireland 100pts

Fujifilm X-Pro2, 23mm, 1/320sec at f/8, ISO 1600
There’s so much to enjoy about this
hugely eye-catching portrait. Needless
to say, our attention is drawn first to
the boys’ flame-red curls, placed so
well against the blue backdrop. From
here, we are drawn to their demeanour.
Not only are they dressed like adults,
but also there is a maturity and
assuredness to them that Patrick has
captured beautifully. He has done well
to make the boys feel so relaxed and
comfortable with being photographed,
which is one of the most crucial
elements of a successful people shot.
It leaves us wanting to know more
about them, too, and you can’t ask for
much more than that.
42
2 Jevgenijs Scolokovs
Latvia 90pts
Canon EOS 5D, 135mm, 1/2500sec at f/2, ISO 100
Guest judge Carolyn Mendelsohn says:
‘I couldn’t resist this wonderful photograph. It
creates a strange, slightly unsettling scene that
draws me back again and again. The story is
intriguing and the photograph conceptual and
well crafted. Who is the woman knitting on a
sofa outside? The domestic imagery captivates
me, contrasting sharply with the external harsh weather around
her. It is a portrait but at the same time much more.
‘This composition has an intentionally surreal quality, but it is
perfectly balanced. The umbrella blowing away, the older woman
knitting on a sofa – something that typically belongs indoors
– alongside a teddy bear, all evoke a sense of domesticity. Like
a still from a film, it raises questions instead of providing
answers, inviting us to delve deeper into its narrative.
‘There’s a quietness to the scene; it doesn’t shout, but rather
beckons us to explore further.
‘What do I love about it? The story, the surreal quality and
2 the striking juxtaposition of the domestic setting against the
outside world.’
CAMERA
CLUB
HIGHEST
SCORE
3 Al Stuart UK 80pts
Nikon D5, 24-70mm at 40mm, 1/125sec at f/5, ISO 100
The judges enjoyed the strong concept
of this studio shot (which was taken in
Al’s kitchen, which shows you don’t
need to go to the effort of hiring a
studio space to make good images).
Despite how busy the background is,
our eye goes straight to the model’s
face, with her neutral expression, first.
It’s as if she’s simply glanced up from
the news story that was commanding
her attention. Her pose is relaxed,
and the three-quarter angle helps to
emphasise that. While the intention is
clearly to convey an obsession with the
news, given that most of us now
consume our headlines electronically,
there’s also a nostalgic feel to the
image that makes it stand out.
43
5
4
4 Peyman Naderi Iran 70pts
Sony A7R Mark III, 24-70mm at 70mm, 1/160sec at f/5.6, ISO 64
Peyman is a regular in the people and portraits category,
and this is another example of one of his mysterious and
intriguing portraits, which is immaculately produced, as
always. The woman’s hand is placed perfectly – we can
almost feel her eyes burning through it. The styling is
stunning, too, with the costume and hair contributing to
the scene as much as the model and pose. It’s like an
imagined still from a fairytale or a myth, and the audience
is invited to construct their own story.
5 Paul Nash UK 60pts

Fujifilm X100V, 23mm, 1/500sec at f/5.6, ISO 160
This is a great example of spotting the
light first, composing the shot, and then
waiting for the right person to walk into it.
The curved triangular shape that almost
fills the frame is a strong compositional
tool, and the shadow being entirely
contained in it is an example of great
timing. The B&W conversion is the ideal
treatment for this image, too.
6 Laura Allegri Italy 50pts

Canon EOS M50 MkII, 18-150mm at 29mm, 1/800sec at f/10, ISO 500
Looking for motifs that repeat throughout
the frame is a great photographic device,
and it’s the recurrence of the colour red
in this image that gives it impact. The
hat, the cardigan, the half-painted wall
behind, the dots on the woman’s bag and
even the poster’s typography all combine
to create a coherent whole. Although it
looks like a candid, it could just as easily
6 have been set up, which makes it all the
more interesting.
IN ASSOCIATION WITH
Winning kit
from Camera
Centre UK
What gear did our top ten
7 Dominic Beaven UK 45pts photographers use?
Sony A7 Mark III, 35mm, 1/13sec at f/8, ISO 200 In third place, Al Stuart used a
The range of styles in this year’s top ten is fascinating, and here we have another example of a Nikkor 24-70mm F2.8E AF-S ED VR
stylised shot that tells a story. Dominic says it’s part of a narrative about obsession with social for his studio portrait. This fast-
media, and the slumped pose suggests something about its negative impact. The set has been aperture, flagship standard zoom
beautifully constructed, and the model well styled, too, with her green dress standing out strongly. was the first Nikkor lens to feature
an Aspherical Extra-Low Dispersion
(ASP/ED) element. It also promises
ROUND SIX WINNER, YOUNG APOY up to four stops of Vibration
Reduction and in its five-star review
Yousef Naser Egypt in AP it was said that ‘the speed of
100pts AF acquirement is truly impressive’.
Fujifilm X-T3, 18-55mm, 1/125sec at f/14, ISO 640 This excellent lens can be found at
Once again, Yousef Naser is Camera Centre UK for £1,999.
making a huge impact in Young Taking seventh place, Dominic
APOY. This may be the first Beaven’s portrait was shot using
category he’s won this year (he a Sigma 35mm F1.4 DG DN | Art.
took the overall title in both Constructed with 15 elements
2022 and 2023), but he’s arranged in 11 groups, with aspherical
been placed in the top ten elements maintaining sharpness to
in every round so far – the the edges of the frame, there’s also
most consistent results of a rounded 11-blade iris to ensure
any entrant. With this image, attractive bokeh. Taking five stars
which seven of the nine judges when reviewed in AP, it was described
placed in their top ten, the as a ‘high-quality workhorse’. This
side lighting in this image impressive lens can be found at
is sublime, picking out the Camera Centre UK for £769.
details in the fisherman’s net, Graeme Youngson’s candid shot was
as well as his hand and facial awarded eighth place and was shot
features. The catchlight in using a Fujifilm XF35mmF2 R WR. In
his eyes is perfect, and is an another five-star review, this lens has
essential element to make his nine elements in six groups, plus nine
direct stare at the lens even diaphragm blades and an aperture
stronger. The muted colours range of f/2 to f/16. It was described
complement each other as ‘an incredibly powerful lens that
beautifully and allow us to looks great, feels great and has the
concentrate on the subject’s performance to match’. Pick this lens
somewhat inscrutable up at Camera Centre UK for £359.
expression. Yousef has a great
future ahead of him, and we
can’t wait to see where he To see the full range, visit
goes next with his photography. www.cameracentreuk.com
APOY 2024
8 Graeme Youngson
8 UK 40pts
Fujifilm X-Pro3, 35mm, 1/500sec at f/7.1, ISO 800
Graeme is another regular name on
the results pages of APOY, and here
we have a typically witty observation
from him. Taken during an Extinction
Rebellion protest, the juxtaposition
of the formal stances and uniforms
of the police officers against the
costumed woman is a powerful one
– the common link between them
being the wearing of the masks.
9 Kelly Beckta UK 35pts

Sony A7R Mark II, 35mm, 1/160sec at f/2.8, ISO 1600
The artificial light in this shot casts
a gorgeous glow, directing our
attention first to the poster of Che
Guevara, second to the barber, and
only third to his client. The light also
does just enough to pick out the
rudimentary nature of the barber’s
workplace, giving us an insight into
the conditions in which he lives and
operates. It’s moment that manages
to be both quiet and revealing.
To see more images from APOY Round Six and Young APOY, visit www.amateurphotographer.com/APOY
IN ASSOCIATION WITH
10
10 Erika Howard
UK 30pts The 2024
Fujfilm X-T2, 56mm, 1/125sec at f/1.2,
ISO 1000 leaderboards
Taken in Benin, this As we move into the second half of
portrait is memorable this year’s competition, things are
for its simplicity. tighter than ever at the top of the APOY
Shooting against a plain leaderboard, with only 60 points
background takes our separating first and joint 11th places.
attention straight to the No fewer than five entrants share sixth
python, before going to place, demonstrating just how close
the man’s somewhat everything is. In Young APOY, Yousef
benign expression. The Naser (this round’s winner) and
fact that he is looking previous winner Lucy Monckton are
out of the frame lends fighting for top spot, and with four
an element of mystery, rounds to go, anything could happen.
and the shape created As far as the camera clubs go,
by the snake makes it Plymouth is flying, at nearly 200 points
almost like a headdress ahead of its nearest rival. Can anyone
of sorts. Spend time catch them? Only time will tell!
with the image and you
then start to take in the
scars on the man’s face APOY
and the subtle detail of
his clothing. Depth of 1 Sara Jazbar 170
field is spot on, too. 2 Gary Hunter 160
3 Peyman Naderi 150
CAMERA CLUB COMPETITION 4 Jevgenijs Ščolokovs 140
5 Paul Nash 125
6= Matteo Strassera 120
6= Patrick Reilly 120
6= Paula Green 120
6= Roy Egloff 120
6= Tim Burgess 120
11= Andrew Robertson 110
11= John Mihopulos 110
11= Lynn Fraser 110
YOUNG APOY
1 Yousef Naser 340
2 Lucy Monckton 290
3 Omar Mahmoud Alashmawy225
4 Matteo Botta 200
5 Antisha Thakur 190
6 Kaung Khant Thaw 180
7 Finn Hanley 165
8 Liberty McAuley 140
9 Charlie Gil 110
10 Rami Gnaegi 105
CAMERA CLUBS
Tracey Small UK 10pts 1 Plymouth Camera Club 450
Fujifilm X-T4, 35mm, 1/250sec at f/2.8, ISO 160 2 Truro Camera Club 255
Tracey has earned ten points both for herself and for Launceston Camera Club 3= Mid-Somerset Camera Club 190
with her creative portrait that has been extremely well captured and processed.
3= Stafford Photographic Society190
The models’ expressions complement the softness of the scene, and the tones
have been very well managed. Well worthy of the shortlist. 5 Bristol Photographic Society 150
APOY 2024
Round Six:
The Best
of the Rest
The APOY judges choose their favourite
images that didn’t make the top ten of our
People category
Hollie Latham Hucker, technique Geoff Harris, deputy editor,

editor, chooses Where Heaven’s chooses Gnawa Saharan by
Light Touches the Soul by Pedro Julia Martin, Worcestershire
Simeão, Brazil Sony A7CR, 24-70mm at 41mm, 1/160sec at f/4.5, ISO 500
Nikon D850, 24-70mm at 70mm, 1/30sec at f/5, ISO 800 Geoff says: ‘Executing a good travel
Hollie says: ‘It’s the light in this portrait that portrait is often a challenge – there is
caught my attention. Not only do the beautiful frequently a language barrier, your
streams of light illuminate the subject and her subject might be busy or feeling they
surroundings superbly, but also they feel should “pose”, and you often have
symbolic given the location of being inside St little control over the light and the
Peter’s Basilica, which adds to the overall environment. This portrait works really
atmosphere of the scene. It’s a wonderful well, though. The subject looks relaxed
environmental portrait as the viewer is given and natural, and the photographer has
lots of contextual details; the dome with the made the most of the wonderful
exquisite beams of light, the architectural window light. The diffused sunlight
interior details and Latin engravings. The illuminates the subject’s face in
placement of the subject in the foreground of classic ‘painterly’ fashion, and their
the scene is perfect; we can see her hands are posed naturally too (another
environment yet she’s still very much a focal challenge with portraits). There is good
point as we ponder her gaze. Meanwhile the eye contact, and the smile looks
natural rim light provided by the beams of genuine. I also think the image would
light perfectly highlight her profile to make her work in black & white, but then you’d
stand out from her surroundings.’ lose the lovely pale blues on the
window frame.’
48
Amy Davies, features editor, chooses Clink
Street by Steve Oldfield, East Sussex
Olympus E-M1 Mark II, 12-100mm at 12mm, 1/40sec at f/4, ISO 500
Amy says: ‘This was the People round, but at first glance
you’d be forgiven for thinking that this is something more
at home in the Architecture section. That’s exactly why
I have chosen it – when I’m judging, I try to look for
photographs that don’t necessarily straightforwardly tick
a box for whatever the subject round is.
‘In this case, although the image is predominantly
about the stark lines and colours of the architecture,
it would arguably actually be a fairly dull picture
without the person in the corner. They give it an excellent
sense of scale, and, we also get an idea of how
impressive it is that the photographer managed to create
such straight lines.
‘I like the little touches of the street name as well –
Clink Street, it’s got a lovely ring to it. And maybe it’s just
my pareidolia, but I’m sure I can see a face created from Ailsa McWhinnie, APOY project manager,
the features of the building too.’ chooses The American Dream by Andy
Holloway, Hertfordshire
Nikon D750, 24mm, 1/1000sec at f/8, ISO 100
Ailsa says: ‘I love everything about this: the man’s pose,
the colours, the composition, and the light that makes it
look as if it was shot in California, not the UK. The
Chevrolet suggests it was taken on the other side of the
pond, too, but in fact the owner, Bill ‘Chopper’ Carter,
brought the car into the UK from America. The reflections in
his sunglasses complete the picture. He’s about as cool as
it gets, and Andy has done a superb job of capturing him.’
Nigel Atherton, editor, chooses Pull a Face Jessica Miller, deputy online editor,
by Andrew Knight, Devon chooses Hey, You! By Glynis Harrison,
Sony A7R Mark II, 90mm Macro, 1/160sec, f/2.8 Birmingham
Nigel says: ‘This image by Andrew Knight immediately Camera details unknown
jumped out at me when I first saw it. It has a great visual Jessica says: ‘Now this is a scene I’m sure most of us
impact – a combination of Andrew’s use of a ring light to in the UK are familiar with. The moment you open your
create the punchy, shadowless lighting, and Xena’s playful, fish and chips, or any food for that matter, and being
slightly edgy pose and expression. If you’d told me that surrounded by either pigeons or seagulls (or both).
Rankin had taken this picture I wouldn’t have questioned it ‘This photo was taken on Redondo Beach Pier,
for a moment. It wouldn’t look out of place on the cover of California. I find it particularly humorous, as the
a magazine like i-D or The Face. woman, who is said to regularly feed the birds, speaks,
‘Andrew photographed Xena at a studio near his Plymouth or shouts, at the birds all lining up for a piece of her
home to try out his new 90mm portrait lens, and his lunch. From the action of the woman pointing to one
decision to shoot wide open at f/2.8 has created a nice bird in front of her, to its mate making a move near her
bokeh from the sequins behind her. Converting it to black shoulder, I think Glynis has captured this moment well
& white prevented the colours in the sequins from and for me that’s what makes it memorable.’
becoming a distraction.’
Testbench IN THE FIELD
Adventures
Rocking horse shot with the
MPP Micro Technical Mark VIII on
Ilford 5x4 Direct Positive Paper
in large
format
At one time they gave the
ultimate in picture
quality, but how
useful is a plate
camera today?
John Gilbey decided to find out
L
ike many photographers, Precision Products (MPP) of but mine didn’t. Then there was
I’d always liked the idea Kingston on Thames. Okay, it was the overwhelming sense of quality
of a large-format camera metal rather than mahogany, but – the finish of the components
– a thing of brass and all the other criteria matched and the way that it had clearly
bellows, oiled mahogany and nicely. It came with three been hand assembled. The heavy
some vintage glass. I figured that interchangeable lenses, a dozen alloy construction, wrapped here
I could add it as a novelty to my or so darkslides for both cut film and there in the traditional black
wedding photography offering to and glass plates, a box of filters leatherette of the period, hinted
help me stand out from the and lens hoods, cable releases, that this camera was built for
competition. Heck, I’d even don a even a manual. Everything, in hard work.
waistcoat and bow tie if that fact, to get me started in Technical cameras of this type,
helped to sell some work. large-format photography except an enhanced version of the
For a long time this remained a a tripod and a box of film. typical press camera, were a
dream, but then an opportunity How much to bid was the next mainstay of commercial
arose – the sort you just can’t question. High enough to secure photography in the post-war
pass up. A research organisation the kit, but low enough to reflect years, and remained in use with
I did some work for had gone the lack of warranty. The camera some organisations up to the
digital and was selling off its had been stored in good millennium and perhaps beyond.
analogue cameras and darkroom conditions, the shutters all fired This popularity was due to the At the front of the bracket that
equipment. They were taking and the lenses were clean and extreme flexibility they gave, holds the lens board sits a pair of
bids, so I scanned the list of stuff clear. I made my offer, adding a especially in a studio, while being thumb catches. Squeeze these
available with considerable few random pence in case the portable enough to be lugged out together and carefully draw the
interest. Besides the usual range contest was close. A week later into the field when necessary. To lens assembly forward so that it
of Bronica and Nikon kit, one line I was informed that I had the see how this all hangs together, engages with the focusing track.
stood out: it simply said ‘Plate winning bid, so I paid up and let’s take a closer look. Focusing is achieved using the
camera outfit’. My pulse carried off my prize – struggling a In its folded state, the MPP is rear-mounted ground glass
suddenly quickening, I asked to bit as I carried the heavy case around 8 inches square and 4 screen, shielded with a folding
have a look at it. and contents across the car park. inches deep, so it can be carried metal hood, and the two
A large leather trunk, close to in a reasonably compact case for focusing wheels on the front
2-feet long, was placed on the About the camera working in the field. To open it, baseboard. Be prepared for a
table for my inspection. Opening The first things I noticed about slide the catch on the top panel shock, as the image on the
it revealed a treasure: a high- the Micro Technical were those and gently pull the front cover screen will be inverted and
quality British-made camera. A features it didn’t have: no down until it clicks into place. reversed, which can take some
few moments of study revealed it batteries, no metering, no proper This then forms the baseboard getting used to. Focusing is made
to be a Micro Technical Mark VIII, viewfinder, just a clip-on wire and allows the lens and bellows easier if the aperture is wide
made in the mid 1960s by Micro frame. Some had a rangefinder, to be deployed. open, which gives more light and
a shallower depth of field. in its own right, but suffice it to – having returned any camera
My standard lens for the MPP say that the MPP allows you to movements to their default
is a 150mm, f/4.5 Schneider- raise and lower the lens, swing location. Then, place both your
Kreuznach Xenar in a Synchro- the lens to left or right and adjust thumbs on the curved alloy
Compur leaf shutter. This lens the angle of the ground glass braces and push down until the
has the advantage that it will fit screen and film holder in three braces release. Only then can
inside the body of the camera dimensions. Not a bad offering you lift the front of the case and
when it is closed. Other, larger, for a technical camera, but a click it shut. Damage will occur if
lenses need to be removed from monorail type will offer you you get this wrong!
the body before you close it. In slightly more flexibility.
company with most other Having secured your images, Learning the technique
large-format cameras, the MPP you’ll need to collapse the Even if you are familiar with film
offers a range of camera camera again – and it is vital that cameras, everything you think you
movements, which can be used you understand how to do this! know has to be relearned when
to control both perspective and Return the lens to its resting you move to large format.
the relative areas of the image place in the body by squeezing Compared to 35mm or roll film
which you want to be in focus. the thumb catches and gently photography, the pace is Front view showing the Synchro
This could easily form an article easing the assembly backward glacial – and half a dozen Compur shutter and Xenar lens
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IN THE FIELD Testbench
Large-format checklist
l Open camera
l Check no darkslide is in place
l Take exposure meter reading
l Open shutter and aperture
l Focus on the ground glass screen,
using a magnifier if necessary
l Close shutter, set aperture and
shutter speed
l Ensure shutter is cocked
l Put in darkslide with unexposed film
facing lens
l Remove darkslide cover
l Fire shutter
l Replace darkslide cover
l Remove darkslide and set tab to
lock cover
l Close camera
on a Four Thirds sensor body. The

result is that a standard lens
gives results similar to a short
telephoto, which makes a very
useful portrait lens while still
retaining the extra flexibility of
the format.
Another option is to explore a
relatively new innovation – direct
positive paper. This is a slow
emulsion on fibre-based paper
which uses standard print
chemistry and results in a
positive image not unlike
transparency film. Ilford Photo
The Micro Technical Mark VIII
sells this in a variety of sizes
with its case and accessories
including 5x4in. The sensitivity, or
speed, of this paper is quoted as
exposures suddenly feels loading the film, for example, listed the main steps in taking a ISO 1-3 – which is very slow – so
like a good day’s work. which is a whole drama in itself. large-format photo in the text box it is best suited to still-life images
The slow pace imposed by Basically, 5x4 film comes in above right. and landscapes. But its
large-format work is, of course, boxes, starting with 25 sheets to advantages include being less
part of the appeal. Stepping the box, which must be opened in First light vulnerable to exposure to light
back, looking at the wider view of complete darkness to avoid If the technique needed sounds while loading and offering a short
what you are seeking to achieve, fogging the film. It helps to place intimidating, there are some ways route to a completed image,
waiting for the right light, and all the items you need in a strict of taking shortcuts to simplify without the additional stage of
then capturing just that moment order on a clean surface in the matters. These are worth exposing and developing a print
for posterity. Or not, as your darkroom. Having opened the considering if you are concerned from a negative.
failure rate is likely to be very dark-slide, you insert a sheet of over the handling – and sheer This is the route I chose when
high for the first few sessions. film – emulsion side up, which is cost – of sheet film, and you want I came to reacquaint myself with
Oh, and you are going to need a trickier than it sounds – then to build up to that pinnacle of the MPP after a break, and it was
tripod – a big, heavy one. I have a close the slide, and make sure achievement more slowly. a valuable period of retraining.
tubular aluminium tripod the cover is fully seated. Firstly, you can use a roll film One particularly useful aspect of
designed in the 1950s to carry a Sheet film carries notches in holder in place of the darkslide. direct positive paper is that you
16mm movie camera, and it is one corner to indicate both the These were made to fit the same don’t need to handle it in
just about perfect to provide a type of film and which way round standard mount as the darkslide, complete darkness. You can use
rock-steady platform for the MPP. you are holding it. If the notches and allow you to use standard a dark red safelight in the
But carrying it any distance is a are at the top on the right-hand 120 format roll film. They come in darkroom while loading the paper
pain, and makes recruiting an side, then the emulsion is facing various styles, but mine is a 6x7 into darkslides – which makes
assistant quite an appealing you. Make sure you remember to version made by Calumet. The learning the technique much
prospect. The tripod thread on check, otherwise you will get a obvious problem is that 6x7cm is easier. After exposure, you can
the MPP is the larger 3/8in type, faint, blurry, wildly underexposed a lot smaller than 5x4in, so you use the safelight to monitor the
which tells its own story. image imprinted through the film will have a substantial cropping stage the image has reached
Everything about large format base! After passing this hurdle, effect – similar to that which you during development. As with
needs careful thought. Take things get slightly easier. So I’ve get using a full-frame DSLR lens all such matters, you should
Testbench IN THE FIELD
Ceredigion snow, shot on

6x7. Adding a rollfilm back
makes fieldwork easier
read the instructions market, and all have their own

carefully and run some tests advantages and disadvantages.
before working on any important For me, the compact body and
subject matter. Used carefully, as quick set-up of the MPP
exposure is quite critical, direct outweighs it being slightly less
positive paper can give some flexible in terms of movements,
interesting and appealing images when compared to a monorail
with strong contrast. As an camera of the same format.
added attraction, each print If you have always wanted to
is, by definition, unique. take the plunge into large-format
photography, now is a very good
Verdict time to do so. There is plenty of
The MPP Micro Technical Mark kit out there, often at surprisingly
VIII is the last in a well-regarded affordable prices. But, have I
line of British cameras, and is a used the MPP to photograph any
reliable and robust device built weddings? Not yet, I still use my
for a lifetime of hard work. The Nikons for that. But I live in hope
engineering and finish is good, – and I’ve already got the
the level of precision impeccable, bow tie and waistcoat!
and the flexibility awesome. There
are many large-format cameras John Gilbey is a writer and photographer Direct positive paper has strong contrast, which
available on the second-hand based in west Wales. means that accurate exposure is necessary
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BLACK AND WHITE PHOTO AWARDS Technique
Monochrome
masterpieces
Black and White Photo Awards have announced the winners of
their 2024 competition – we take a look at some of the finalists
N
ow in its third year, the Black Winner went to Haikun Liang for his went to László Tóth for the image ‘Spiral to
and White Photo Awards have striking photo, ‘Destroy Together’, which the Tower’. Other categories include
once again showcased a high captures a vibrant moment during the Architecture, Street, Portrait, Fauna and
standard of black & white Spring Festival in China (see below). Flora, and Landscape. Entries for next year’s
photography, with nearly 5,000 entries This year, there was also a Special Prize competition open on 1 January 2025. See
recieved this year. The title of Absolute for Creativity, sponsored by SanDisk, which more at www.bwphotoawards.com
Absolute Winner In Deqing County, Zhaoqing City, China, it is said that there was
Destroy Together by Haikun Liang already a folk custom of ‘frying lions’ during the Spring Festival in the
Song Dynasty. On the 15th day of the first lunar month, everyone took
‘The Spring Festival is a major traditional festival among Chinese turns lighting firecrackers and throwing ‘lions’ until the lions were
people, among which the lion is known as a mascot for celebrating blown to pieces, symbolising the driving away of evil and praying for
good luck and driving away demons and evil spirits during the festival. peace in all seasons and a bountiful harvest.’
Technique BLACK AND WHITE PHOTO AWARDS
Special Prize for
Creativity by
SanDisk
Professional
Spiral to the
Tower
by László Tóth
‘The flight of birds is a
characteristic movement
for them. I love depicting
these phases of
movement in one picture.’
Architecture category,
Bronze Mention
Monochrome Majesty
by Robert Fulop
‘In this striking monochrome photograph, the Marie-
Elisabeth-Lüders-Haus stands as a beacon of
modernity and architectural sophistication. Against the
backdrop of the Berlin skyline, the sleek lines and
geometric shapes of the building create a captivating
visual contrast. Bathed in the soft, diffused light of the
monochrome palette, every detail of the structure is
rendered with precision and clarity, highlighting its
contemporary design and elegant proportions. As
shadows play across its surface, the Marie-Elisabeth-
Lüders-Haus exudes an air of quiet dignity and
understated beauty, inviting viewers to contemplate the
intersection of tradition and innovation in Berlin’s urban
landscape. This evocative image captures the essence
of the Marie-Elisabeth-Lüders-Haus, where form meets
function in a harmonious blend of modernity and grace.’
58
Street category, Second Place Democratic People’s Republic of Korea told what to do, what to look at or not and
Kim City 07 by Alain (DPRK) remains one of the most isolated and what to photograph. Shots of people working,
secretive nations in the world. Visits to the carrying goods or not well-dressed are
Schroeder city’s national monuments are a required forbidden, pushing one to show only an
‘Pyongyang, North Korea. An old woman portion of the pre-determined, inflexible idealised vision of the city. The environment
walking next to the Mansudae Grand itinerary. Chaperoned and surveilled by two is totally controlled and there is no choice but
Monument with its 22-metre-high bronze official government guides at all times is to follow the rules.’
statues of Kim Il-sung and Kim Jong-il. The standard practice for foreign visitors. You are
Portrait category,
Golden Mention
Hold on the Earth
by Jenq-Horng
Liang
‘Since I was a child, I have
often dreamed of being a
hero, dreaming that I am
like Superman, waving my
cloak, whistling and flying,
and flying down quickly, I
can save the world to my
heart’s content, what a
god! But when I grew up,
I found that the earth was
indeed getting worse and
worse, but I didn’t become
a superman as I wished.
I can only think of doing a
good job as a screw. I
can’t help but wonder,
what kind of posture
should this screw put on
to save the Earth?’
Flora and Fauna
category, Silver
Mention
Whale Dreams
by Remuna Beca
‘A playful humpback whale
calf pauses gracefully at
the surface in the deep
blue of the South Pacific
Ocean.’
Landscape category, Winner the plasticity of the dunes, which are so

The Dune by Matteo Strassera perfect that they appear to have been carved
by an artist, and the fact that I could find an
‘One of my latest adventures led me to spend almost infinite amount of inspiration. Even
several days in the desert, in search of new after walking for kilometres, the desert in
photographic inspiration. Being alone in a front of you continues, always the same and
place far from any form of civilisation, and far yet always different. Pictured here is a dune
from people, was a magical experience that bathed in the last rays of the sun, its profile
made me fall in love with this immense silhouetted against a much larger dune that
expanse of sand. What touched me most was has already gone into shadow.’
Previously unseen photographs taken in America by
Michael Ormerod will form a much-anticipated new book.
Peter Dench talks to family and friends to find out more
MICHAEL ORMEROD
recalls Ali Ormerod, teacher and

graduate in Design from Goldsmiths,
University of London.
Ali was 11 months old when her
dad, Michael Ormerod (b 1947), was
killed on 7 August 1991 in a road
accident while photographing in
America, a country he began
documenting in the mid-1970s
while a student at Trent Polytechnic.
In an effort by his family to
memorialise Michael, a book of his
photographs, States of America, was
published in 1993 by Cornerhouse
Publications to coincide with an
exhibition at Zelda Cheatle Gallery.
Exhibitions followed: at Sheffield
Graves Art Gallery in 2003 and Crane
Kalman Gallery, Brighton (in 2010).
While I was a student at the
University of Derby, a few years after
Michael’s tragedy, I found myself
standing in The Montage Gallery
surrounded by his finest images. I
remember holding a copy of States of
America. The cover was striking – a
colour photograph of a girl blowing
a big bubble gum standing next to a
road at dusk in South Dakota, 1986.
I was young, impressionable, skint
and put the book back on the shelf.
It’s been a constant regret. Not
because they’re sought after by
collectors or listed for sale at over
£500 on Amazon. I doubt I’d have
sold it. It was a breakthrough book,
unusual to see a mix of colour and
black & white images.
Unseen negatives
After a family gathering in 2012, Ali
and her dad’s friend, Geoff Weston,
revisited her dad’s archive. They
discovered a trove of previously
unseen negatives. Recruiting Alan
Thorburn, Photography BA (Hons)
Degree lecturer at Newcastle College
(who Geoff taught in the 1990s),
over the course of a decade, they
selected a revised collection of
Michael’s work. Vanishing Point, a
pop-up exhibition curated by Crane
‘I
Kalman in association with
found my dad’s cameras Convertible car was in working order and they were Millennium Images (where Michael’s
at my mum’s house in driving on road. like wow, this will absolutely work; it work is held) opened in London this
France in a big silver box. U.S.A could probably do with a service but September. The book, American
They hadn’t been touched that would take weeks and I didn’t Photographs, including 50 previously
for 33 years so I decided to take have that much time. They said unpublished images, is printed by
one with me to America, the Leica pop a film in. I experimented with RRB Photobooks (Oct 2024).
M2. He also had a Nikon and some it while there, it was really fun. My Ali remembers, ‘Back when we
medium format cameras in this box very first roll of film. I made so many were looking through the negative
[old photographs suggest a Mamiya notes on my settings, shutter speed, sheets it was Geoff’s photographic
RB67 and Plaubel Makina], a host of trying to get the right exposure eye and his friend Alan in Newcastle
lenses and filters and all sorts of bits because there’s no light meter in that was looking for which ones
and bobs. I took it to the Leica shop it. When I took my film out of the would be worth scanning. I said
in Manchester before I left to see if it camera I ripped it, absolutely gutted!’ which ones I liked and they
MICHAEL ORMEROD
curated the final selection.

When we were scanning these,
I was in my early 20s and wasn’t
really engaging with the content at
the level I am now.’
Alan adds, ‘When we started
editing the work we wanted to do
something different. Not show any
of the original images. In the end we
did. It does have images in the new
book that are in the old book. States
of America is not that accessible, a lot
of people won’t have seen it. Those
famous images will be new to quite a
few people.’ Michael’s more-
renowned images include a broken
white wooden picket fence with a
path and patch of lawn in the
background. A conscious reference
to Paul Strand’s 1916 photograph of
a white picket fence symbolising
affluence, home ownership and the
division of property. Michael updates
Strand’s image with his own twist,
the fence splintered and smashed.
Open spaces
As a developing photographer,
Michael struggled with the
complexities of documenting India,
having his camera stolen on a night
train the final straw. He turned his Old roller coaster in amusement
park seen from the street. U.S.A
attention to open spaces of the less-
populated America where reportedly
his dad had worked and brother had not give a second glance.
lived. At times he travelled with his Michael’s archive has few written
partner, other times alone, traversing notes; his contact sheets show he
America in a VW camper van was frugal with frames per subject
choosing less-travelled roads inspired – perhaps adopting William
and guided by William Least Eggleston’s minimal approach
Heat-Moon’s book, Blue Highways. philosophy, Cartier-Bresson’s
Michael’s sequence of photos decisive moment or simply aware
can at first appear disjointed. What when shooting the limited number
unites them is his critical awareness per roll. The title of the new book is
of the photographic history of a nod to Walker Evans, testament to
America. His unique visual tribute is Michael’s deep fascination with the
a salute to great photographs and medium and his intimate
photographers. A black man understanding. ‘These American
leaning out of the bus window with photographs have sufficient internal
faded advert of rugged white man on power to support themselves but
the side echoes ‘Trolley - New their circuitry – simultaneously
Orleans 1955’ by Robert Frank. TV hidden and there for anyone to see
sets appear like rentals from a 1960s – has a history,’ writes Geoff Dyer in
Lee Friedlander reportage. The American Photographs.
viewer revisits ringside at a Garry A child of a drab post-war Britain,
Winogrand Texas rodeo. His stark Michael was from a Lancashire
landscapes and suburban sprawls cotton textile family (his dad wrote
hail the New Topographics and the 556-page, An Industrial Odyssey).
photographers Robert Adams, Michael was privately educated at
Lewis Baltz, Stephen Shore, Henry Rossall School, Fleetwood, founded
Wessel. Michael captures a in 1844. He came to photography
zig-zag across an empty highway. after an economics degree; he
A church squats in the countryside subsequently ran a freelance photo
surrounded by parked cars. A business in Staffordshire and taught
Doorway entrance to
barren street in a small town – at Newcastle College alongside
a cafe. U.S.A
scenes many photographers might Geoff. Those that knew Michael
MICHAEL ORMEROD
element of kindness. It would have sequenced them like that?’

been easy to be exploitative and For Ali, who thinks her dad took at
cruel. They are devoid of ego and least four trips to photograph
arrogance, crafted by light with a America, it’s been a positive journey.
freedom of composition. They value ‘In doing this it’s allowed me to
what was there and invite viewers in. discover who my dad was on my
Mindful there wasn’t an own through looking at his
abundance of unseen colour images, photographs, going to America and
the decision was made to select only taking his camera. Having studied
black & white for American his photographs so much lately,
Photographs. Alan explains, ‘We had trying to see America through his
scans of the images, contact sheets as eyes and what he would be picking
well, about 1,000 images. It was up, how he viewed the world but
before lockdown when we started also the stories and the people I’m
looking, Geoff got the images, so I being put in touch with and are
would go to his house after work getting in touch with, it’s just
and we’d sit in front of his Mac and amazing. He clearly was a super-
click an image up, look at it and talk special person who left a big hole in
about it. We were looking for images lots of people’s lives.’
that had something about them. His friend Geoff succinctly
There’s a picture taken at a rodeo of concludes, ‘These images describe a
a guy sitting, reclining on a fence different time. No rose-tinted
and his fingers are through the wire. spectacles have been used, just a
Little things like that resonate.’ wonderful eye and a sharp
He continues, ‘One of the main intelligence. I’m not sure how much
problems we encountered, it’s always Michael fully understood where he
been an issue, is that at the end of was ultimately going with his
the day Michael hasn’t had a say in photography. Or what he had. As a
anything that’s come out. States of photographer myself, I know insight
America, the new book, we’re doing often comes later. Ultimately, it
our best for him, that’s all we can do. doesn’t matter, especially given his
Who’s to say he would’ve chosen untimely death. What matters
those images necessarily or are the pictures in this book.’
remember a warm, gregarious and Right: Man sitting

humorous man; his brother David on bus hanging
recollects, ‘Not immune to the odd out of window.
U.S.A
successful exaggeration, and with a
life lived in the expectations of Bottom right:
liberty, equality and fraternity. Street procession
Friendships, community, generosity, ceremony on road
and a commitment to social justice through town.
defined his personal life.’ U.S.A
There’s a smudge of humour across
some of Michael’s photographs but
the overriding impression is bleak.
Decades on from the golden age of
Hollywood, big cars, economic
prosperity, clipped suburban lawns,
technological advancements and
access to consumer goods, he found
an uncertain, fractured, disillusioned
America reeling from withdrawal
from the Vietnam war and escalating
tensions around race and
immigration. Mechanics sit outside a
car tyre shop front. A deserted car
squats half-submerged in a roadside
ditch. Grand signs hang above
abandoned businesses or point
American Photographs
towards lost dreams. An old is published by RRB
amusement park roller coaster idles Photobooks, October
alongside a street of shuttered shops. 2024. Hardcover, blue
The parades are less jazzy. Roads cloth 27.2x22.5cm.
vanish into anonymous horizons. 108 pages. ISBN:
The images are critical but with an 9781738516353
www.amateurphotographer.com
Minimalist
masterclass
Iranian photographer Mostafa Nodeh’s minimal
scenes reveal an elegant beauty, writes Ben Brain
66
MINIMALIST BLACK & WHITE LANDSCAPES
M
inimalist master photography is an intrinsic part of
Mostafa Nodeh is my artistic life.’ However, Nodeh’s
based in a small village background in painting still informs
in the Gilan province his photography, honing his sense of
of northwest Iran. composition and attention to detail.
‘Photography is part of my life,’ His painterly eye allows him to see
Nodeh explains. ‘It allows me to the world in terms of shapes,
immerse myself in the present and colours, and textures in a way that is
focus on capturing the beauty of unique to his artistic vision.
simple moments. It helps me relax ‘Ultimately, I switched to
and escape from the stresses of the photography because I found that it
real world.’ His minimalist, black & offered a distinctive way to capture
white compositions are beautiful and express my artistic vision. I was
and quiet meditations on space, motivated by a strong desire to
light, and form. However, for Nodeh, capture the beauty of the world
creating art in Iran comes with its around me simply and elegantly,’
big challenges. Making a living from Nodeh explains.
‘art photography’ is difficult and ‘Minimalist photography allows
offers little prestige, so he works me to focus on simplicity, clean
full-time at a factory producing lines, and negative space. I make
industrial air filters. sure my work aligns with this
‘In Iran, you have to work, just concept by carefully selecting
work, to provide food for the family. subjects and compositions that
But even in the worst and most convey a sense of calm,’ he shares.
difficult conditions of my life, I Nodeh’s minimalist approach is a
think about art and photography reflection of both his personal
because it is the art of love.’ philosophy and his aesthetic vision.
Nodeh is entirely self-taught, He aims to create images that strip
originally starting out as a painter. away distractions and focus on shape
His early paintings focused on and form. The results are
nature, capturing the spirit of trees, photographs that exude tranquillity,
the sea, the sun, and the moon. allowing both the artist and the
Eventually, though, the allure of viewer a mental escape from the
photography seduced him, and he noise of everyday life.
swapped his paintbrush for a Nodeh’s approach to photography
camera. ‘Photography is closer to the is deeply influenced by the
reality of life,’ he says. ‘And now Iranian landscape and culture.
67
The natural beauty of his for solitude. The image invites the
surroundings informs his viewer to pause and reflect.
minimalist style. ‘When creating Nodeh’s minimalist style extends
images, I find balancing negative to his choice of gear. He works with
space and subject matter to be the a Canon EOS 7D DSLR camera with
most challenging aspect,’ Nodeh a basic zoom lens, the Canon EF-S
explains. A significant portion of his 18-135mm. ‘I like to keep things
work is in black & white, which he simple,’ Nodeh admits. His minimal
believes is crucial to his aesthetic. approach extends to the editing
‘Working with a monochrome process, too, where he strives to
palette plays a significant role in my enhance his images without
creations because it allows me to overcomplicating them. For Nodeh,
convey mood and emotion through photography is about capturing the
the interplay of light and shadows,’ essence of a moment rather than
he reveals. For Nodeh, colour can transforming it through heavy
sometimes be a distraction, so he editing in post.
intentionally uses black & white to Like many ‘art’ photographers
focus on form and contrast. This around the world, Nodeh seeks
decision also helps keep the images recognition for his work on a global
undated or unaffected by trends. ‘I platform. His minimalist
use black & white to emphasise the photography has gained some
essential elements of my images and international attention, with his
evoke a sense of timelessness and images being featured in online
simplicity,’ Nodeh explains. publications, galleries, and photo
competitions. ‘I participated in the
Poetic UAE HIPA festival, and I was thrilled
The image of a lone tree (see page that one of my images was a finalist,’ All photos © remains dedicated to sharing his
66) against a stark desert landscape says Nodeh. ‘I hope it will be Mostafa Nodeh minimalist vision with the world.
is a good example of Nodeh’s awarded some cash so that my For photographers looking to
approach to photography, with the family and relatives can see that experiment with a minimalist
tree poetically isolated in an there are opportunities to make approach, Nodeh offers some simple
expansive landscape. ‘For me, this money through photography. It is advice: ‘Focus on simplicity and
image captures the essence of my not easy. I also print and sell my clean lines. Pay attention to negative
search for clarity and beauty in works, and while gaining some space, and approach the frame with
nature,’ Nodeh says. The tree international recognition, it’s an a sense of design.’ For Nodeh,
becomes not just an object in a ongoing challenge,’ he reflects. minimalism isn’t just about
landscape but a symbol or metaphor Despite the challenges, Nodeh finding vast, wild landscapes;
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MINIMALIST BLACK & WHITE LANDSCAPES
Nodeh’s
Top Tips
1 Try to have
an enquiring
mind, and look
around
carefully with a
sense of
mindfulness.
2 Always try
to imagine
in your mind
that it is going
to be the best
photo yet;
could it be on
the cover of a
book or
magazine?
3 Shoot early
in the
morning or
shoot in the
evening on
foggy days and
with wild
clouds.
4 Go alone
for
photography,
not with your
friend or
anyone, you
are alone, you
are calm, you
have fun with
your friend,
and it
becomes more
fun than
photography.
it’s also about discovering

beauty in the everyday. ‘There
are interesting opportunities to hone
a minimalist vibe everywhere,
whether you’re working in an urban
or natural environment,’ he says. It’s
not about the grand scale but about
the details and how we choose to see
the world around us.
Looking to the future, Nodeh is
excited to explore new projects that
push his creative boundaries. He
continues to evolve, pushing
himself to find new ways of seeing.
‘I plan to experiment with different
techniques, too, such as long
exposure and abstract
compositions,’ discloses Nodeh. You can see more of
‘I also hope to collaborate with other Mostafa Nodeh’s work
artists and organisations to at Instagram.com/
expand my creativity.’ nodehphoto
FINE ART BLACK & WHITE
Benedict Brain speaks to South African-

based photographer Bruin Feskens
on wabi-sabi and the art of minimalist
black & white photography
S
outh African-based believe in my work, why would
photographer Bruin Feskens anyone else do it? And it all kinda
was initially exposed to snowballed from there,’ he reveals.
the world of image-making This was about three years ago, and
and creativity in Amsterdam, he’s been selling fine-art prints
Netherlands, where he was born and since then.
raised. His mother was a commercial When Feskens was learning
photographer, and from an early about cinematography back in
age, Feskens was introduced to Amsterdam, he had to get to grips
the dynamic worlds of film and with colour grading. ‘This was
photography by hanging around a challenge for me,’ he explains.
film crews in studios with fancy ‘I found aspects of it incredibly Left: Unbounded. with this new look at things, I felt
lighting and creative folk. hard. I was struggling with certain Home studio flash I could accept the imperfect balance
It wasn’t long before Feskens colours; I thought nothing of it photography made of attempting this. When reading
in 2021/2022.
was cutting his own teeth working until the day I realised I am a little about wabi-sabi, I also came across
The fabric hanging
in the TVC studios, at first in the bit colour-blind. This ended up over her shoulder the term “ikigai” – a sense of
lighting department. At the time, making me feel more confident is simply a blanket purpose, a reason for living – and
he was sure that his career path with working with monochrome.’ I keep on my this also resonated deeply with me.
would lead towards his love of film He continues, ‘I also loved working couch ‘To be honest, I just tried to really
and the moving image; however, with silhouettes even when I focus on creating what I like myself.
soon after deciding to split his dabbled in colour photography. So Above: For me, I feel that a minimalist
time between Cape Town, South Everywhere and approach allows the viewer to
black & white ended up feeling like
Nowhere. Home
Africa, and Amsterdam, Feskens the only right choice for me; it was studio flash engage with the art calmly, which in
came to the realisation that a great feeling when I realised this photography made turn gives everyone the potential to
maybe his creative path was with was what I wanted to keep doing in 2023 – my experience it in their way. I rarely
still, black & white photography and keep improving at. Everything partner who plan a composition out entirely,
and not film. I created in colour before made sometimes although I try to visualise the
Before finding his minimalist me feel insecure, but I did not assists me ctually feeling/image I am going for. I try to
mojo and developing his distinct, feel that way when working in made the skirt create enough breathing room for
type garment on
minimalist style, Feskens tried other black & white; somehow, I felt the spot the subject. I don’t want my images
photographic avenues. ‘I went to a like I knew what I was doing.’ to feel entrapped. Wabi-sabi taught
model agency in Cape Town and me to appreciate the imperfect
offered to shoot model images for Japanese influence balance of life. That is what I try to
their models,’ explains Feskens, It wasn’t just a monochrome achieve with composition.’
who continues, ‘It did not go epiphany that helped shape the Previsualising upcoming projects
according to plan, and after direction of Feskens’s photography. is a vital part of Feskens’s creative
showing the head of the agency He also became fascinated by process. ‘I really enjoy giving myself
some of the photos, she told me wabi-sabi, the Japanese aesthetic that time to think about things ahead of
that anyone could have made them. embraces imperfection, transience, a shoot,’ he explains, and continues,
This was, of course, very upsetting! and simplicity. ‘This motivated me ‘I like to sketch my ideas out in very
But it ended up helping me grow.’ to go and try and be me!’ he says. rough versions with notes. Just to
Feskens decided he did not want ‘I love the aesthetic of monochrome ensure I won’t forget about certain
to shoot anything for anyone but minimalism. It felt like there was a details about my concept. This
himself. ‘I thought that if I didn’t sense of unattainable perfection. But also allows me to come back to
Bruin’s it later when the initial “hype”
has worn off. Sometimes, an
Top Tips idea or concept can feel like a
1 If you don’t
believe in
yourself then
“eureka” moment at the time, and
later, on reflection, sometimes it just
isn’t. My sketches and notes are
why should typically things like locations,
anybody else? weather, time of day, studio, model,
Create work props, clothing, fabrics, and so on.
you are proud So I still create and make things up
to stand on the day I am shooting. I believe
beside. this is important if you want it to
still feel alive and fluid. I try to
2 I think
learning
about the
maintain that balance by only
planning out the things that can get
in the way of spontaneity. In my
technical own creative process, it is important
side of things that nothing is set in stone. Ideas are
can be a just that, and if you are doing it
huge help. right, it will look nothing like you
Understand planned it to look. You need to
your camera’s maintain some type of structure by
settings allowing yourself to have these ideas
properly and and techniques ready for when the
all its right moment arises. These in-the-
properties. moment decisions end up creating
3 Don’t be
afraid to
take risks and
that perfectly imperfect balance,
which is what I strive for.’
even do things Kill your darlings

you thought ‘I create a list in my head that I move
were crazy. through while shooting. I constantly
You might be ask myself, “Should I add something,
surprised by or does it just make the composition
the results. messy and convoluted?” Sometimes
it is tough. I might like a part of an
4 Be
prepared
to try new
Above: Clouded.
This was taken in
image a lot because I worked on it
for a long time or I had this idea for
Noordhoek, South ages. But that alone does not mean it
things – things Africa, in natural
works. This is when I remind myself
you may have light. The clouds
are real to “kill your darlings”, and I have to
previously let the idea go.’
judged to be Left: Drive. Same Feskens typically uses paid
uninteresting. location as above models for his shoots. However,
5 Light over when starting out, he did not have

Page 75 top left: the money for that, so he made
everything! Ferry Woman. Part reciprocal arrangements for test
A bad spot of my new series
with good ‘nine’. Shot in shoots, which luckily worked out.
light is not Elands Bay with The figures play a significant role
a bad spot. natural light. I had in Feskens’s bold and striking
to wait for hours compositions. They are often a
for the light to be vital part of the concept. ‘I think
in the right place of the subject as a shadow person,’
says Feskens. ‘I never think of
BRUIN’S Page 75 top right:
details like their faces. I want
KIT BAG Psammos. Also
part of the series everybody to feel like they can
l Nikon D850 ‘nine’. In Elands relate to these images, so I try to
l Nikkor Bay with natural make them more “people” than
24-120mm f/4G light. Running over “person”; that way, the subjects in
ED VR AF-S hills of steep sand the images can represent anyone.’
l Pentax LX dunes to ensure It’s not just the people and human
(analogue film the subject did
not burn in the presence, black & white treatment,
camera) blistering sun was and minimalist vibe that form
l Godox a workout but Feskens’s process. He also loves
MS300-V I am not playing with texture, an aspect that’s
Studio Flash complaining accentuated through working in
mono. ‘I love paying attention to I shoot with often laugh at how
the textures of things,’ says Feskens. much I adjust the light. Even for the
‘It is a pretty important part of the smallest things! Get it right with the
whole image. I don’t go through any light, and things can look out of this
step without looking at that. I always world, literally something that
have the urge to consider at least makes you think, “Is that real?”
using sand for its texture. When I’m Light can dictate how the entire
selecting clothing items or props, the image feels, so if the light feels off,
texture is the number one deciding I stop and change it right away. I
factor. I use textures to give or take prefer using a single light as it gives
presence. Be it for the whole subject me a lot of control over both light
or a part of it. Sometimes within and shadow.’
sections of the background.’ In post, Feskens converts his
images from colour to black & white,
The power of light adjusting them to create his
Naturally, light is another crucial signature silver-grey aesthetic.
ingredient to Feskens’s style and Annoying intrusions into the frame
process. ‘I often look back at things that distract from the subject will be
and feel like my use of light and toned down or simply removed. ‘If it
shadow could have been better,’ he is bothersome, no matter how small, Above: High way he can’t with colour – he does
explains. ‘I spend much of my time it will go,’ he explains. Heat. We had to have an idea and ambition to
during a shoot moving the lights, While Feskens feels creatively wait for the experiment with colour in the
tweaking this and that. I will make liberated by not having to think wind to be in our future. ‘Colour would be treated like
favour. Natural
adjustments until I am happy, and about colour – as seeing and light, on top of a a theme,’ he explains, ‘using a very
I will make adjustments right in the thinking in black & white really small wall; sky is small amount of colour within
middle of any given moment. People helps him to visualise things in a the background the black & white space.’
Technique READERS’ CHOICE
Shot on film
We asked you to share your black &
white images shot on film. Here’s a
selection of our favourites
Miriam wearing Chris Seary,
Tatler glasses Oxfordshire
Olympus OM-2, Ilford Delta 100
YouTube:
@threeminutepro
This picture of my wife was
taken using an Olympus
OM-2 and a 100mm f/2.8
Zuiko lens. It was lit by
daylight coming through a
large window from behind
me. After many years of
doing digital photography, I
found an efficient workflow
for digitising film and went
back to using it. I love the
tonal range that Ilford
products provide, and I also
like to experiment with
different black & white
films, such as Lomography
Potsdam. Currently, I use
Nikon and Olympus for my
35mm photography, and a
Rolleiflex for shooting
medium format.
Being able to review
analogue cameras on my
YouTube channel is like
being a kid in a sweetshop.
It’s great to receive
comments and feedback
from photographers that are
newly discovering film.
Covent Garden
Christmas, London
Olympus OM-1n, Ilford XP2 Super 400
Sandeep Sumal,
Maidenbower, West Sussex
Instagram: @filmphotography.london
I started using film to learn photography, and a
manual camera meant I couldn’t just switch on
auto mode. I was immediately hooked. The main
cameras I use are the Olympus OM SLRs. Whilst I
sometimes use colour film, my favourite by far is
B&W film. I love its simplicity. Everything is all
about light, shadow and composition. The most
mundane scenes can be transformed by solely
focusing on those three elements. I generally use
Ilford films for B&W with HP5 Plus being the
main one but I also love Kodak Double X.
Steve Pill, London

Website: www.steve-pill.co.uk
I love shooting on black & white film as you can push the prints
much further than colour film or digital photography without
losing the integrity of a picture. I’ve also met a lot of fine artists
in my day job, and they often talk about sketching a thumbnail
first to test if a composition works tonally. It made me think
differently about image-making and it was something I’ve tried
to consider when I shoot and select frames to develop. I tend to
shoot on Ilford HP5 35mm film and develop with matt,
resin-coated paper in the Photofusion darkroom. I learned
everything I know from Nick Jones, the darkroom manager
there and a master printer, who is just a wealth of knowledge
and has an awesome eye for detail.
Nine Lives Olympus OM10, Ilford HP5 Plus
Technique READERS’ CHOICE
Megan McIsaac,
Detroit, Michigan, USA
Website: www.meganmcisaac.com
I love using black & white film because it
feels timeless, like another world altogether,
like a dream... I’ve been carrying around
my Mamiya C330 since 2009, and it’s still
my most favourite camera to create with. It
feels like I can truly photograph from my
heart, instead of my head, holding my
camera close to my chest while being able
to maintain eye contact with my subject.
I don’t have a favourite film stock; I like
using whatever I can afford or whatever I
already have on hand. Kodak, Ilford, Agfa,
CineStill, Fujifilm, Polaroid, I love it all. I
wish I could have an unlimited supply of
film to choose from.
Stephen King,
Shotton, Flintshire
Instagram @oggnogg
I have been lucky enough to be able to
travel in my spare time, taking mostly
black & white pictures that, I think, add a
sense of timelessness to most scenes and in
the age of Instagram, a mono look tends to
stand out. Ilford FP4 and HP5 are my go-to
films that I develop at home. I use either a
Independence Day in Croatia, 2010
Canon A1 or a T90 with a 50mm and
Mamiya C330, Ilford Delta 400. Double exposure
28mm lens.
Taj Mahal
Canon A1 28mm lens, Ilford FP4 with Red filter
Your film and digital equipment, all types of
Cameras and accessories purchased.
As easy as ...
1.Get a Quote 2.Free Collection 3.Paid

subject to terms & conditions, free collection only for equipment with a retail value of £250+
01463 783850 - email: info@ffordes.com - www.ffordes.com
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Technique BLACK & WHITE EDITING
BEFORE AFTER Black & white images straight from the

camera rarely show their full potential. It takes
the digital darkroom to bring them fully to life
Top tools & software for

black & white editing
How can you recapture the mood of traditional black & white photography
with a modern digital workflow? Rod Lawton has some suggestions
W
hy does black & white imagery, perhaps even more so in the the depth, drama and richness of black &
photography still exist? modern digital world. white photography, what’s the best
There’s no logic to it. Black If the latest explosion of interest in software to do it with? On the next two
& white photography analogue photography shows us anything, pages we’ll look at some of the best black
conveys less information about the world however, it’s that while digital photography & white tools you can get today. But first,
than colour, and it stems from a time when has advanced further than we might ever let’s take a look at what digital photo
it was the only thing that was possible, have imagined, it’s perhaps the things it editing software can do for creative
not because it was in any way better. And has left behind that we miss the most. black & white photography, much of
yet it seems that countless photographers So, down to business. If you shoot digital which was never even possible (or
are still obsessed with monochrome images but you want to recapture some of practical) in the darkroom.
KEY BLACK & WHITE EDITING TECHNIQUES
What can photo editors do to enhance your black & white images? Here are some key editing techniques that can help to recreate the
look and feel of classic monochrome imagery
Channel mixing, profiles and LUTs Presets and inspiration

When you shoot with black & white film you can use coloured filters Traditional photo editors like Photoshop are great for hands-on
to change the way colours translate to shades of grey. You can do control but they don’t give you any ideas or inspiration. You have to
the same in software by changing the luminance of different colour know what you want to do before you can do it. The software on the
ranges. Lightroom offers black & white profiles which have these following pages is different. It doesn’t just offer tools and sliders; it
colour filter adjustments built in; other programs have LUTs, which offers preset effects that show you what your image could look like
are like colour/tone conversions which do the same thing. There are with a dazzling array of different black & white treatments. We are
many ways to simulate the effect of old-school ‘contrast’ filters only limited by our imagination, but sometimes preset effects will
digitally, and with a lot more finesse. show you black & white treatments you might never have thought of.
Dodging and burning Grain

In traditional black & white photography, the image was finished in When black & white films showed grain, we did our best to get rid of
the darkroom with some selective ‘dodging’ and ‘burning’ to it, and now that digital images show almost none, we want it back.
selectively lighten and darken areas of the image. This is so much Many programs now have very effective grain simulations that really
easier in software, and the range of adjustment tools available do look like the real thing. The best grain simulations (Capture One
leaves us spoilt for choice. However, traditional dodging and burning is shown here) don’t just overlay grain on top of a sharp digital
skills rely more on smooth and progressive brushstrokes than image but create a grain pattern that actually eats into and erodes
pixel-perfect AI masking. the fine detail, exactly as real grain would behave in analogue film.
Toning Borders and frames

Toning is a very common technique for adding depth and richness to Black & white images often come to life if they are surrounded by a
black & white images. Sepia toning is probably the best-known border. It’s a common technique in the darkroom and it works just as
example, but there are many other, better toning techniques. well with digital editing. Dedicated black & white software typically
In-camera toning effects are pretty crude, but the best black & white offers a mix of plain black or white borders and a selection of
editing tools are much subtler, enabling you to adjust the toning simulated film and darkroom-style borders. Even though these are
colour very precisely and also apply different effects in the shadows digital ‘fakes’ and we know it, they do still add considerably to the
or highlights and even split-toning techniques, as here in Silver Efex. look and feel of black & white photographs. ON1 Effects has a
particularly good selection.
Technique BLACK & WHITE EDITING
5 great B&W editing tools These software tools are especially interesting for black & white
work, either because of the quality of the results they deliver, the
speed and effectiveness of their black & white editing tools or
These are not the only applications you can use for because they provide endless inspiration for exciting black &
black & white editing, but they do stand out white effects you might never have thought of or considered.
DxO FilmPack/Silver Efex/

Analog Efex
l DxO FilmPack 7 l £129
l DxO Nik Collection 7 l £145
l www.dxo.com
DxO has not one, but three products specifically aimed at analogue
film fans and black & white photographers in particular. One of these
is DxO FilmPack 7, which works as a standalone program and as a
plug-in for Lightroom and integrates with DxO PhotoLab 8. FilmPack
takes a rigorous scientific and historical approach to analogue
photography, attempting to create technically accurate simulations of
real analogue film stocks and processes. Perhaps its most interesting
feature is its Time Machine mode, which walks you back through the
history of photography, highlighting key moments and developments
and offering preset effects to match these photographic styles.
The other two DxO tools of note for black & white photographers are
both in the DxO Nik Collection. Silver Efex Pro is almost certainly the
best known in the world of black & white. It uses adjustments and
terminology more attuned to the way photographers work with this
medium and comes with a set of extremely varied and inspirational
presets. More perhaps than any other program, Silver Efex somehow
recreates the richness and depth we associate with classic black &
white photography in ways that aren’t always easy to achieve in
regular photo editors.
The other program of note in the Nik Collection for black & white fans
is Analog Efex. This was a late addition by Google during the time that
it owned the Nik Collection, but it’s definitely worth taking seriously.
Where Silver Efex is strong on traditional darkroom skills, Analog Efex
recreates the randomness, imperfections and unpredictability of old
cameras and processes, including light leaks, double exposures,
motion blur and more.
Adobe Lightroom
Classic
l £9.98/month (annual plan)
l www.adobe.com
Lightroom Classic is not designed

specifically for black & white photography,
but it is very good at it. Apart from the
huge range of presets you can browse
through, it also offers Profiles, which are a
kind of pre-processing step ahead of
editing, and these include some strong
black & white looks too. Lightroom’s
extensive local adjustment tools are ideal
for black and white tonal manipulations,
and its grain effect is one of the best.
Capture One
l £299 perpetual license
l £21.58/month subscription
(billed annually)
l www.captureone.com
Like Lightroom Classic, Capture One is an
all-in-one program that also happens to be
extremely good at black & white. Its
particular strengths are its raw
processing, which typically offers
somewhat crisper detail and less noise
than Lightroom, and its easy-to-use Style
Brushes are ideal for dodging and burning
and more advanced local manipulations.
Capture One uses adjustment layers and
masks for local adjustments, and almost
all its adjustment tools are available on
any layer. Like Lightroom, it has an
extremely good grain simulation tool.
ON1 Photo RAW/

ON1 Effects
l ON1 Effects 2024
l £46.43
l www.on1.com
ON1 Photo RAW is an all-in-one do-it-all
program, just like Capture One and
Lightroom, but goes further, with a wide
range of image effects or filters, all highly
configurable and all individually maskable.
For black & white fans, it’s the Effects
module that’s most exciting, as it also
comes with a wide range of varied black &
white presets. You don’t have to get the
ON1 Photo RAW package. You can buy
ON1 Effects 2024 on its own for half the
price and use it as a standalone program
or as a Lightroom plug-in.
CameraBag Pro
2024
l $34
l www.nevercenter.com
This software deserves to be much more

widely known, not just for its strange but
effective approach to adjustments, but for
its excellent preset effects, which include
some great black & white looks.
CameraBag Pro is cheap to buy and easy
to use, once you get the hang of it. You
edit images by adding a series of filters,
which appear as ‘tiles’ below the image
and have their own controls. You can even
group, or ‘nest’ effects, and use masks
on individual tiles or groups for local
adjustments.
GURUSHOTS
Daniel Calicchio,Portugal
Meet the
GuruShots
Aïe, France
AP showcases the very best images sent

in by GuruShots users on the theme of
White Wonders
GuruShots, the organisers of the world’s greatest photography games and
communities, recently challenged its users to send in their best images on
the theme of White Wonders. Amateur Photographer is partnering with
GuruShots and we are now pleased to publish the 18 highest ranked
photographs by those who entered. Also, remember that you can view every
single image that made it into the Top 500 at amateurphotographer.com
For more inspiring challenges to improve your photo skills and stay motivated, see gurushots.com Mladen Peric, Croatia
ADVERTISING FEATURE
Bajkó Tamás, Hungary Alexander Kupriyanov, Ukraine Roy Egloff , Switzerland
Will, United States Olga Zeltser, United States Jamil Badalov, Azerbaijan
Azazel, Switzerland Mircea Negulescu, Romania Robert Miesner, United States
Laurie Shannon, Canada Ivan Miksik, Czechia Vasil Bakalov, Bulgaria
Csilla Schmidt, Austria Leanne Laurens, Australia Debra Coratti-Velie, United States
IN ASSOCIATION WITH
Amateur Photographer
of the Year Competition
© BOTTOM ROW, LEFT TO RIGHT: MARK LETHEREN, MOHAMMAD RADI, TONY NORTH. CLOCKWISE FROM TOP LEFT: ALAN EDWARDS, JOHN SEAGER, CHARLES ASHTON
of prizes to be won
Enter the UK’s oldest and most prestigious photo competition for
amateur photographers. There are ten rounds, so you have ten chances
to win some terrific prizes for yourself and your camera club!
Visit www.amateurphotographer.com/apoy
IN ASSOCIATION WITH A round-up of the AP testing team’s favourite
and most highly rated kit, including both
cameras and all kinds of accessories, across
a wide range of price points
OM System Tough TG-7 Canon PowerShot G7 X Fujifilm X100VI

l £499 l explore.omsystem.com Mark III l £1,599 l www.fujifilm.eu/uk
This latest model in a long line of class- l £699 l www.canon.co.uk The sixth version of Fujifilm’s charismatic
leading rugged cameras is waterproof to This lovely little pocket camera provides a rangefinder-styled compact boasts a 40MP
15m, shockproof against a 2.1m drop, good range of features for both photography APS-C sensor in front of its fixed 23mm f/2
crushproof and freezeproof. The 25-100mm and video. You get a 20MP 1in sensor, lens. It also gains in-body stabilisation while
equivalent lens is paired with a 12MP 24-100mm equivalent f/1.8-2.8 zoom lens, barely increasing in size. Traditional
sensor, with in-body stabilisation to combat 4K 30p video recording, and a tilting rear analogue control dials are joined by a
shake. Viewing is via a 3in LCD. The TG-7 is screen. It’s ideal for those who’d like more unique hybrid optical / electronic viewfinder
also one of the few cameras of its type that advanced controls than on a smartphone. and a tilting touchscreen on the back.
can record raw files. ★★★★★ Reviewed 28 Sep 2019 It’s a truly fabulous camera.
★★★★★ Reviewed 2 Apr 2024 ★★★★★
Review
9 Apr 2024
Ricoh GR III Sony RX100 VII Sony RX10 IV

l £949 l ricohgr.eu/en-gb l £1,049 l www.sony.co.uk l £1,499 l www.sony.co.uk
A favourite of street photographers, the Sony has somehow crammed a 24-200mm This sets a new standard for superzoom
GR III combines a 24MP APS-C sensor and equivalent zoom, pop-up electronic cameras, with a 24-600mm equivalent lens,
a sharp 28mm equivalent f/2.8 lens in a viewfinder, tilting screen, 20fps shooting 20MP 1in sensor, and 24fps continuous
slim, pocketable body. It offers sensitivities and 4K video recording into a body that you shooting. Its SLR-shaped body hosts a large
up to ISO 102,400 and 4fps shooting, while can slip into a jacket pocket. With the firm’s electronic viewfinder and a decent set of
in-body image stabilisation helps keeps latest AF technology also on board, it’s physical controls. It’s the best all-in-one
image sharp. Viewing is via a fixed 3in rear without doubt the most accomplished camera for wildlife or
LCD or an optional optical viewfinder that pocket camera on the market. travel photography
slots onto the hot shoe. ★★★★ that you can buy
★★★★★ Reviewed right now.
Reviewed 5 Oct 2019 ★★★★★
3 Aug Reviewed
2019 2 Dec 2017
BEST BUYS REVISITING GREAT KIT FROM OUR TEST ARCHIVES
Canon EOS 250D Canon EOS R50 Fujifilm X-S10

l £769 with 18-55mm IS lens l www.canon.co.uk l £899 with 15-45mm lens l www.canon.co.uk l £999 with 15-45mm lens l www.fujifilm.eu/uk
One of the smallest DSLRs around, the EOS With the EOS R50, Canon has fitted some Fujifilm’s X-S10 brings a distinct change in
250D strikes a great balance between impressive technology into a compact and design. It looks much like a conventional
portability and usability. It’s equipped with a lightweight body. It boasts highly capable DSLR, with electronic dials for changing
novice-friendly Guided Mode, while Canon’s subject recognition autofocus coupled with exposure settings. But you still get Fujifilm’s
Dual Pixel CMOS sensor provides excellent rapid continuous shooting. Image quality is signature fine image quality, along with
autofocus in live view. Image very pleasing too, with attractive files direct in-body image stabilisation. The result is a
quality is very good, from the camera. It also works well with camera that’s perfect for
delivering vibrant EF-mount DSLR lenses. APS-C DSLR
colours and ★★★★★ users looking
plenty of fine Reviewed to upgrade to
detail. 6 Jun 2023 mirrorless.
★★★★★ ★★★★★
Reviewed Reviewed
7 Sep 2019 23 Jan 2021
Olympus OM-D E-M10 Mark IV OM System OM-5

l £749 with 14-42mm lens l www.olympus.co.uk Fujifilm X-T50 l £1,199 body only l explore.omsystem.com
With a charismatic retro design, fine l £1,299 body only l www.fujifilm.eu/uk This small, fully featured and weather-
handling, highly effective in-body Fujifilm’s mid-range line takes a major step sealed mirrorless camera is both a
stabilisation and attractive JPEG output, up, with a 40MP sensor and in-body image pleasure to use, and capable of great
Olympus has made a camera that’s more stabilisation. Traditional analogue dials results. Its petite body finds space for an
pleasant to use than its entry-level control exposure settings, while the firm’s extensive complement of controls, along
competitors. Its 20MP sensor delivers good peerless Film Simulation colour modes get with class-leading 5-axis in-body image
results up to ISO 3200 at least, and its their own selection dial for the first time. stabilisation, yet weighs in at
tilting screen can be set to face forwards The compact just 414g. On-chip
beneath the camera. body is ideal phase detection
★★★★ for travel. enables fast,
Reviewed ★★★★★ decisive
26 Sep Reviewed autofocus.
2020 30 Jul 2024 ★★★★★
Reviewed
13 Dec 2022
Fujifilm X-T5 Panasonic Lumix OM System OM-1 Mark II

l £1,699 body only l www.fujifilm.eu/uk GH6 l £2,199 body only l explore.omsystem.com
l £1,399 body only l www.panasonic.com/uk
Fujifilm’s latest X-T model is a great choice Updated version of this high-speed
for serious enthusiast photographers. It Panasonic’s flagship Micro Four Thirds powerhouse gains some handy new
boasts a 40MP APS-C sensor housed in a camera is aimed at videographers, but features. It’s capable of shooting at 120fps
retro-styled body covered with traditional holds its own when capturing stills too. with focus fixed, or 50fps with AF, but now
analogue control dials. Subject-detection Its 25MP sensor delivers plenty of detail, with double the buffer for extended bursts.
autofocus, in-body stabilisation and while enabling 5.7K recording at 60fps, AI subject detection recognises vehicles,
Fujifilm’s lovely colour modes or 4K at 120fps. Pro-spec video animals and birds. It also boasts IP53-rated
round off an functionality and highly weather-sealing
extremely effective and includes
desirable in-body class-leading
package. stabilisation stabilisation.
★★★★★ round off a ★★★★★
Reviewed fine package. Review
3 Jan 2023 ★★★★ 12 Mar 2024
Reviewed
26 Apr 2022
IN ASSOCIATION WITH
Nikon Z f Nikon Z 7II Sony Alpha 7R V

l £2,149 body only l www.nikon.co.uk l £2,899 body only l www.nikon.co.uk l £3,699 body only l www.sony.co.uk
This lovely-looking full-frame mirrorless Nikon has delivered a sensible update to its With its 61MP full-frame sensor, the A7R V
model combines plenty of substance with flagship high-res model, with an additional provides class-leading image quality while
its classic retro styling. It boasts tactile SD card slot and slightly faster shooting. As adding a whole array of improvements over
top-plate dials for shutter speed, ISO and before, its 45.7MP sensor gives stunning its predecessor. These include subject-
exposure compensation while delivering image quality, backed up by 5-axis in-body detection AF, a larger, more detailed
lovely image quality in both JPEG and raw. image stabilisation and fast, accurate viewfinder, and a more flexible rear LCD
There’s some cutting-edge technology on autofocus. The viewfinder is superb, and design. For those whose needs are more
board too, including F-mount SLR lenses can be about image quality than speed,
impressive used via the it’s probably the best
subject FTZ adapter. full-frame camera
detection ★★★★ you can buy.
autofocus. Reviewed ★★★★★
★★★★ 6 Feb 2021 Reviewed
Reviewed 17 Jan 2023
9 Jan 2024
Sony Alpha 7 IV Nikon Z 8 Leica M11

l £2,179 body only l www.sony.co.uk l £3,789 body only l www.nikon.co.uk l £7,299 body only l uk.leica-camera.com
Sony’s enthusiast-focused full-frame This stunning camera takes all the best bits Leica’s 60MP full-frame rangefinder is a
mirrorless model sets a new standard in its of Nikon’s flagship Z 9 and places them in a beautful anachronism – a camera type
class. Its 33MP full-frame sensor delivers smaller, less-expensive body. Combining that has been obsolete for decades, yet
excellent image quality, and it can shoot at high resolution, rapid speed, cutting-edge which still remains an object of desire for
up to 10fps. Its practically foolproof autofocus and pro-level build, it’s capable of many photographers. This elegant mix of
subject-detection AF can now recognise shooting 45.7MP raw files at 20fps. It can the old and the modern offers triple-
birds as well as humans and also record 8K video. With its resolution raw recording, including 36MP
animals. A large, superb viewfinder and 18MP options, and vastly improved
clear viewfinder and tilting rear battery life. It’s a
and fully articulated screen, it’s a really lovely
touchscreen round stunningly camera that can
off the package. capable deliver stunning
★★★★★ camera. results.
Reviewed ★★★★★ ★★★★
11 Dec 2021 Reviewed Reviewed
11 Jul 2023 8 Mar 2022
Nikon D850
l £2,699 body only l www.nikon.co.uk Canon EOS R6 Mark II Fujifilm GFX100S
l £2,779 body only l www.canon.co.uk l £5,499 body only l www.fujifilm.eu/uk
This brilliant professional all-rounder
provides a winning combination of high Based around a 24MP full-frame sensor, Fujifilm’s second-generation super-high
resolution and speed. Its 45.7MP sensor this brilliant all-rounder will do almost resolution camera places a 102MP medium-
produces fine results at high ISOs, and the anything you might ask it to. It combines format sensor in a body the size of a full-
autofocus is incredibly responsive and reliable subject-detection AF, rapid frame DSLR. On-chip phase detection
accurate. Build quality and handling should continuous shooting, and effective image provides rapid autofocus while in-body
satisfy the most demanding of stabilisation in a body that handles well and stabilisation allows the camera
users. It’s an gives great results. It also to be used handheld
absolutely works well with easily. It’s perfect if
sensational camera adapted you need to shoot
capable of tackling EF-mount in the field with
any type of DSLR lenses. compromising
subject. ★★★★★ image quality.
★★★★★ Reviewed ★★★★★
Reviewed 21 Mar 2023 Reviewed
21 Oct 2017 8 May 2021
BEST BUYS REVISITING GREAT KIT FROM OUR TEST ARCHIVES
Billingham Hadley Pro 2020 Essential Film Holder Kit Manfrotto 190 Go!
l £293 l www.billingham.co.uk l £90 l www.clifforth.co.uk MT190GOC4
The latest model in this iconic line of Many photographers either still enjoy l £299 l www.manfrotto.com/uk-en
British-made satchel-style bags includes shooting film, or have old negatives and With 4-section carbon fibre legs that can
some well-considered updates, such as a slides that they’d like to digitise. Probably each be set to four angles, this
detachable shoulder strap. It’s impeccably the best way to do this is to copy them sturdy, versatile tripod achieves
constructed from premium materials to using a DSLR or mirrorless camera. This a maximum height of 147cm
keep your kit protected, including easy-to-use device holds film flat over a while folding down to 45cm,
Billingham’s signature triple-layer canvas lightbox for copying. It gives excellent and weighs 1.35kg. But
that’s impermeable to water. It’s pricey, but results and is much quicker than using a its party trick is a centre
will last for decades. scanner. ★★★★★ column that can be set
★★★★★ Reviewed 5 Oct 2019 Reviewed horizontally for
29 Aug overhead or low-level
2020 shooting.
★★★★★
Reviewed
1 Jun 2019
NiSi Bluetooth Remote Control Benro GD3WH

l £169 l www.benroeu.com
Vanguard Veo Active 42M l £29.90 l nisioptics.co.uk
l £160 l www.vanguardworld.co.uk If you use strong This relatively
neutral density lightweight and
Vanguards’s VEO Active backpacks are portable geared
designed for hiking. This model is small filters, this device
makes it much head employs an
enough to carry on a plane, but still has Arca Swiss type
space for a camera and easier to work
with the long quick release. Three
three lenses, plus a large control knobs,
13in laptop and exposures
required. It one for each axis
personal items. of movement,
It offers excellent connects to your
smartphone by Bluetooth drive the camera directly
protection thanks to in the corresponding direction, allowing
its metal frame and and is controlled by NiSi’s free ND
Calculator app. Camera connection cables highly accurate setting of composition. With
padded insert. its sturdy magnesium alloy construction, it’s
★★★★★ cost £5.90 each.
★★★★ Reviewed 11 Jan 2022 rated to support a 6kg load.
Reviewed ★★★★★ Reviewed 26 May 2018
19 Jul 2022
Novo Mantis T3 Vanguard VEO 2S

Gitzo Adventury 30L Mini Travel Tripod AM-264TR
l £239 l www.gitzo.com/uk-en l £70 l www.ukdigital.co.uk l £99 l www.vanguardworld.co.uk
This sizeable backpack will hold a pro-spec This neat 27cm-tall mini tripod This unusual monopod boasts
DSLR with a 70-200mm lens attached and has two-section carbon-fibre an extended height of
a second body plus up to 4 lenses. An legs that can be set to three 1630mm, a folded height of
expandable roll top provides plenty different angles, and chunky 565mm and a maximum load
of space for personal rubber feet that unscrew to capacity of 6kg. Three foldable
items, and the bag reveal ground spikes. The legs at the base provide a tri-stand
also boasts tablet and matched MBH-25 ball platform, and are linked to the
laptop compartments. head (£60) provides four-section carbon fibre leg via a
It’s comfortable to carry impressive strength, ball joint that allows smooth
fully loaded and offers and an optional panning and tilting motions.
first-class protection. centre column is ★★★★★
★★★★★ available for £30. Reviewed 30 May 2015
Reviewed 8 Sep 2018 ★★★★★
Reviewed 6 Feb 2021
Adaptalux Studio Nature Formatt Hitech Onyx Epson Expression
LED Macro Combo Pack 85mm Seascape Kit Photo XP970
l £372 l www.adaptalux.com l £345 l www.formatt-hitech.com l £219 l www.epson.co.uk
This clever modular LED system is perfect This 85mm filter kit is ideal for APS-C or An update to the XP960, which won our
for lighting small subjects creatively. The Micro Four Thirds users. It includes a coveted gold award, this impressive
pack includes a control pod with a built-in polariser, 6-stop neutral density, and 3-stop multifunctional unit provides A3 printing
rechargeable battery, four flexible soft-edge and hard-edge ND grads. It’ll fit ability while retaining a compact footprint.
lighting arms (two white, one filter threads up to 77mm, with step rings Along with a conventional USB connection, it
blue and one green), plus for 72mm, can print over Wi-Fi, or directly from an SD
three diffusers and two colour 67mm and card or USB stick, controlled using the
filters. Always-on LED lighting 58mm excellent colour LCD touchscreen. Other
makes it easy to visualise the supplied in useful features include an A4 scanner and
results in the box. double-sided document printing.
real time. ★★★★ ★★★★★
★★★★★ Reviewed
Reviewed 6 Feb 2021
20 Sep 2022
RØDE VideoMicro II Calibrite ColorChecker Studio

l £500 l www.colourconfidence.com
l £82 l en.rode.com
Previously known as X-Rite i1 Studio, this kit
RØDE’s updated compact on-camera video
enables users to adopt a completely
microphone brings a number of welcome
colour-managed workflow, from capture
improvements. Along with a much-improved
through display to print. It allows profiling of
Biolite Charge 80 PD
Helix shock-mount, it comes with cables for l £70 l uk.bioliteenergy.com
cameras, scanners, monitors, projectors
use with both cameras and smartphones,
and printers, and works with both Mac and Powerbanks can
plus a choice of foam or furry windshields.
Windows computers. It’s a great tool for any be invaluable
Audio quality is a dramatic improvement
photographer who likes to print at home. when you
over most cameras’ built-in mics, too.
★★★★★ Reviewed 20 Jun 2023 ★★★★★ Reviewed 19 Jan 2019 want to keep
shooting for
longer. This device
houses a 20,000mAh
Li-ion battery, which is
capable of replenishing the
average camera battery up to ten
times. It can also be used to power
certain cameras directly.
★★★★★ Reviewed 10 Jul 2021
Kase Revolution Magnetic
Tenba Tools Cable Duo 4 Circular Entry Level Kit Fujifilm Instax Mini Link 2
l £20 l uk.tenba.com l £230-£285 l www.kasefilters.com l £115 l www.instax.co.uk
Not all handy accessories have to cost a These clever kits include circular polarising, Powered by a built-in rechargeable battery,
fortune. This well-designed tech organiser 3-stop and 6-stop neutral density filters that this smart little printer
pouch features a dual-compartment layout, snap magnetically onto adapters that screw connects to your smartphone
with a shallow space on one side for into your lens. This considerably speeds up via Bluetooth and is controlled
cables, and a deeper one on the other for the process of using filters and encourages using an attractively designed
such things as battery chargers or computer you to use them creatively. and intuitive app. It’s small
mice. The simple rectangular design fits Kits are available in enough to slip into a coat
easily into a bag and the tough transparent 77mm, 82mm, and pocket or bag, and
covers make it easy 95mm sizes, with delivers gorgeous little
to see what’s adapter rings from prints with fine detail and
inside. 49mm up. vivid colour.
★★★★★ ★★★★★ ★★★★★
Reviewed Reviewed Reviewed
20 Sep 2022 21 Feb 2023 30 Aug 2022
Before
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Mifsuds Photographic Ltd Est. 1954.
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 info@mifsuds.com
Current opening times: - Tuesday - Friday 10am till 2pm. Saturday 9am - 12pm. Outside hours by appointment.
Celebrating 70 years 1954 -2024

0736 828 8126 From 8am-8pm every day
FOR THE LATEST NEW & USED
CANON R SERIES PRODUCTS
Join our Mailing List
At www.mifsuds.com
Upgrade Now - PX Welcome.
Used Canon Used Nikon Used Sony
R5 MKII Z6 MKIII A7R MKV
body body body
Just Available Available
Arrived Now Now
THE BEST STOCKED DEALER IN THE WEST COUNTRY
Excludes mirrorless items and applies to online orders only
WANTED
YOUR DIGITAL AND FILM KIT 35mm ~ 5x4

UPGRADE NOW - PART EXCHANGE & COLLECTION AVAILABLE (Subject to postcode)
CALL MATT 0736 828 8126 8am till 8pm daily
Sensor cleaning and Pro equipment hire available
ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 26/09/2024. E&OE.
Website
updated daily www.mifsuds.com The best stocked
dealer in the
inc. promotions Here to help - just call 0736 828 8126 (8am-8pm) or 01803 852400 West Country
QUALITY USED EQUIPMENT - Checked, Tested, Cleaned and Warrantied. More on website - www.mifsuds.com.
Used Canon RF 200-800mm

F6.3/9 IS
Used Canon 500mm F4 Used Canon 7D MKII
body
R5 MKII body R5 body 200-400mm 300mm F2.8 400mm F4 IS USM LII 5D MKIV body 80D body
USM
IS USM IS USM LII DO II USM
£3999 £1999 £2099 £3999 £2699 £4999 £1299 £499 £599

CANON R MIRRORLESS USED CANON DSLR USED CANON AF LENSES USED 65 F2.8 MP-E macro box .............. £799 SIGMA CAF USED OTHER CAF USED
R5 MKII body..................................£3999 7D MKII body box........................... £599 8-15 F4 L USM.................................. £799 70-200 F2.8 IS USM LII .................. £699 10 F2.8 EX DC HSM ........................ £199 TAMRON 10-24 F3.5/4.5 DiII ....... £179
R5 b/o box......£1999 R7 body .£1199 6D body box..................................... £599 10-18 F4.5/5.6 IS STM EFS ........... £149 70-200 F4 IS USM II box ............... £699 10-20 F3.5 EX DC HSM.................. £229 TAMRON 16-300 F3.5/6.3 II VC... £399
R6 MKI body....£1299 RP body.. £499 5D MKIV body box .......................£1299 11-24 F4 L USM box.....................£1399 70-300 F4/5.6 IS USM II Nano..... £499 12-24 F4.5/5.6 II DG ....................... £399 TAMRON 18-270 F3.5/6.3 VC ...... £199
RF 14-35 F4 L IS USM box............ £999 5D SR b/o..£1199 5D MKIII b/o . £599 15 F2.8.£399 15-85 F3.5/5.6 EFS £199 70-300 F4/5.6 IS USM.................... £249 14-24 F2.8 Art box.......................... £799 TAMRON 70-300 F4/5.6 VC USD £249
RF 15 -30 F4.5/6.3 IS STM box.... £399 5D MKII b/o....£299 5D MKI b/o £199 16-35 F4 USM IS L box.................. £599 75-300 F4.5/5.6................................ £149 17-50 F2.8 OS DC box ................... £249 TAMRON 70-300 F4/5.6 Di..............£99
RF 15-35 F2.8 L IS USM box ......£1699 80D body box .................................. £499 17-40 F4 L USM ............................... £299 85 F1.2 USM L.£799 85 F1.8 U .. £299 18-200 F3.5/6.3 DC OS.................. £199 TAMRON 90 F2.8 VC USD............. £399
RF 24 F1.8 STM macro box.......... £499 70D body box..£329 650D body.£299 17-55 F2.8 IS USM box EFS.......... £399 100 F2.8 IS USM L macro ............. £699 20 F1.4 DG Art box......................... £399 TAMRON 90 F2.8 Di........................ £199
RF 24-70 F2.8 IS USM box..........£1799 BG-E21/20/16/14/13/11/9/8 each£99 18-135 F3.5/5.6 IS EFS nano ....... £299 100 F2.8 USM macro box............. £299 24 F1.4 Art......................................... £399 TAMRON 200-500 f5.6................... £399
RF 24-105 F4 L IS............................. £999 CANON M MIRRORLESS USED 18-200 F3.5/5.6 IS EFS................... £299 100-400 F4.5/5.6 LII box.............£1499 24-105 F4 DG OS box.................... £399 TOKINA 12-24 F4 DX MKII............ £199
RF 50 F1.2 L USM box .................£1699 M50 MKII + 15-45 box................... £549 24-70 F2.8 USM LII box................. £999 100-400 f4.5-5.6 IS USM l Box .... £699 35 F1.4 Art......................................... £399 TOKINA 12-28 F4 DX box............. £269
RF 70-200 F4 L IS box..................£1199 M50 + 15-45 box............................. £449 24-70 F4 IS USM L........................... £599 135 F2 L USM ................................... £499 50 F1.4 Art box ................................ £399 FLASH/ACCESSORIES USED
RF 85 F1.2 L USM box .................£1999 M3 + 15-45........................................ £279 24-105 F4 IS USM LII...................... £749 180 F3.5 L USM macro.................. £699 70-300 F4.5/5.6 DG ........................ £139 ST-E3 box.......£169 ST-E2 box .......£69
RF 85 F2 macro................................ £549 EF-M 11-22 F4/5.6 IS STM............ £249 24-105 F4 IS USM L ........................ £499 200-400 F4 IS USM .......................£3999 105 F2.8 EX DG HSM OS............... £329 MR14-EXII ringflash box............... £449
RF 100 F2.8 L IS USM macro ....... £999 EF-M 15-45 F3.5/6.3 IS STM ...........£79 35 F1.4 USM LII box .....................£1199 300 F2.8 IS USM LII.......................£2699 120-300 F2.8 OS Sport box.......£1699 EL-5 flash box................................... £429
RF 100-500 F4.5/7.1 L IS USM...... £2099 EF-M 18-150 F3.5/6.3 IS STM...... £349 50 F1.2 L USM box.......................... £799 400 F4 DO IS II USM.....................£3999 150-600 F5/6.3 DG OS sport....... £999 430EXIII.........£199 430EX II ............£99
RF 200-800 F6.3/9 IS USM box.£2099 EF-M 32 F1.4 STM box .................. £429 50 F1.4 USM box............................. £249 500 F4 IS USM LII ..........................£4999 150-600 F5/6.3 DG OS contem.. £749 580EX II.........£149 600EX RT....... £199
RF 600 F11....£599 RF 800 F11... £699 EF-M 55-200 F4.5/6.3 IS STM...... £249 55-250 F4/5.6 IS EFS ...................... £199 1.4x or 2x extender MKIII each .. £299 TC1401 1.4x extender................... £149 Angle finder C.....................................£79
RF 2x conv...£499 BG-R10 grip.. £299 EF-M adapter.......................................£89 60 F2.8 macro EFS .......................... £349 25mm ext tube II ............................ £119 TC2001 2x extender....................... £199 TC-80N3 rem...£79 RS-80N3 rem £30
Used Nikon 180-600mm

F5.6/6.3 Used Nikon 500mm F5.6
E PF
Used Nikon D500
body
Z6 MKIII body Z7 MKII VR 70-200mm F2.8 200-500mm D850 body D780 body
body E FL AFS VR F5.6 E ED AFS AFS
VR
£2199 £1899 £1499 £1399 £999 £1799 £1299 £1499 £999

NIKON Z MIRRORLESS USED NIKON DSLR USED NIKON AF LENSES USED 35 F1.8 AFS G DX ...............................£99 SIGMA NAF USED NIKON 35MM BODIES/LENSES USED
Z9 body box ....................... £2999/3799 D5 body box...................................£1499 10-20 F4.5/5.6 AF-P DX VR .......... £199 35 F1.8 AFS ED..................................... £299 10-20 F3.5 DC box.......................... £229 F5 body.....£499 F4S body........... £299
Z8 body box ...................................£2999 D850 body box.................. £1299/1999 10-24 F3.5/4.5 AFS box................. £399 35 F2.8 AFD........................................... £299 10-20 F4/5.6 DC HSM.................... £129 F90X/F801/F601 body each ..........£99
Z7 MKII body box .........................£1899 D810 body box................................ £799 14 F2.8 AFD....................................... £499 50 F1.4 AFS G box .......................... £249 12-24 F4.5/5.6 II HSM .................... £399 F3HP body......£599 F3 body ...... £499
Z6 MKIII body box ........................£2199 D800 body box................................ £499 16-35 F4 AFS VR box ..................... £399 50 F1.8 AFS box..................................£99 24-105 F4 DG OS ............................ £499 F2 + DP-1 chrome or black each£399
14-24 F2.8 S box............................£1699 D780 body box..............................£1599 16-80 F2.8/4 VR DX ........................ £599 50 F1.8 AFD..........................................£99 35 F1.4 Art.....£399 50 F1.4 Art.. £399 F + plain prism black..................... £599
24 F1.8 S box.................................... £699 D750 body box................................ £699 16-85 F3.5/5.6 AFS VR ................... £199 55-300 F4.5/5.6 AFS VR DX.......... £199 70-200 F2.8 EX DG OS HSM ........ £399 F + plain prism chrome................ £399
24-70 F2.8 S box............................£1499 D700 body ........................................ £299 18-35 F3.5/4.5 AFS ......................... £399 55-200 F4.5/5.6 AFS VR DX box. £149 105 F2.8 EX DG HSM OS............... £329 FM2N body Black or Chrome ea£399
24-70 F4 S.......................................... £499 D500 body box................................ £999 18-55 F3.5/5.6 AF VR DX .................£99 60 F2.8 AFS macro.......................... £299 150 F2.8 EX DG OS HSM box...... £399 18 F3.5 AIS box................................ £699
24-120 F4 S ....................................... £899 D300 body ........................................ £199 18-105 F3.5/5.6 VR DX AFS.......... £149 70-200 F2.8 E FL AFS box ..........£1399 150-600 F5/6.3 DG OS sport....... £999 24 F2.8 AIS......................................... £199
24-200 F4/6.3 VR box .................... £599 D7500 body box ............................. £799 18-140 F3.5/5.6 AFS VR box........ £149 70-300 F4.5/5.6 E AF P VR............ £499 150-600 F5/6.3 DG OS contem.. £749 28 F2 AIS....£399 35 F2 AI............ £249
28 F2.8 SE .......................................... £199 D7200 body box ............................. £499 18-200 F3.5/5.6 VR DX MKII......... £299 70-300 F4.5/5.6 AFS VR box........ £299 300-800 F5.6 EX DG HSM...........£1999 35 F2.8 shift early ........................... £299
50 F1.2 S box..................................£1499 D7100 body box ............................. £399 18-200 F3.5/5.6 VR DX .................. £149 70-300 F4.5/5.6 AFD.........................£99 500 F4 OS sport box....................£1999 50 F1.2 AIS....£499 50 F1.4 AIS .. £299
50 F1.8 S............................................. £449 D7000 b/o.....£199 D2X body .... £299 18-300 F3.5/6.3 VR DX .................. £399 80-400 F4.5/5.6 AFS VR box........ £999 TC-1401 1.4x extender.................. £149 55 F2.8 AIS micro............................ £199
70-200 F2.8 VR S box...................£1799 MBD-18 (D850) box ....................... £299 20 F1.8 AFS box............................... £599 85 F1.4 G AFS box .......................... £899 TC-2001 2x extender..................... £199 85 F1.8 AI........£249 85 F2 AIS .... £329
85 F1.8 Z box.................................... £549 MBD-17 (D500)................................ £199 24 F1.4 G AFS Mint box................ £799 85 F1.8 AFS box............................... £299 TAMRON LENSES - SEE WEBSITE 100-300 F5.6 AIS ............................. £199
105 F2.8 VR macro box................. £799 MBD-16 (D750)...................................£99 24 F2.8 AFD box.............................. £249 105 F2.8 AFS VR macro................. £399 FLASH / ACCESSORIES USED 105 F1.8 AIS ...................................... £499
180-600 F5.6/6.3 VR box ............£1499 MBD-14 (D600/610) .........................£79 24-70 F2.8 AFS VR box................£1299 200-500 F5.6 E ED AFS VR............ £999 SB-R1 ring flash box ...................... £399 135 F2 AIS......£399 135 F2.8 AI . £199
400 F4.5 VR S Mint box...............£2299 MBD-12 (D800/810)..........................£99 24-70 F2.8 AFS................................. £499 500 F5.6 E PF VR AFS box ..........£1799 SB-700 box.....£199 SB-900 box £199 180 F2.8 AIS ...................................... £399
FTZ adapter II box .......................... £229 MBD-12 (D800/810)..........................£99 24-120 F4 AFS VR............................ £499 TC14-EIII ............................................. £399 SU-800 commander ...................... £199 200 F4 AIS macro............................ £399
FTZ adapter box.............................. £179 MBD-80 (D80/90)...............................£49 28-300 F3.5/5.6 AFS VR box............ £599 TC14-EII box...................................... £199 DR-6/DR-5 angle finder each ..... £149 300 F4.5 ED AIS ............................... £399
MB-N11 grip (fit Z6/7)................... £249 Coolpix P1000.................................. £799 35 F1.4 AFS G box ..............................£799 TC17-EII box......£99 TC20-EIII..... £199 MC-36A rem...£149 MC-30A rem £79 PB-4 or PB-6 bellows each .......... £199
40-150mm
F4 Pro Used Panasonic100-300mm
F4/5.6
24-70mm
F2.8
OM-1 body 8-25mm F4 G9 body 45-200mm MKII A9 MKIII body A7R MKV GMII
Pro F4/5.6 body
£1199 £749 £649 £499 £179 £379 £3999 £2499 £1699

FUJI X DIGITAL USED 56 F1.2 R...£449 60 F2.4 R mac.. £299 30 F3.5 macro box.......................... £149 12-60 F3.5/5.6 .................................. £199 A9 body box...................................£1499 16-35 F4 ZA box.............................. £599
XT-5 body ........................................£1299 100-400 F4.5/5.6 WR box............. £899 40-150 F2.8 Pro box........................... £799 14-140 F3.5/5.6................................ £249 A7R MKV body box......................£2499 24 F1.4 GM box ............................... £999
XT-4 body .......................................... £999 1.4x XF conv ..................................... £299 40-150 F4 Pro box .............................. £649 25 F1.4 box ....................................... £399 A7R MKIII body box ....................... £999 24 -70 F2.8 GM II box ..................£1699
XT-3 body .......................................... £799 X500 flash.....£249 EF-42 flash......£99 45 F1.2 Pro box................................ £599 35-100 F2.8 MKII box..................... £599 A7 MKIV body box .......................£1699 24-70 F4 ZA OSS box..................... £399
X-T2 body .......................................... £499 OLYMPUS MICRO 4/3 USED 60 F2.8 macro box.......................... £379 42.5 F1.2 DG ..................................... £599 A7 MKIII body.................................£1199 24-105 F4 G OSS ............................. £799
8-16 F2.8 WR box............................ £999 OM-1 body box .............................£1199 75-300 F4.8/6.7 MSCII ................... £379 45-175 F4.5/5.6................................ £299 RX10 MKIV.......................................£1199 35 F1.4 ZA OSS box........................ £599
10-24 F4 XF R box........................... £349 OM-5 body box ............................... £799 1.4x converter box ......................... £239 45-200 F4.5/5.6 box....................... £179 RX10 MKIII ......................................... £699 35 F2.8 box ....................................... £299
16 F1.4 WR box................................ £499 E-M1 MKIII body box..................... £699 PANASONIC MICRO 4/3 USED 100-300 F4/5.6 MKII....................... £379 VG-C4 EM grip box......................... £299 50 F1.4 GM..£1199 55 F1.8 box £399
16-80 F4 WR.....£449 18 F2 R...... £299 7-14 F2.8 Pro .................................... £699 G9 body box..................................... £499 100-400 F4/6.3 box........................ £699 VG-C3 EM grip box......................... £129 70-200 F2.8 GM OSS....................£1199
18-55 F2.8/4 XF ............................... £299 8-25 F4 Pro box ............................... £749 BGG9 grip.............................................£99 PANASONIC FULL FRAME USED Sony F60M flash box..................... £299 85 F1.4 GM........................................ £999
23 F1.4 XF.WR................................... £399 9-18 F4/5.6.....£299 12-40 F2.8 .. £429 GH4 body .......................................... £399 S5 + 20-60 F3.5/5.6 ........................ £799 Sony F58AM flash........................... £149 90 F2.8 G OSS macro..................... £599
35 F2 XF WR...................................... £299 12-45 F4 Pro..£399 12-100 F4.... £799 7-14 F4................................................ £399 SONY DIGITAL USED Sony F43 flash.................................. £149 100 F2.8 GM box............................. £899
50-140 F2.8 WR box....................... £999 12-200 F3.5/6.3 box....................... £599 8-18 F2.8/4 box ............................... £599 A1 body............................................£3999 SonyF56AM flash............................ £149 100-400 F4.5/5.6 OSS G box.....£1399
50-230 F4.5/5.7 MKII...................... £239 14-150 F4/5.6 II................................ £399 12-35 F2.8 II ...................................... £449 A9 MKIII body box........................£3999 SONY FE MOUNT DIGITAL USED 135 F1.8 GM box............................. £999
55-200 F3.5/4.8 R box ................... £399 17 F1.2 Pro ........................................ £599 12-60 F2.8/4...................................... £399 A9 MKII body..................................£1999 12-24 F2.8 GM box.......................£1999 2x converter E.................................. £399
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA ETR 645 USED BRONICA SQ 6x6 USED HASSELBLAD 6x6 USED MAMIYA 645 MF USED Prism early....£129 Chimney box£149 PENTAX 6x7 USED
ETRSi + AEII prism + 75 EII SQAi + 80 + WLF 503CW, 80 F2.8 CF, A12, WLF ..... £3799 M645 Super complete .................. £699 PENTAX 645 AF USED 67II + AE prism box......................£2399
+ speed grip + 120 back.............. £699 +120 + speed grip......................... £999 501CM, 80 F2.8 CF, A12, 645 Pro body.................................... £399 33-55 F4.5 FA.................................... £499 45 F4 late.....£499 55 F4 late....... £499
ETRSi + WLF +120 back............... £599 SQA complete.................................. £699 WLF chrome ...................................... £2999 55 F2.8 N......£299 150 F3.5 N..... £199 35 F3.5 FA HD................................... £699 55 F4 early £299 75 F4.5 shift.. £599
ETRSi body ........................................ £299 40 F4 S.......£399 50 F3.5 S box .. £299 500CM + 80 F2.8 CF + A12 ......£1999 WLF fits 645 Super/Pro................. £199 45-85 F4.5 FA.................................... £499 75 F4.5 box....£499 90 F2.8......... £599
ETRS body ......................................... £199 110 F4 macro ................................... £299 501C + WLF black.........................£1299 120 back............................................. £149 55 F2.8 D FA...................................... £599 105 F2.4 late ..................................... £799
40 F4 PE..........£399 40 F4 E......... £199 150 F4 PS ........................................... £299 501CM body chrome + WLF.....£1699 120 insert..£29 Ext tube 1/2/3 ea£29 55-110 F5.6 FA ................................. £499 120 F3.5 soft focus ......................... £399
50 F2.8 PE.....£299 50 F2.8 E MC £199 1.4x converter PS............................ £299 50 F4 CF FLE ..................................... £699 MAMIYA TLR 6x6 USED 150 F2.8 FA........................................ £499 135 F4 mac..£299 165 F2.8......... £199
100 F4 E macro................................ £299 2x converter PS ............................... £149 135 F5.6 CF + macro bellows..... £699 C330S body + WLF......................... £399 150-300 F5.6 FA ED box ............... £499 200 F4 latest ..................................... £199
135 F4 PE ........................................... £299 2x converter S.....................................£69 150 F4 CFI.....£799 150 F4 CF..... £499 55 F4.5 ................................................ £249 200 F4 FA...£399 300 F5.6 FA..... £499 300 F4 latest ..................................... £199
150 F3.5 E .............................................£99 SQAi waist level finder.................. £199 150 F4 Black T* ................................ £399 MAMIYA 7 RF 6x7 USED 400 F5.6 FA........................................ £499 400 F4 early ...................................... £449
180 F4.5 PE........................................ £299 SQAi prism late................................ £399 180 F4 CF box .................................. £699 43 F4.5 box ....................................... £899 PENTAX 645 MF USED 2x rear conv..£149 Plain prism.. £199
2x extender..........................................£49 SQAi 120 back late ......................... £149 250 F5.6 CF ....................................... £599 150 F4.5.......£399 210 F8 ............. £399 45 F2.8.........£299 55 F2.8............. £299 Wooden grip .................................... £199
ETRSi 120 back RWC late ................£99 SQA 120 back early...........................£99 250 F5.6 black T*............................. £299 Polarising filter ZE702 box .......... £149 80-160 F4.5..£299 120 F4 mac.. £399 REF converter angle finder ......... £199
AEIII prism......£399 AEII prism... £199 Plain prism S..................................... £199 WLF black..£299 PM 5 prism ..... £399 MAMIYA RB 6x7 USED 200 F4...£299 300 F4 green T* .. £499 Helicoid ext tube ............................ £149
Ext tube E14 or E28 each................£49 Polaroid back ......................................£20 PM90 prism....................................... £369 RB67 Pro S + 127 + RFH + WLF.. £699 1.4x or 2x converter each............ £149 LIGHTMETERS USED
Speed grip E...£99 WLF............... £149 WLF............£149 SQA speed grip..£99 A12 magazine......................... £199/499 RB 67 Pro S body ............................ £399 Auto ext tube set............................ £149 Sekonic L308B ................................. £149
Rotary prism E box......................... £149 Macro bellows ................................. £199 Pro shade..............................................£79 50 F4.5........£299 65 F4.5.............. £199 Helicoid ext tube ............................ £149 Sekonic L358.................................... £229
Plain prism E box............................ £149 Lens hoods various.................... £20/50 Snap lock flash grip box............... £299 150 F4 soft....£199 180 F4.5 ....... £199 REF converter angle finder ......... £149 Sekonic L558.................................... £399
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN WE CAN HELP. CORRECT 26/09/2024.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
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FOR SALE
Hasselblad Digital Back CFV 50C II & 907 x Camera
New un used, in orginal box..........................£3900.00
Also C/CF (XV) Lens adapter for 907 X / .......£0050.00
Collection in person from Leatherhead Surrey
Tel 01372450285
Seller Retiring - Other near mint items include:
Rolleiflex T, Canon EOS 5D MKII, Nikon Photomic FTN.
MINOX
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Photo Critique
Final Analysis
John Wade considers…
Aerial View of Edinburgh by Alfred Buckham, c1920
H
ave you noticed how so
PICTURE PUBLISHED HERE COURTESY OF THE NATIONAL GALLERIES OF SCOTLAND, © RICHARD AND JOHN BUCKHAM
many TV dramas and
documentaries these days
involve aerial photography?
I guess it has become more commonplace
because, where once filmmakers had to
hire expensive helicopters to get their
cameras high in the sky, now all they need
do is hire a drone camera operator. Well... I
am assured there’s more to it than that. The
person doing the assuring is my daughter,
who works for a video production
company and whose job partly involves
hiring crew for shoots.
She tells me there are different types and
grades of drone operators and she has to
match the right person to the job in hand.
There are different types of camera for
different kinds of shoot, various sizes and
types of drone, and that’s before she has to
ensure the operator has the right licence to
fly the type of drone needed in the area
required. Also, what I didn’t know is that
they come in pairs, one to fly the drone
and the other to act as a spotter. While the
operator concentrates on getting the drone
and its movements in the right place at the
right time, manoeuvring it according to the
director’s needs, the spotter watches to
make sure the drone isn’t about to hit
anything, fly at a prohibited height or
break the law. It’s all very complicated.
Even so, I’m betting it’s a lot easier than
when Alfred Buckham took to the skies
around 100 years ago.
Born in 1879, Buckham began his
photographic career in 1905 after
abandoning ambitions to be a painter.
Having won more than 30 awards for his
photography, he enlisted in the Royal
Naval Volunteer Reserve in 1917 during
World War I where he was engaged in each exposure, then standing up in an images of aeroplanes to the composition
frequent flying. He was discharged two open cockpit, buffeted by the wind and for an even more dramatic effect. In short,
years later after being involved in a serious enduring a fine spray of oil from the his pictures, which at first appeared to
crash which resulted in the loss of his aircraft’s engine. He did this with one leg show a single breathtaking moment, were
voicebox. It was one of nine crashes during tied to the seat for what might laughingly more often carefully crafted, montaged
his career that smashed him into hillsides, be called safety because wearing a seat belt works of art. It won him acclaim for a style
flung him into the North Sea and dropped made it impossible to handle his camera. of aerial photography all his own.
him from great heights into hedges. He was fascinated by clouds, which he So, not just a pioneering aerial
Buckland’s aerial photography was photographed separately, later combining photographer then, but also a man who
carried out using a plate camera that two or three negatives with aerial landscapes might be said to have pre-empted the
involved changing glass plates between or cityscapes. He was also known to add use of Photoshop.
John Wade is best known for his regular contributions to AP on classic cameras. He is the author of 25 books on social and photographic history. Find him at www.johnwade.org
Watch our
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Visit our website - updated daily or call us 7 days a week
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All prices include VAT. All products are UK stock. Finance provided by Omni Capital Retail Finance. See website to learn more.
E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
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Tuesday 22 October 2024

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