Amateur - photographer.truePDF 15.21.december.2018

Fujifilm XFct 1w0
Saturday 15 December 2018
ith manual
Stylish APS-C compa
TESTED control that fits in your
pocket
Passionate about photography since 1884
How to
succeed
Six rising stars of photography
A3 printing share their tips and secrets
without the
ink costs
The Epson EcoTank
ET-7750 printer on test No-drama
panorama
Master Photoshop’s
powerful stitching
features
Shoot still life

on a budget
Simple home studio
techniques with basic kit
Plus Inside an Amazon warehouse ● Adonit PhotoGrip ● How in-body IS works

01/11/2018 – 15/01/2019
275
UP TO
£CASHBACK
nikonpromotions.co.uk
Photographer: Conor McDonnell
UP TO £275 CASHBACK
O N PURCHASES OF SELECTED NIKON CA MERAS AND NIKKOR LENSES, M ADE BETWEEN
1ST NOVEMBER 2018 AND 15TH JANUARY 2019 ( I N C LU S I V E )
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7days
COVER PICTURES © JOSEF FITZGERALD-PATRICK / TIM CLINCH
A week in photography
There has never been such found a way to stand out, and hopefully build
a wide choice of affordable a lasting career, whether as a pro or successful
cameras and lenses (not to serious amateur. Don’t miss our guide to taking
mention smartphones), which creative still lifes and portraits at home – a
is great, but the downside is great project for winter’s short, dark days – and
that everybody these days is a photographer. So we also take a look at Epson’s latest A3 printer,
In this issue how do you get your pictures noticed amid the
Biblical flood of images being uploaded to
which promises lower running costs. Our main
review, meanwhile, focuses on the Fujifilm
8 Wish fulfilment social media every day? This issue, we speak to XF10 power compact, so there’s lots to enjoy.
In this week’s Photo some of 2018’s rising stars to discover how they Nigel Atherton, Editor
Stories, we go behind
the scenes at an JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
Amazon warehouse ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
12 Retail therapy
AP talks to Steve
Byford of Ffordes, ONLINE PICTURE OF THE WEEK
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
about the service

it offers customers
14 Keep it simple
Pro Tim Clinch passes
on his expertise for
creating studio conditions
at home. It’s all in the
lighting, as he explains
20 Rising stars 2018
We talk to six talented
photographers about their
work and motivation
32 Panorama,
no drama
Martin Evening shows
you how to master
Photoshop’s powerful
panorama-building feature
38 Fujifilm XF10
Matt Golowczynski reviews
© IAN HULL
Fujifilm’s latest pocket-

sized APS-C sensor camera
45 Epson EcoTank Autumnal stag by Ian Hull
ET-7750 Canon EOS 7D Mk II, 100-400mm, 1/1600sec at f/8, ISO 400
Matthew Richards
looks a little deeper into This stunning silhouette capture. With all the action
an A3 printer and scanner of a stag was uploaded to going on, I was stubborn and
with a healthy ink supply Instagram using the hashtag waited for this one stag to walk
62 AP Good Service
#appicoftheweek. It was taken
by photographer Ian Hull. He
100 yards parallel to where
I was waiting, in order to line Win! Each week we choose our favourite picture
on Facebook, Instagram, Flickr, Twitter or
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
Awards 2019 tells us, ‘I took this image at the up with a small area between the reader gallery using #appicoftheweek. PermaJet
Where’s the best place to end of a five-week project on two trees to capture a lovely proudly supports the online picture of the week winner,
buy a camera? Vote for the spectacular deer rutting silhouette. In my opinion two who will receive a top-quality print of their image on the
your favourite retailer season. On this particular things make this picture: the finest PermaJet paper*. It is important to bring images
morning, activity was at its strong stance and the autumn to life outside the digital sphere, so we encourage
Regulars highest but nothing stood out leaves that are just visible everyone to get printing today! Visit
3 7 days as a photogenic moment to as a backdrop.’ www.permajet.com to learn more.
26 Inbox
30 Reader Portfolio
49 Accessories Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.com.
50 Tech Talk CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 26.
66 Final Analysis Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
New Olympus
ambassador
Olympus has kicked off its
documentary and low-light
month with the announcement
of a new ambassador,
Gabrielle Motola. A travel and
documentary specialist, Motola
is an OM-D user who has an
© ANSEL ADAMS
exhibition at the After Nyne

Gallery in Holland Park,
London. ‘Henge to Henge’
Ansel Adams records her epic motorcycle
exhibition ride from Stonehenge in
Wiltshire to the Arctic Henge
An exhibition of some of Ansel in Iceland, and runs from 12
Adams’s most magnificent December 2018 to 7 January
landscapes has opened at the 2019. See bit.ly/hengetohenge.
Atlas Gallery in central London,
© GABRIELLE MOTOLA
and runs until 2 February 2019.

It features such memorable
images as ‘Mount Williamson,
Sierra Nevada, from Manzanar,
California, 1944’, and many
other seminal landscape
images. See www.atlasgallery.
com for full details.
STC screen protectors at Jessops

STC Optics’s range of camera LCD screen protectors are now
being sold through Jessops. The STC Ultrarmor Tempered Glass
Protector is suitable for DSLRs, mirrorless cameras and phones.
‘The multiple anti-smudge, anti-reflectivity, blue-light cut coating
prevents excessive fingerprint marking and makes the glass
simple to clean,’ says the company.
Exploring loneliness and multiple sclerosis

The MS Society, along with Mumford & Sons’ Ted Dwane and music
photographer Louis Browne, have created ‘The MS Connection’: a
photography exhibition that tells the stories behind the condition,
and the loneliness it can lead to. After the private opening in
London, the show will tour the country. See www.mssociety.org.uk.
© LOUIS BROWNE
Photokina 2019 cancelled

After one of the most newsworthy Photokina camera shows in
recent years, the 2019 event will not be going ahead. The organisers
have decided that next year’s planned show did not give exhibitors
© TIM FLACH
enough time to develop concepts and new products. The next

Photokina will run from 27-30 May 2020. See www.photokina.com.
4
BIG
picture
Tim Flach’s new book and
exhibition highlight the plight
of endangered animals
LONDON-based photographer Tim Flach has
become known over the past ten years for his
stunningly stylised portraits (many of them
studio-based) of animals. His first book,
Equus, was published in 2008, and was
followed by Dog Gods and More Than Human.
His latest book project, the highly ambitious
Endangered, is the product of two years spent
travelling not only the world’s wild places,
but also a number of zoos and conservation
projects, to photograph the creatures whose
futures are most in peril. His subjects include
this extraordinary-looking bird, the shoebill
(left), which is said to number fewer than
5,000 in the wild.
The sumptuously printed images from
Endangered (Abrams, £50) – from a hyacinth
macaw resembling an angel in flight, to a
semi-abstract of partula snails – are currently
on show in London. You have until 3 January
2019 to catch the exhibition, which is being
held at Wex Photo Video, 37-39 Commercial
Road, London E1 1LF. Visit events.
wexphotovideo.com for more information.
Words & numbers
The more conscious

I am of why I am
taking a picture, the
less successful it
turns out to be
Faye Godwin
British photographer (1931-2005)
1 billion
SOURCE: INSTAGRAM
Number of active Instagram users

in June 2018, up from 800 million
in September 2017
5
ZY Optics has
launched the Mitakon
Speedmaster 65mm
f/1.4 lens for Fujifilm
G mount
COOPH turns
up the heat
WINTER has come, so
COOPH has released
a heated photographer’s
vest/gilet with some neat
extras. The company
teamed up with heated
apparel specialist
THERM-IC to develop the
heating system, which can
keep you toasty for up to
five hours thanks to the
Intriguing lenses just

5200mAh battery.
An app enables you to
control the temperature of
the vest as you wish via a
before Christmas
Bluetooth dongle, and
the automatic mode is
smart enough to work out
whether you are moving
or stationary, adjusting the
heat as appropriate.
IT’S BEEN a great year for elements. The minimum focus Lightweight and with a
camera and lens releases and distance is 0.34m, and the lens reversible padded design
it’s not over yet, with some smaller comes with a petal-shaped lens with plenty of pockets, it
lens makers now upping the ante. hood. It’s hardly compact, though, comes in a choice of navy
First up is Samyang, which has at just over 117mm long and or black. The vest is on sale
revealed a new manual focus 35mm weighing in at 1.1kg. The Samyang now for t389 at store.
f/1.2 lens as part of its XPert series. XP 35mm F1.2 goes on sale in cooph.com.
On release, it will be available in the January 2019 for US$999 – see
Canon EF mount, making it suitable www.samyanglensglobal.com.
for Canon’s full-frame DSLRs. The Meanwhile, Zhongyi Optics (ZY
new glass offers a nine-blade Optics) has released the Mitakon
diaphragm and 12 glass elements in Speedmaster 65mm f/1.4 for Fujifilm
10 groups, with two aspherical G mount, which appears to be the
elements and three HR fastest GF-mount lens available –
(high-refractive) equivalent to 50mm f/1.1 The new Mitakon 65mm is said to be
on full frame. The lens has the fastest GF-mount lens available
11 elements in seven
groups, with a rounded mount cameras, including Leica M
nine-blade diaphragm
for attractive bokeh.
rangefinders and the company’s
Bessa range. Marketed under the
Subscribe to
The enclosure of the company’s Vintage Line, the new
lens is made of metal lenses have been designed to evoke
and it has a built-in hood.
the feel of equipment from the
SAVE
It’s available from www. 1950s. Both lenses have a ten-
zyoptics.net for US$799. bladed iris, and the Color-Skopar
40%
Finally, Voigtländer has 21mm uses nine elements in eight *
released the Color-Skopar groups, while the Ultron 35mm has
21mm F3.5 and Ultron 35mm eight elements in five. Exact pricing
F2 Aspherical lenses designed for M is yet to be confirmed, but the new
lenses will go on sale in January. Visit magazinesdirect.com/
Samyang’s manual focus XP 35mm F1.2 For more details, see UK distributor KZQ8 (or see page 48)
will be available in the Canon EF mount Flaghead’s site at flaghead.co.uk. * when you pay by UK Direct Debit
6 15 December 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Back in the day
A wander through the AP archive. This
week we pay a visit to December 1957
1957
Version 12 of the Capture One Pro software includes improved masking adjustment tools
Capture One Pro 12

ramps up raw editing
PHASE One has portraits, as it allows for with version 12, as it can
released version 12 of nearly instantaneous process raw files from all
its well-regarded Capture masks in complex scenes Fujifilm cameras, including
One Pro editing software, based on brightness – the new medium format
with support for raw files eliminating the need to GFX 50S and GFX 50R,
from the Nikon Z series, tediously paint complex and recreate 16 in-camera
Canon EOS R and M50, masks. Once a luminance modes, including Fujifilm’s
and the Fujifilm GFX 50R. range is created and Acros black & white Film After the eyebrow-raising nude cover shenanigans of
Key features include a adjusted using the Simulation, plus Velvia last week’s Back in the Day, it’s good to see we are
revamped interface, along mask-adjustment tools, and Provia. back in the respectable days of the late ’50s. The
with a trio of new masking nearly any editing tool can To buy the full licence of cover models look like they are trying to restrain the
tools. Luma Range enables be applied.’ For gradient Capture One Pro 12 costs angry-looking snowman, so he really needs to chill
you to create masks based masks, a new Parametric £299, but you can get out (groan). Let’s hope our forthcoming Christmas is
on the brightness of pixels Masking Engine enables Fujifilm and Sony-specific reassuringly white as theirs was. The Ilford film ad
in an image and is the quick adjustments in the versions for £219. Or you refers to a Winter Threesome, but we’ve got way too
most powerful luminance size, shape, and symmetry can subscribe for £20 per much class to snigger about that... Our favourite
masking tool of its kind, of the masks. This engine month for the full version, feature inside the magazine reveals how to express
according to the company. also lets you create Radial or £16 per month for the character in portraits, and the advice is still very
‘This masking technique Gradient masks which can Sony or Fujifilm flavours. relevant today. No, it’s not philosopher Bertrand
is particularly powerful in be edited later. Fujifilm fans For all pricing options, see Russell on the opening page but actor Ernest Thesiger;
landscapes and high-key will be particularly happy www.phaseone.com. his most famous movie role was Doctor Septimus
Pretorius in James Whale’s film Bride of Frankenstein
(1935). The other geezer is a splendid-looking portrait
painter called Nicolas Becker. We love his beard and
Stabilised 4K in your pocket rakish hat – back then, artists looked like proper
bohemians, not DJs or somebody who’s come to fix
DJI HAS released what it claims is the world’s smallest the boiler. More pre-Christmas vintage fun next week.
three-axis gimbal-stabilised 4K camera – the DJI Osmo
Pocket – able to compensate for shake and movement to ensure
the footage is as smooth as possible. Other key specifications
include a 12MP CMOS sensor and an f/2.8 lens with an 80° field
of view, along with an ISO range of 100-3200. It only weighs
116g, and is about four inches tall, so the unit is very portable.
Team up the DJI Osmo Pocket with your smartphone and the
DJI Mimo app also enables you to edit movies on the move. The
DJI Osmo Pocket will cost $350/£329. See store.dji.com.
The DJI Osmo Pocket is designed to be able to compensate for shake
For the latest news visit www.amateurphotographer.co.uk

A still-useful piece on how to express character in portraits
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 15 December 2018 7

Photo Stories
Wish
fulfilment
Going behind the scenes at an Amazon
warehouse gives a fascinating glimpse into
the story behind our online shopping orders,
as Amy Davies finds out
T
o the end user, online shopping tend to take it for granted that something can
feels like a very straightforward be ordered on your phone and be at your door
ALL IMAGES © MATTHEW HORWOOD

process. Place your order and, if within 24 hours, so it’s nice to see how it all Including the human
you’re lucky, whatever you’ve bought works.’ The resulting images were syndicated in figures in this shot
turns up as soon as the next day. Especially at various newspapers and magazines, a perfect helps to give a sense
of the massive scale
this time of the year, millions of us are placing illustration of our 21st-century shopping habits.
of the building
orders every single day – but if you’ve ever For the newest set of shots, he visited for just
paused to wonder exactly how your deliveries 40 minutes, taking pictures and video as he
are processed, this set of photographs should went. Although escorted around the site by an
give you a little bit of insight. Amazon employee, Horwood was given free
Taken by freelance photographer Matthew rein to photograph whatever he wanted to,
Horwood, these intriguing shots show an albeit in a limited time. ‘I’m glad I had someone
Amazon fulfilment centre in Swansea, Wales. with me as it would have been very easy to get
One of 17 such centres across the UK, it first lost. There was more than one occasion when
opened in September 2007 and employs I completely lost my bearings. We stopped in
1,200 permanent members of staff. To help each spot briefly, and I’d shoot a few clips of
with the seasonal rush, which generally starts video and a few pictures and move on. I could
in earnest around so-called ‘Black Friday’ (this probably have done with spending a longer
year it was on 23 November), this site alone time in each spot. It really is the kind of place
employs an extra 1,000 temporary workers. you could spend hours photographing.
The Swansea site covers some 800,000 There was nothing I was prohibited from
square feet, making it as large as 11 football photographing, although I do wish I’d taken
pitches. ‘The site, which Amazon refers to as some pictures of the staff canteen.’
a fulfilment centre, is huge,’ explains Horwood. Conveying the enormity of the site was a key
‘It’s quite deceptive, like a TARDIS. You leave challenge, one which Horwood has executed
one building and go into another and it almost very well by using the AF-S Nikkor 14-24mm
stretches as far as the eye can see. I’ve driven f/2.8G ED lens to capture as much of the A wideangle lens is
past it quite often on the way to Swansea and scene as possible. Adding a person into the a crucial tool for a
it really doesn’t look as big from the outside.’ pictures where possible also helps to give job like this, where
Horwood has visited the site several times for a sense of scale and perspective. there is lots to see
various reasons – taking his first set of pictures As you might imagine in a situation like this in every direction
in 2014. His most recent visit took place in where time is limited, directing the ‘models’
November 2018, just ahead of Black Friday. is out of the question. ‘The staff are all pretty
‘It’s surprising the number of changes busy and so there wasn’t a chance to talk to
compared with that first time. There was them. Nothing was directed or set up; it was
definitely a lot of new equipment, and the just a case of waiting,’ Horwood says.
layout had been changed.’ The latest visit was So next time you place that online order,
set up by Horwood himself rather than being whether a new camera or otherwise, and
a job or a commission. He says, ‘It’s interesting forget all about it until the postman comes
to see what goes on behind the scenes at knocking, spare a thought for where your
these kinds of places – I’m pretty nosy. You item may be awaiting your purchase.
Matthew Horwood is a freelance press and commercial photographer based in Cardiff, Wales.
To see more of his work, visit matt-horwood.com.
8
MATTHEW’S KIT
MATTHEW used either

the Nikon D850 or the
new Nikon Z 7 for these
shots, along with 14-
24mm, 24-70mm and
70-200mm lenses. No
additional lighting was
necessary since the
warehouse is well lit. He
says, ‘It’s easy to take too
much kit on assignments
like this and then resent
having to carry it all
around. I thought it would
be a good idea to take
enough to cover the
14mm to 200mm range
with two bodies in order to
avoid having to change
lenses too often. Most of
the pictures were taken
with the 14-24mm and
Left: The Swansea the 70-200mm, with the
centre is one of 17
fulfilment centres former being particularly
across the UK. This useful. It’s not a lens I use
one specialises in very often, but when you
clothing and shoes are trying to give a sense
of scale it’s certainly
worth having.’
Right: More than Below: The enormous

1,000 permanent Amazon fulfilment centre
members of staff in Swansea is the same
work in the centre size as 11 football pitches
In next week’s issue
Viewpoint On sale Tuesday 18 December
Jon Bentley
© DAVID MARINER
Photographers need to get behind the campaign
to prevent the EU’s latest Ecodesign directive –
it’s all about preserving the light we use
I
© JON BENTLEY
t’s great when you sign a petition
and it has an effect. It happened
to me recently. The campaign was
actually to save stage lighting but
I think it’s very important for photographers
too. It was all about preserving a way of light.
The petition was initiated by the
Association of Lighting Designers. It aimed
to curtail aspects of the latest Ecodesign
directive from the institution that seems to
figure a great deal in our lives these days,
paradoxically just as we’re set to leave it,
the EU. Ecodesign is a process that hopes
to make products more ecologically
friendly for the benefit of consumers and
the environment. All manner of things are
investigated, from washing machines to
Bumper issue
hairdryers, and even cameras, with the
aim of making them more energy efficient Only tungsten has the ability to light the full
and less harmful to dispose of. visible spectrum, from daylight to candlelight
Christmas
SPECIAL
Colour rendering But the latest directive proposed
Mostly, its effects are benign but I’ve extending the measures to stage lighting.
always had a problem with Ecodesign’s Going to the theatre would require enduring
impact on lighting. Keen to set minimum the grim light quality you get in a factory
light levels per watt, the rules have meant or warehouse. Theatrical power use is an Our favourite photographic
that traditional incandescent, and now infinitesimally small fraction of total energy
tungsten-halogen light bulbs have been consumption. The proposed new powers kit of 2018, plus 9 pages filled
phased out for domestic and commercial would be totally disproportionate. It would
use. Their replacements are mainly LEDs be like saying a classic Aston Martin or
with great technique tips
which are cheaper to run and lose less Morris Minor should be crushed because it
© DON MCCULLIN
energy to heat. The trouble is they don’t doesn’t meet some fuel economy target.
produce such good light quality. It’s not And if stage lighting went, photographic
the colour temperature - it’s the colour lighting would be sure to follow.
rendering. Only tungsten has the ability Fortunately the petition seems to have
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED
to light the full visible spectrum we enjoy worked. Thanks to international pressure
from daylight to candlelight. When you’re the EU seems to have sensibly reined back
relaxing by the TV in the evening, a on its draconian proposals. It’s not a done
more-efficient LED lamp isn’t that much deal but things look promising. In the long
worse than an old-fashioned bulb. But run, more-efficient tungsten lights may be
when you’re watching a performance in a possibility. Until then we must be on our
the theatre, or taking a photo, that extra guard against any threat to extinguish the
light quality can really count. glorious light source of tungsten. Brexit
In fairness the EU had recognised won’t help. Britain is just as enthusiastic as Don McCullin
this. Ecodesign measures must have the EU when it comes to banning stuff. We talk to the legendary photojournalist
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
‘no significant negative impact on the Photographers need to stand by our pens about his new book The Landscape
functionality of the product, from the to sign the petition if they threaten to take
perspective of the user’. Photographic our tungsten lights away. Our images of the year
lighting for ‘image gathering’ and stage AP staff choose our favourite photos of
performance lighting has therefore been Jon Bentley is a TV producer and presenter best known 2018 and explain their impact
exempt. So far. for Top Gear and Channel 5’s The Gadget Show
Best Reader Pictures
Do you have something you’d like to get off your chest? Send us your thoughts in around The best images from this year’s Reader
500 words to the address on page 26 and win a year’s digital subscription to AP, worth £79.99 Portfolio and Online Pic of the Week

ALL PICTURES © FFORDES
Retail
therapy
Ffordes Photographic Ltd
www.ffordes.com
● Founded 1960 by Reg Byford ● Based Inverness

Staff at Ffordes collectively
● Number of offices One ● Number of staff 13 have expertise about
both new and older kit
AP talks to Steve What’s the most interesting or

unusual thing that you have sold?
How many items do you have in your
current inventory?
Byford of Ffordes, We have sold gold and platinum- We probably have 15,000-20,000 Best sellers
plated Leica cameras, gold-plated lines in stock, large and small items.
about the service Rolleiflex Aurum cameras, and a When we are asked for that small What Ffordes customers
it offers customers
rare Urushi blue lacquered model. item we know we have it somewhere! are currently buying
We have also handled cameras
made for NASA or that have been What’s the most expensive item
Why did you start the business? owned by famous photographers, currently in your inventory?
Ffordes was started by my late and huge lenses such as a Leica We have some Leica limited-edition
father. He used to be a joiner in my 800mm Telyt l and an even bigger Terry O’Neil sets at £10,500 each.
grandfather’s building business but Nikkor 2000mm reflex lens which We also have Leica 75mm F1.25
had an accident and had to give up you would need a trolley to carry. Aspheric Noctilux lenses that are
the building industry. £10,250 – a bargain.
He was a passionate amateur What is your biggest single sale?
photographer so decided to open a I think the biggest single sale to one What have you noticed are the
camera shop and share his passion person was over £75,000, an export current trends in photography?
for photography with others. customer who invested in Leica S A lot of customers are downsizing to
1 Leica M10
and M series cameras and lenses. smaller and lighter-weight camera
What was the first item you sold? systems. As photographers we all like 2 Leica Q
I can’t remember, as that was many Who is your longest-serving to carry every lens with us, which is 3 Fujifilm X-T3
years ago now. I joined the business member of staff? back breaking, but with Fujifilm, 4 Tamron 25-70mm
carrying out camera repairs, then My son, Ross. He has been working Olympus OM-D or the Sony A Sony E mount
moved into sales a few years later – alongside me for around 20 years, series, customers get everything they 5 Sigma 14-24mm
it was only meant to be for a few so Ffordes is a third-generation need but at half the weight. Also, the f/2.8 DG HSM Art
weeks to help out but I never left. business, something that is unusual Leica CL and compacts are popular.
in the photo industry.
What do you think sets you apart? What are your plans for the future?
I think many things set us apart. A What is the most popular item To continue to offer our customers
very important part of our business you sell? the best advice and service possible.
is the team we employ: they are all The Fujifilm X-T3 is very popular, While adapting with the market and
passionate about photography and and the Leica Q is still doing very well. customers’ trends, we also aim to
I think this comes across when they There’s also the Canon EOS 5D Mark make it an enjoyable and memorable
speak with customers. It’s not just IV, with its excellent sensor quality. experience dealing with us.
about selling equipment, it is knowing
that they have bought the right
equipment and got the best advice.
We also collectively have a
vast knowledge of not only new
equipment but also brands and
ranges of equipment going back
many years so we can deal with a
lot of kit throughout the generations.
What do you specialise in?

We specialise in most of the major
camera manufacturers but we have
our favourites. Mine tends to be Leica. Around 15,000-20,000 lines are currently in stock Ffordes specialises in most of the big manufacturers

© Photography by Gavin Hoey www.gavtrain.com
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Technique HOME STUDIO SET-UPS
Still life of spoons holding

different flours using
the classic set-up of light
source, subject, reflector. In
Keep
this case we moved a small
table closer to the window
Canon EOS 5D Mark II, 24-70mm,
1/100sec at f/5.6, ISO 400
▲
Reflector Backdrops
▲
KIT LIST
Get a 5-in-1 reflector that has These can be anything, but
a diffuser with a zip-over cover I favour fabrics. I make my own
(normally gold, silver, white by painting up old linens, and
and black). Either buy a never travel without a length
very expensive one from a of black velvet, which can be
top-of-the-range photographic clamped, or pinned up against
company that will last, or a anything. Make sure you have
very cheap and cheerful one some small ones for still-life
from the internet. If you choose situations and some long
the cheap option, buy two! enough for portraits.

Tim
Clinch
Tim Clinch is an
award-winning
professional
photographer with
more than 40 years’
experience. Over
the years Tim has had his work featured in
magazines and has had more than 30 books
published featuring subjects as varied as
interiors, travel, food and portraits. Visit
www.timclinchphotography.com.
W
hen deciding to
make a studio
at home to shoot
portraits or still life,
you can make life as complicated
as you like. In fact, I firmly believe
that it is in the interests of the
photographic manufacturers trying
to sell you stuff that you do, but by
following the simplest of rules, and
buying some of the cheapest ‘kit’,
you can still produce stunning work
that you can be proud of with the
absolute minimum of fuss.
So, you have decided to start
shooting some carefully considered
portraits, or some still-life set-ups.
Of course you want to shoot in a
controlled environment, so it
makes sense that you use your
home as the perfect location to
create your own studio set-up.
it simple
The key to any studio situation –
be it a fully functioning professional
photographic studio filled with
massed ranks of lighting, backdrops
and reflectors, or a simple set-up in
your living room, next to a window
– is lighting. Before we get started on
this, let’s get a few things sorted out
Lighting is the key to any studio set-up. Tim Clinch from the outset.
In the world of photography,
ALL PICTURES © TIM CLINCH
shares his considerable expertise on creating when it comes to lighting I

am growing increasingly tired
professional-looking studio conditions at home of hearing people say, almost
always rather sniffily, ‘Oh I never
use any extra lighting, I only shoot
with daylight.’
▲
Stands A fold-out
▲
Fair enough, so do I these days,

You will need at least toolbox but for the vast majority of
a couple of these and The more you shoot in a photographers in the digital age
a cross pole to clamp controlled studio setting, the ‘lighting’ has come to mean
the aforementioned more bits and bobs you will turning on the on-camera flash.
backgrounds on to, or to accumulate – clamps, string, However, lighting is a skill,
hang stuff from. You will torches, cables, etc. Keep learned very carefully over
also need a few clamps, yourself organised and the years by legions of good
ideally in a variety of sizes. everything in one place. I have photographers and professional
travelled with my ‘bits box’ film lighting cameramen, and is
since my assisting days. certainly not something to be
taken lightly.
I w.amateurphotographer.co.uk I 15 December 2018 15

Technique HOME STUDIO SET-UPS
MANIPULATING LIGHT
This is an example of what I mean by ‘top three- famous by the local chef André Daguin. It’s a
quarters’ lighting and how to manipulate it to mixture of red wine, Armagnac, shallots and
your advantage. I was shooting a cookbook about duck fat. It’s delicious, but a rather alarming
Gascon food in South West France and we had to mauve colour. Here are the steps I took to shoot
illustrate a dish called beurre de Gascogne, made it, showing how I achieved my final image.
1 Find a suitable location 2 Filter the light 3 Top three-quarters

First things first, we had to pick a location for Under the watchful eye of cook and home Et voilà! As simple as you like, the harsh
our studio set-up. We decided on the kitchen economist Kate, I got my assistant Jack to hold lighting was softened by simply holding the
table, which was lit from above by a small the diffuser over the set-up to filter the harsh diffuser at the ideal ‘top three-quarters’
skylight in the low roof. As it was, the lighting light. This is when a 5-in-1 reflector comes in position. I did not need a reflector in the end
was too harsh but it was in the right place handy, as we had the outer reflector casing if as there was a white wall to the side, which
and I knew we could tame it. we needed to bounce some light back in. was doing the job instead.
4 Added details 5 Fine-tune the set-up 6 Post production

On to the finished picture. The crusty bread However, on the second inspection of our Finally I processed the image in Alien Skin’s
was spread with a dollop of the beurre de image, we found the splash of red from the excellent post-production plug-in, Exposure 4,
Gascogne, positioned carefully, with a few tea towel in the background too distracting. which works seamlessly with Lightroom using
artfully placed crumbs scattered on the table We removed it (keep it simple, stupid) to one of the Kodachrome presets. This toned
and a tea towel hung on the back of the chair ensure the viewer could concentrate on the down the alarming mauve colour while adding
behind to add a splash of colour. main subject of the scene. contrast and warmth.

Tim’s top ten tips
for studio set-ups
Move! Move yourself, Be organised. It is very
1 6
move your background,
move your subject. Do not
easy when shooting in a
studio situation to get messy
set something up and light and leave things all over the
it before carefully checking place. So it is important to
out the space you be disciplined.
have available.
Don’t rush, and make
2 Choose your lens

carefully. When
7 sure you remain in
control. You are the boss
shooting in a studio situation and everything you do in a
you don’t want a wideangle. studio situation will directly
Always choose a standard, affect your image. Make
or a long(ish) lens. This gives sure you get what you want.
you room to work, and
Phone a friend. If you
means that you won’t be
too close to your subject
8 know someone who is
interested in photography,
and risk distortion.
ask them to come and help
If shooting with light out and then return the
3 from a window, make favour. It makes a huge
sure you know how the light difference and is a great
will change during the day way to learn.
and choose the time to
A tripod is great, but
Here I set up a black background, used the light from the door to illuminate the subject
shoot accordingly.
A reflector is always
9 don’t be afraid to take
your camera off the pod
and added a reflector to fill in the shadows Canon EOS 5D Mark III, 24-70mm, 1/500sec at f/5.6, ISO 1250
4 useful for shadow
detail, but rules are made
and handhold. Always check
your shutter speed though.
The fundamental to take your ‘home studio’ with you to be broken, so always I can handhold down to
question at all times. shoot with and without. 1/15sec. More than that
Ask yourself what a studio is. A ‘Top three-quarters’ means that You may prefer those and I will use a tripod.
‘studio’ does not mean the building, your main lighting source is at deep, filled-in shadows.
Last, a bit of
nor does it mean the room it is in.
A studio is any controlled situation
where you are in charge of what
roughly a 45° angle above the
subject you are lighting. Think
about this and you’ll realise that, as 5 If you don’t have
daylight, experiment
10 all-purpose advice.
Unless you are shooting
you want to shoot and can light it long as you get the sun in the right with lighting. This can be as Usain Bolt running the 100
to perfection. That lighting can place, this is basically what the sky simple as putting a standard metres… slow down. Never
be from a vast array of expensive does. Yes, you can mess about with lamp through a diffuser, but rush things, give yourself
lighting equipment, or something all sorts of gadgets along the way; always remember the ‘top time to think and, most
we all have, a window, but the you can buy all sorts of weird and three-quarters’ rule. importantly, look.
fundamentals are exactly the same. wonderful snoots and gizmos to
As I said in the introduction, you titivate your lighting set-up, but ‘top Use a reflector to bounce some light into the shadows to reveal
can make lighting as complicated as three-quarters’ is where it all starts. more detail Fujifilm X-Pro1, 35mm, 1/550sec at f/1.4, ISO 200
you like, but as with any discipline,
before you start to experiment it is Equipment
essential to master the basics. In I’ve said that I prefer to shoot with
this case the absolute basics, the daylight. That’s all very well, but it’s
building blocks of lighting. learning how to tame it and to make
The phrase professional it your friend where the skill and
photographers use to describe the experience come in. And there
most basic of lighting set-ups is ‘top are three words that will make a
three-quarters’. This is the simplest massive difference to anything
way to light anything, but is also you want to shoot in a controlled
in the DNA of all professional situation. Those words are, ‘get a
photographers. It is the equivalent reflector!’ There are a few more
of putting the keys in the car before things that are also useful (see kit
you drive anywhere; it is turning the list on the opening page), but if I
pedals on your bicycle; it is putting had to choose one thing to improve
water in the pan before you boil your shots in your home studio it
your egg. Something that you would be a reflector.
almost never think about, but is
always, always there. So before we Setting up
start building our home studio, let By far the biggest mistake I see
me explain why, by mastering this when people are setting up a
one simple discipline, you will learn studio environment is that they
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 15 December 2018

Technique STUDIO SET-UPS
‘A “studio” is not a building; it’s a state of mind. I

have been carrying my “studio” around the world’
will often set up their the ideal light and would then take
equipment before looking his pictures. When asked why he did
around at the situation. Think not use electronic flash he replied,
about what you are going to need. ‘Because God lights things better
For example, if you are using a than most photographers I’ve ever
background, don’t put it against met.’ Very true, but Penn ensured
a wall – you might need to get in that he was in control of the daylight
behind it, so give yourself room to and had mastered the art of making
move. Try to make sure that you it work for him.
have enough space to get to your Then have a look at a book that
subject easily. This is especially changed my life and shaped the
important when shooting still life way I think about lighting – Robert
as you will be moving between your Freson’s A Taste of France, published
camera and your subject constantly, in 1983. It is a marvellous book,
adjusting and arranging things. A
studio does not necessarily mean a
static situation. A tripod is always
which could have been shot this
year and is the perfect example of
making your ‘home studio’ wherever
Why it works
good, but take your camera off and you happen to be. The pictures were A portrait of a friends’ son, Yoan
move around. Small differences in shot using Nikons, Kodachrome, This was shot in exactly the same spot as the still life of
angle can mean big differences in daylight and reflectors. I assisted the books using exactly the same lighting (see below). The
your final image. Bob a few times on shoots in classic 1,2,3 of light source plus subject and reflector. I
London back in the dark ages. He could bang on about this for days, but it is genuinely the
Do your research was a very cool New Yorker and was absolute bedrock of lighting. Why do I think it works? Well,
Look at other photographers’ work. the first person I ever saw use one it’s impossible to get tired of. It is the absolute classic
My photographic hero Irving Penn of the flip-out reflectors so common lighting. It is where I begin every single picture I take.
shot a wonderful book called Worlds today, and without which no home Learn this basic discipline and you need never worry about
in a Small Room that sums up the studio is complete. lighting again. Always remember, your home studio is in
‘top three-quarters’ philosophy and So there you have it. A ‘studio’ is your head. You can move your subject, change the
remains the perfect example of some not a building; it’s a state of mind. background, change the thing you are photographing. You
of the best studio portraits ever I have been carrying my ‘studio’ can mess about to your heart’s content adding things and
produced. Penn commissioned around the world with me for as putting extra lights up; you can bounce flash around till you
a tent, with one of the roof panels long as I can remember. It fits easily are blue in the face but remember the three golden rules
made of translucent material and into the boot of my car and, because – light source, subject, reflector – and always try for the
travelled around the world with I am hard-wired into the concept of top three-quarters lighting. It is as elementary as the
it shooting pictures of indigenous simple lighting it gives me all the foundations when building a house. Once your foundations
tribes. He would position the tent so freedom and control I need in are in place you can build any style of house you care for,
that the translucent panel gave him any situation. but without them you are lost.
The resulting picture (above left) shot on my iPhone from mounting a studio at home with a classic lighting set-up of window light and reflector

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RISING STARS
RISING STARS 2018

New photographers to watch out for
overall win. The Milky Way
Josef over Porthgwarra Cove was

a favourite of my friend and
photographer Peter Edwards.
I have dedicated it to him, so
FitzGerald-Patrick to see it win the Your View

category was amazing.
When Charlie Waite called
with the news, it was hard to
take in the scale of my win.
The interest it has generated
Outdoor enthusiast Josef swept the board in the youth category of this has been amazing. I’ve worked
year’s Landscape Photographer of the Year. AP finds out what motivates him with the BBC and Sky News,
receiving so many encouraging
© JOSEF FITZGERALD-PATRICK/TAKE A VIEW - LANDSCAPE PHOTOGRAPHER OF THE YEAR AWARDS

When did you start taking comments on social media. It’s
pictures and why? incredible to see how many
I was home-schooled and spent people have been inspired
a lot of my spare time outdoors. and moved by my images.
I’ve been fortunate enough to
grow up in rural Cornwall and What are the biggest
so developed a keen interest in challenges you have had
nature. Five years ago, at 13 to overcome in pursuit
years old, I received my first of your photography?
DSLR and two books by Ross Being able to afford
Hoddinott. These inspired professional-level equipment
me to start shooting both as a young person isn’t easy.
the landscape and wildlife, I relied on learning my own
teaching me so much of what techniques to compensate for
I know today. I was hooked. only having entry-level kit. All
my competition entries and
What is it about the winning images were shot on
landscape that inspires you? Taken at Land’s End, this shot bagged Josef the overall Youth LPOTY prize my first DSLR, the Nikon
I’ve always been a keen cyclist, D3300, paired with the Tokina
and my bike has been my these during the golden hour disappointed not to have had a 11-16mm f/2.8 II lens. I love
vehicle for exploring the and the result can be stunning. result, but when I look back, shooting wide, and the fast
landscape and finding new I don’t find it surprising. This aperture is fantastic for my
locations. The coastline is Have you entered LPOTY year, with an image limit of 25, astrophotography work. A few
visually stunning and always before? How did you go selecting my entries wasn’t too months ago, I upgraded to the
changing, with no two days about choosing your images difficult. I had high hopes for Nikon D500, which is already
the same, and England’s this year? the shot of Russ in the Living hugely improving my work.
South West Peninsula is full of I entered the competition two the View category, but never
hidden opportunities: capture years ago and at the time was would have thought I’d take the What are your hopes for
the future?
This image of the Milky To be able to turn this passion
Way over Porthgwarra into a career is my dream.
Cove was awarded the I’d love to cover international
Youth Your View title sporting events. The success of
my mountain bike photography
has encouraged me to set up a
© JOSEF FITZGERALD-PATRICK/TAKE A VIEW - LANDSCAPE PHOTOGRAPHER OF THE YEAR
second strand of work, building

an audience under the name of
CornwallSportsPhotography.
Last year, I began running
astrophotography workshops
as I really enjoy teaching
others. With this award, I plan
to start running landscape
workshops while expanding
on the rest of my business,
which is JFPimages.
See www.joseffitzgeraldpatrick.com for

more of Josef’s work.
RISING STARS
Johan
Carlberg
AP talks to 16-year-old Swedish photographer
Johan about his images and about winning 2018’s
Young Bird Photographer of the Year title
Why and when did you start Have you entered Bird
taking pictures? POTY before and how did
I started taking pictures in you go about choosing
2016. Ever since I was a child, which images to enter?
I’ve always spent a lot of This was my first time entering
time with nature and felt a the competition. I chose my
connection with it. It was when favourite images from among
I reached my early teens that I those I knew many of my
started taking photos of what I friends and family liked, in the
saw and experienced in nature. hope that the judges would also
After attending a lecture by a like them. From seeing all the
famous nature photographer, winning photographs this year,
I started taking my camera I learned that the judges seem This stunning
with me everywhere. to like creative images of portrait won Johan
© JOHAN CARLBERG
common birds, which I’m the title of Young

Bird Photographer
What is it about wildlife all about. I would rather
of the Year 2018
that inspires you? photograph a common bird
I really believe that you can in beautiful scenery than
have a connection with wildlife photograph a rare bird in a hardest part. One of the now it’s more enjoyable because
if you understand it and boring location. most challenging aspects I’ve it feels more natural and fluent.
respect it. You can lose yourself faced is getting my pictures
in a special moment when it’s What are the biggest published. It took a while, and What kit do you use?
only nature and you, and challenges you have I wasn’t sure what reception I use a Canon EOS 40D and
that’s a great feeling that truly overcome in pursuit of I was going to get. Luckily I EOS 7D Mark II. My go-to lens
inspires and motivates me. I your photography? received a lot of positive is the Canon EF 100-400mm
want to capture that emotion Well, getting up at 3:30am in feedback, which motivated me f/4.5-5.6L IS USM – it’s
in my images – when you feel the summer to get good light and gave me confidence. Even versatile and the quality is
and understand the takes a lot of discipline and can now, I still feel like I’ve just excellent. Pair that with the
connection. be quite hard, but that’s not the started with photography, but 7D Mark II and I’ve got a killer
set-up for wildlife photography.
Johan wants to Last year my father and I
continue capturing invested in the Canon EOS-
the beauty of 1DX Mark II, which is just the
nature and wildlife perfect camera for wildlife
and birds, but it’s not crucial to
have that kind of gear to take
great images.
What are your hopes for

the future?
My plans are to be able to
continue working alongside
nature. I want to show
my generation the beauty
and importance of nature,
ecosystems and wildlife and
why we need to protect them.
I want to do something that
I’m passionate about, and my
passion right now is this and
probably always will be.
© JOHAN CARLBERG
Follow @johancarlbergphoto on Instagram

to see more of his work.
21
RISING STARS
Harry
This atmospheric
photo of an
egret was taken
handheld from
Skeggs
a moving boat
AP talks to Harry, primarily a nature and wildlife

photographer whose work has been in magazines
such as National Geographic Traveller (UK)
When and why did you start I learned it by picking up a
taking photographs? camera and failing. I still make
I started relatively late, at mistakes, just hopefully not the
about 18. I had ambitions of same ones.
being a painter but I fell in
love with travelling. I picked What has been your biggest
up a camera almost as an obstacle in your pursuit
afterthought and, to begin of photography?
with, I was absolutely terrible. The difficulty of travel/nature
But as soon as I fail at photography is sustaining it as
something, mastering it a viable business. The expenses
becomes an obsession. involved are huge, with flights
and accommodation, plus
Why do you love wildlife jaw-droppingly expensive
photography? telephoto lenses. The key
I have always loved wildlife. for me was, surprisingly, to
We grew up in a very dog- concentrate less on profit but
minded house so animals were more on minimising expenses.
very much equals, not pets. By leveraging my social
© HARRY SKEGGS
These days, I feel stronger media I am able to work

about animals, as I learn more with amazing brands via
about their incredible lives but sponsorships and exchanges
also about the threats we are such that I can travel on a
creating. My work focuses completely cost-free basis. David Yarrow. He has almost bolder. I believe that
more on animals in their single-handedly pulled wildlife photography is very much
environment – after all, it Who are your biggest photography into the upper an art form, as painting and
is this relationship that we influences? echelons of gallery fine art and, sculpture are. I am also
are destroying. David Attenborough really alongside it, has been relentless fortunate to have fantastic
drove home the beauty and in using it to promote representation through the
Did you have any importance of wildlife. If my charitable causes. likes of Eunice Olumide.
professional training? work could do a single per cent
Photographically I am entirely of what he has done towards What kit do you use? What advice would you
self-taught. I studied art conservation efforts that would I have been a Nikon shooter offer to other aspiring
history at university, but in be humbling. The other would ever since I first picked up a wildlife photographers?
terms of how to take a photo be the fine-art photographer camera. My kit has evolved a I think the real challenge
lot since then: having started is getting noticed. Virtually
© HARRY SKEGGS
with a second-hand D40, I everyone has access to a

now use the incredible D850 camera and today people can
and the exciting new Z series. travel on an unprecedented
Nikon has never let me down scale, so wildlife photography
– I can always rely on it is no longer purely for
to deliver the best results. professionals. The key is to
The lenses allow for crystal try to look at things a little
sharpness and that is differently. Get high, get
something that can only low, play games with your
be described as addictive. photography – do anything to
change the perspective of what
What are your hopes for you see and this will help you
the future? to be different. Don’t be afraid
I am gradually moving away to make mistakes: better to try
from editorial work and more and fail than be safe.
towards fine art work. This is
an exciting new avenue because Harry leads workshops around the world. For
Harry is always keen to show emotion and intelligence in his animal subjects it allows me to be bigger and upcoming dates, see harryskeggs.co.uk.

RISING STARS
Mary
Gelman
Mary won the Newcomer prize at the Leica Oskar
Barnack Awards 2018 for her series ‘Svetlana’,
about a facility near St Petersburg. She talks to AP
When, and why, did you curator Mikhail Domozhilov.
start taking photographs? I also took part in various
I came to photography from workshops including one on
© MARY GELMAN
science. My first degree is Russian reporting with Andrey
sociology and it influenced me. Polikanov. It gave me the
I was worried about a lot in ability to quickly find a topic
the world, but mainly topics and to figure out how to shoot
of gender and discrimination. a story. and absorb me completely. the depth of stories of
I observed different situations, The big obstacle is to keep a Ingmar Bergman and the
interviewed various people and Why does documentary balance and not to forget about topics of Ruben Östlund
I took pictures on my mobile photography appeal to you? myself. To have a rest, and care and Greta Gerwig.
phone. Later, I bought my first The possibility to share with about my mental and physical
camera with financial help society what worries me condition. I spend a lot of What kind of kit do you
from my mother. and what I consider socially time meditating, taking body typically use?
important. I open new areas I have a Canon EOS 6D with
lessons and sport, walking in
Tell us more about your every time and immerse myself 35mm and 50mm lenses,
nature, and I often visit the
photographic education. within them; I live through Gulf of Finland. artificial light, memory cards,
I studied in a school of modern situations with other people, a tripod and spare batteries.
photography. It was a time so I’m compassionate. It’s Who would you say are your Recently I got a Leica M10.
for big questions, like, ‘What something inexpressible. biggest influences?
worries me in photography?’, My biggest influences are from What are your hopes for
‘What do I want to say?’ and so What has been your biggest art. I watch a lot of movies the future?
on. I did my first project about obstacle in your pursuit and it greatly influences me I would like to continue
domestic violence in Russia, of photography? visually. I love the visual to work on my visual
receiving support from the My projects capture, inspire language of Roy Andersson, investigations, working as a
photojournalist and teaching
© MARY GELMAN
Mary’s ‘Svetlana’ at the same time. I would like

project depicts a to grow as a visual artist (try
Russian community to work with different formats),
designed for people because I think with every new
with special needs project you should change and
or disabilities to live
open yourself – and you won’t
and work in, free
of any prejudice move forward if you don’t
become different.
Do you have a dream

assignment?
I would like to do a story about
self-organised groups or
initiatives of women (or men)
across different countries, who
resist domestic violence on an
everyday level.
What piece of advice would

you offer to other aspiring
photojournalists?
To believe in your stories, make
a powerful final selection, try
to think outside the box and be
passionate about your topic.
See www.marygelman.com for more of

Mary’s images and for more about her work.

RISING STARS
Tracy
Kidd
AP talks to Tracy about her photography journey
to date and her recent success in the Kennel Club’s
Dog Photographer of the Year competition
Why and when did you start Dogs at Work category at
taking pictures? the Kennel Club’s Dog
My interest in photography Photographer of the Year
started as a child. I used contest has taken my
to develop prints with my photography to another level,
grandad in his make-shift and I am excited to see where
darkroom at home, by counting the future will take me.
elephants for exposure time.
He bought me my first camera What is it about dogs and
– a Minolta – for my 21st horses that inspires you? Owning horses
birthday. I had a successful I love the dog and equestrian herself, Tracy’s
career as a hairdresser, but world because animals are photography
at the age of 40 I made it my what they are. They don’t mind naturally went
© TRACY KIDD
down the country

mission to become the best what they look like and their
sports route
photographer I could be. This expressions are natural. The
is when I really started to equestrian world is so exciting
learn. I took a couple of and the buzz of photographing passion and skill needed big enough.’ If you are
courses and practised as it is addictive. I have games to train dogs inspires me, passionate enough and work
much as I could. You can’t be with myself on how close I can especially working dogs. The hard enough they come true, or
a hairdresser one day and a get to galloping horses or how bond they have with humans at least they have done for me.
photographer the next. You perfectly I can time them is what I love to see.
need to gain people’s trust and jumping. To ride takes an What kit do you use?
the only way to do that is to awful lot of skill and watching Have you entered Dog I have two Nikon D800
show them what you can do. British Eventing, for example, POTY before and how did cameras and my new baby, the
I decided to specialise in a can literally leave your heart you go about choosing D850. I use a 16-24mm f/2.8,
genre that I loved. I have in your mouth. It’s the raw which images to enter? 24-70mm f/2.8, 70-200mm
horses, so my photography excitement I especially love. It was my first time entering VR f/2.8, 50mm f/1.8 and
naturally went in that Dogs are so interesting Dog POTY. I chose my 85mm f/1.4. Plus I can’t live
direction, and then the dogs to photograph because of their personal favourites and the without my Magmod.
came with all the country pack mentality. They are all ones I thought fit the brief.
sports I followed. Now at 48, different and all have their I was so pleased when I first What are your hopes for
I have a photography business quirks and I love finding out found out my image won the the future?
I am proud of. Winning the about their personalities. The Dogs at Work category that To be a Nikon Ambassador in
my jaw ached from the the equestrian/dog countryside
permanent smile I had sport world. I also want to
© TRACY KIDD
for at least a month. continually improve my

work and keep learning
What are the biggest and encourage people to
challenges you have print their photographs instead
overcome in pursuit of of storing them on phones,
your photography? tablets and computers. A fine
Proving myself, especially to art, framed giclée print
those who thought I was crazy (which is what I produce if
for changing my career. Also you commission me) is there
being brave and putting myself forever. An image on a phone
in situations that scared the is discarded and constantly
bejesus out of me. This is my replaced. I want to increase
favourite quote (it’s by Ellen my fine art business and have
Johnson Sirleaf) and I think my work hanging on walls.
of it every day: ‘The size of your And last but not least, win the
dreams must always exceed overall title at Dog POTY.
your current capacity to
achieve them. If your dreams See more of Tracy’s photography at www.
Tracy won the Dogs at Work category at Dog POTY 2018 with this group shot do not scare you, they are not tracykiddphotography.zenfolio.com.

RISING STARS
Skye
Meaker
© SKYE MEAKER/WILDLIFE PHOTOGRAPHER OF THE YEAR

Skye Meaker won this year’s Young Wildlife
Photographer of the Year title. He talks to us about
his love of the big five – and other animals
How long have you been this is where I spend most
taking pictures? of my time photographing. It
My dad is a keen photographer, takes about 14 hours to get
so I took my first pictures there from where I live.
when I was seven years Skye’s portrait of a well-known leopard in Mashatu Game Reserve won him
old, and started to take You’ve got some quite the title of Young Wildlife Photographer of the Year
photography seriously two serious kit – a Canon
years later. Early on, EOS-1D X and 500mm What subjects are most and traits, in order to get the
photography was simply a lens. Why have you important to you? best photo I can.
hobby, albeit a passionate one, chosen this? I love taking photos of the big
but as I grew older and as I started with hand-me-downs five, but will never turn down a Tell us about the leopard
my photography improved, from my parents, and a good photographic opportunity in your WPOTY-winning
I realised that this was disposable camera, and as I no matter the subject. I would image.
something I wanted to pursue. got older I got bigger and really love to get a picture of a I’ve known her since she was
better hand-me-downs. When pangolin, but haven’t yet seen very young – I think she’s about
You live in the city, so I first entered the WPOTY one in the wild. My whole goal eight years old now. Because
how do you get to the competition a couple of years with photography is to show she broke her leg when she was
wildlife reserves? ago, I was a finalist in the the beauty of our natural a cub, her name is Limpy, and
I live in South Africa so nature under-14 category, so my dad world and how we need to be she has to hunt twice as hard
is on our doorstep. I’m bought me the EOS-1D X as protecting it, not destroying as all the other animals
surrounded by it, but we a present. Then for my 16th it. I don’t really set myself because she gets her kills
usually spend around two birthday I got the 500mm projects as such, because in stolen. When I saw her sleeping
months a year in the bush. We [Canon EF 500mm f/4L IS II the bush in Africa nothing is in the branch, we drove around
have timeshares in a place in USM]. My dad said, ‘You can guaranteed. I prefer to learn the tree a couple of times. I
southern Botswana called have a car or you can have a about my subjects by liked the background, but the
Mashatu Game Reserve, and lens.’ I picked the lens. witnessing their behaviours light wasn’t quite right, and I
knew if she moved her head a
© SKYE MEAKER
little or if the branch moved, it

would be awesome. I waited
there for a couple of hours,
and it’s extremely rare to get
such an opportunity with a
leopard, especially at this game
park. But eventually, both of
the things I hoped would
happen did happen.
Are you naturally a

patient person?
I don’t think patience was even
in my vocabulary when I was
younger. But because of the
things I wanted to see and
photograph, I learned that all
good things come to those who
wait. As I have grown up as a
person and matured as a
photographer, I have become
better at waiting for the perfect
moment to take the photo – but
it hasn’t been easy.
Visit www.skyemeaker.com to see more of

Skye took his first pictures when he was seven. Now, 10 years later, he is becoming established as a wildlife photographer Skye’s photography work.

YOUR LETTERS
Inbox
mediocre enthusiasts, whose egos
may be more fragile? They may
start to believe that their work
simply didn’t impress enough
people. Spare a thought for them.
I worry that without successfully
increasing participation next year,
Email ap@ti-media.com and include your full postal address. these poor souls may become
Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, irrational when they see their
Photocrowd ratings, and the last
Farnborough Business Park, Farnborough, Hants GU14 7BF thing we need in these troubled
times is to cause yet more
LETTER OF THE WEEK frustration and despair.
I hope that AP gets to resolving
Return to the fold

this problem immediately. I do not
© MICHAEL FINCH
like hyperbole, so I trust you will
agree that this is probably the
Having recently returned to film photography I treated myself single most important issue we
to a copy of AP for the first time in many years, the 3 November face in the UK today. Michael took this shot about14 years
issue. My copy fell open at the ‘Back in the Day’ (7Days) feature, Mrs Trellis back with his Olympus C-5050Z
which was from the period when I last purchased a copy of AP, I
think! Despite an attack of instant nostalgia, the content referred GDPR confusion have been taken around 2005 or
to looked very interesting and I really would have liked to read the There are photographers whom 2006. It was shot at ISO 64,
articles mentioned. I know are finding it difficult to 1/100sec at f/4, and is a pretty
However, onto the current content: I was pleasantly surprised interpret the data protection act straight mono conversion with
by the articles, which gave an interesting variety of the technical as it applies to street photography. minimal sharpening. I think it
and the photographic. I was particularly intrigued by the article This is due to there being so many still stands up well in terms of
about photographing the victims of Boko Haram, while Roger grey areas, making it hard to know image quality.
Hicks’s Final Analysis piece had definite shades of ‘Ricardo’ in the if one is breaking the law. For Of course, the main problem
long lost days! Overall the magazine had some of the attributes of example, if I take a picture of a with early digicams (for me) was
the British Journal of Photography back when it was a weekly town square with a few people in it shutter lag among other things;
publication with a fine balance of equipment reviews, technical do I obscure all the faces that are cameras have improved
explanations and some good photography and analysis. recognisable in order to enter it enormously and really, there’s not
The advertisement pages, one of the big reasons for buying AP into competitions, or do I have a great deal to complain about
in the past, were a surprise. I was delighted to see some original to get permission from all these these days. It’s difficult to buy a
advertisers still putting in an appearance. But on the whole, the people? There are other examples bad camera unless your sideline
unusual and quirky ads seem to have disappeared, along with I could give, but that would take up is pixel peeping. We actually still
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
those curious lineage classifieds – something of a loss I fear. too much space in your excellent have the Olympus.
All told it has been a delight to return to the AP fold. I just publication. So I hope you might Michael Finch
hope that the printed edition remains on the newsagents’ shelves. be able to shed some light on the
The tactile copy is always a pleasure to hold and read, just as a matter as I am sure there are AP’s WWI commemoration
photographic print is more pleasing to view than a screen image. others who are like-minded. Congratulations to the AP team
Keep up the good work! Matthew Fallows for the 10-page commemoration
John Tarrant coverage of the WWI armistice
Relax, Matthew. The GDPR centenary (AP 10 November). The
Thanks for your kind comments, John. I hope you continue rules are about data. Faces in shocking yet vivid images shown
to enjoy the AP of today – Nigel Atherton, Editor a crowd are not data, but their give only a glimpse of the horrors
names, addresses, telephone men faced. The fact that so many
Win!
numbers, bank details and so pictures survived despite the strict
forth ARE. So if you collect any ban in 1914 on troops using
The MicroSDHC EVO Plus with SD of this information about the cameras on the front line, as the
adapter 32GB Class10 UHS people you photograph (as article says, is a revelation like no
Grade U1 card will support 4K and has read speeds you probably would if you’re a other in reality terms.
of up to 95MB/s and write speeds up to 20MBs. professional) then the new rules One of the fears then was about
www.samsung.com/uk/memory-cards/ apply to you. If you’re simply an the risk to field intelligence if
amateur street photographer soldiers were captured with films
shooting candids, then you can or cameras in their possession.
Conspiracy theory both in the public vote and the go about your business – Nigel Likewise, in WWII, troops were
I would like to add my voice to critics’ views, it leaves me with Atherton, Editor taking risks of harsh punishment
those calling for AP to find ways to nowhere to hide from the truth. for having a camera. Some took a
increase participation in the APOY Now of course, I realise that this Early digicam chance and in one known case an
contest. As someone who has year’s contest demonstrates that My first digicam was a Kodak officer with a Leica managed a
entered the competition for the the public are incapable of DC4800; it had very few pixels series of shots at one of the beach
past few years and always done recognising towering genius, and but it came bundled with Adobe landings in Normandy, more by
poorly, I took comfort in the past that the critics are in the pocket of Photoshop 6 for a pretty luck than judgement. His camera
from the belief that my the mirrorless camera lobby and competitive price. Next came an still exists and is operational
photographs were simply clearly members of the Illuminati, Olympus C-5050 Zoom, which I despite rough handling at the time.
swamped in the vast numbers of conspiring to cheat me of success. used for several years for family Pictures more than a century old
entries. This year as I do poorly But what of those more snaps. The picture above would may not be to any known current

standard but the imagery Mantra change?
portrayed plays a precious part The multiple repeat of ‘The best
in our nation’s history. camera is the one you have with
Colin Fraser you’ has now moved from the
Irving Penn recreation

I want to offer my congratulations
smiling category to grating. It’s
time for a change.
It’s only the best camera if you
Treat yourself
to both Andrew Sydenham and know the fundamentals of how to
Hollie Latham Hucker for their
extraordinary efforts in recreating
the Irving Penn classic (Classics
use it. Simply opting for a better
camera, for example, in the
expectation that your results will
or a friend
revisited, AP 1 December). automatically improve is another
*
While not a Penn scholar but
still familiar with the picture I was
at first confused as to which was
the original, such was the quality
of the many photography fairy
tales still widely believed.
A recent demonstration by
an award-winning amateur left a
from £22.99
of their version. If I’m honest, and lasting impression. He managed
I know this will be photographic to adjust his camera to preferred
heresy, I think I actually prefer the ‘ready now’ settings while talking
recreation: the fine detail is much non-stop to the audience. It was
more pronounced (due in part to second nature, instinctive and
modern technology, I’m sure), a clear sign of adept handling.
there are fewer small distractions Contrast this scene to ones where
(Ms Russell’s right shoulder, for there’s a shooting opportunity
example), and there is less blur. spoiled by people fumbling with
One of the finest examples everything from a smartphone
you’ve produced so far. to top-end DSLRs.
David Richards Let’s move on. The new outlook
should be, ‘The best camera is the Save up to 40%
Save lightbox one you understand most’.
from scratches Mike Shaw
To help protect a lightbox from Where are the lenses?

scratches, this tip works for me, There have been comments
especially on the newer, thin, concerning the new Canon
USB-powered LED craft full-frame EOS R and how we
lightboxes which are relatively must all buy one, but where are
cheap to buy. If you have access the new lenses for this camera?
to a laminator, laminate an empty I don’t like using zoom lenses,
pouch. It becomes clear and can and the 50mm f/1.2 will be too
be placed on top of the lightbox. heavy for me to take out on my
Feed the pouch through with it bike. Where is the 50mm f/1.8 or
placed on a sheet of card to save f/1.4? Come on Canon, get real.
it from jamming; then turn the Andrew S Redding
pouch over and feed it again.
Seems to work a treat and should We were fairly lukewarm
work out much cheaper than about the EOS R in our review,
acetate sheets. Andrew, but to be fair to Canon Subscribe online at
Duncan Souter its initial release of four lenses magazinesdirect.com/KZQ8
was designed to show the
breadth of what the system
is able to offer. So it
launched with two
primes and two
zooms, with one
of each being 0330 333 1113
superfast-aperture Quote code: KZQ8
versions. Like any Lines open Monday – Saturday, 8am-6pm (UK time)
new system it will
take time to build.
In the meantime
you can use existing
lenses with the
adapter. Or better *Pay just £22.99 by Direct Debit every 3 months, with the price guaranteed for the first 12
still, wait for the months and we will notify you in advance of any price changes. Offer closes 4th February
Andrew would next generation of 2019. Terms and conditions apply. For full details please visit www.magazinesdirect.com/terms
like more lenses cameras to see how

from Canon they develop – Nigel
for its EOS R Atherton, Editor

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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1 3
Henning Pettersen, Norway 1 ‘The low sun was 2 ‘It was a very cold
Thirty-six-year-old Henning Pettersen, who lives
casting shadows on early morning and
not far from the centre of Oslo, bought his first
the concrete wall, the frost on the glass
camera a few years ago. He found himself drawn
which had some gave the whole area
to a wide range of subjects – and particularly
interesting signs and a very special light
studies the way in which light interacts with a
graffiti. I noticed this and mood. I captured
scene. The first time he picked up a camera he was instantly
man walking by and these silhouettes as
hooked, and has continued to look for unusual ways to
took a quick photo.’ people passed in
portray everyday subjects. All the images in this portfolio
Leica Q, 28mm, front of the glass.’
were taken at Oslo’s Lysaker train station. See more of his
1/200sec at f/9, Ricoh GR, 1/640sec
intriguing work at www.henningspettersen.com.
ISO 200 at f/6.3, ISO 800
30
UR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY
The Reader Portfolio

winner chosen every week will receive a Manfrotto PIXI Submit your images
Please see the ‘Send us your
EVO tripod worth £44.95. Visit www.manfrotto.co.uk pictures’ section on page 3 for details
Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling or visit www.amateurphotographer.
you to shoot ground-level images. It’s adjustable, with two-section legs featuring five different steps that adapt co.uk/portfolio
the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90° to capture incredible images.
3 ‘I stood underneath 4 ‘I took this picture 5 ‘Looking up at

this stairway for on the escalator the stairway leading
several minutes that leads up to the to the overpass,
to see if something train tracks. The sun I noticed the sky
interesting might created this lovely reflected in the
happen in front of triangle on the wall, yellow-green
the green glass, when and I waited until I glass wall in the
this woman with a was able to capture background. I
fan came along. I people going up composed so it
wanted to capture the and down at the almost looks like a
contrast between the same time.’ beam of light coming
inner and outer areas Ricoh GR, 18.3mm, in from the top.’
of the stairway.’ 1/1500sec at f/5, Sony Alpha 7 II,
Leica Q, 28 mm, ISO 400 55mm, 1/1250sec
1/250sec at f/13, at f/6.3, ISO 100
ISO 100
5
Technique PANORAMA STITCHING
Panorama stitching is a great technique

to use to extend your angle of view
Martin Evening
Martin is a photographer and is known for his in-depth
knowledge of Photoshop and Lightroom and as an author on
digital imaging. His recent books include Photoshop CC 2018
for Photographers and The Adobe Photoshop Lightroom Classic
CC Book. www.photoshopforphotographers.com
F
or those times where you find
Panorama
yourself squeezed for space,
or lacking a wide enough
lens, panorama stitching is
a great technique to use if you wish to
no drama
extend the angle of view, or you simply
want to capture more pixels or create
sharper images. There are a number of
programs out there you can use, including
smartphone apps, and not least the highly
acclaimed PTGui. But both Photoshop
and Lightroom have powerful panorama-
building features, including the Panorama
Photo Merge in Camera Raw.
Photoshop’s powerful panorama-building feature When photographing a sequence of
individual photos that you intend to
will extend the capture angle of your camera. stitch together, it helps if you capture a
Martin Evening shows you how significant overlap between each one.
Ideally, the photos should be shot

ALL PICTURES © MARTIN EVENING
Creating panoramas
of architectural subjects
The Perspective mode is the best option to choose when using
the Camera Raw Panorama Photo Merge method to process
architectural subjects. This is because the Perspective projection
method ensures that straight edges remain straight and you most
certainly would not want to apply a Boundary Warp adjustment
to expand the image. Even though the preview may show some
perspective distortion, this can easily be corrected using the
Transform controls to adjust either the Vertical or Horizontal
transform sliders. In the example shown here I could have
subsequently used a Vertical slider adjustment to correct for
the keystone perspective in this Panorama Photo Merge.
To avoid distortion use the Perspective

mode to process architectural images

The Cylindrical layout option is great for panoramic landscapes such as this example
using a moderate wideangle lens or
longer, and there should be at least
a 25% overlap. With extreme wideangle/
fisheye lenses you should aim for a 70%
Photoshop
overlap. It helps if you have the camera
mounted on a tripod or better yet, use
Photomerge
a special tripod head that allows you to
align the nodal point of the lens to the method
rotation axis. But you can certainly get You can also use the Photomerge
good enough results when shooting feature in Photoshop to create
handheld. Ideally, the exposure setting panorama images. The best way
should be consistent, but even if the to do this is to use Bridge to select
photos are captured with a variance the photos you wish to process
of exposure, the Photo Merge process and then choose Photomerge
can even these out to a certain extent. via the Bridge Tools > Photoshop
I mostly prefer to use Camera Raw’s submenu. In most cases the Auto
Merge to Panorama method, which layout option is all you will need
creates DNG panoramas from raw as to get good-looking panoramas,
well as non-raw files. The resulting files although the Cylindrical layout
are 16-bit integer DNGs, which are option will again work best for
demosaiced and saved as raw linear RGB panoramic landscapes, such as the
data. Although the images are partially example shown here. The Blend
processed, you still retain the ability to Images Together option completes
apply Develop module edits and update the Photomerge processing as it
to later process versions as they become adds layer masks to each of the
The Blend Image Together option completes the process
available. Lens warp, vignette, and Photomerged layers. The Vignette
and adds a layer mask to each Photomerged layer
chromatic aberration are Removal option can help improve
the result of the final image
blending, especially if you are
merging photos that were shot
using a wideangle lens. When the
Geometric Distortion Correction
checkbox is enabled, Photomerge
aims to create a better stitch result
by directly estimating the lens
distortion in the individual image
layers. And finally, if you select
Content Aware Fill Transparent
Areas this adds a merged
panorama layer to the layer stack
and uses Content-Aware Fill to
fill the transparent edges.
For best results, use a tripod and make sure Once you’ve selected your files and chosen your layout
each exposure is consistent you can tick more options to fine-tune the results

‘The photomerge method CAMERA RAW’S PANORAMA PHOTO MERGE
offers an alternative
approach to stitching’
automatically applied to the

images behind the scenes before
stitching, so such settings in the source
images, as well as Upright and Crop
adjustments are ignored. Other
adjustments, such as Basic panel, Tone
Curve, Lens Corrections panel defringe
adjustments and colour adjustments,
are copied though.
Creating Photomerge DNGs 1 Merge to Panorama 2 Select Projection

To create a Panorama Photomerge Select your raw image files and open them Select the desired projection and preview the
DNG, make a selection of photos in all in Photoshop. As they are raw files, they will result before committing to create a full Photo
Adobe Bridge and choose File > Open automatically open in the Camera Raw hosted Merge. Here, I selected Cylindrical, which ensured
in Camera Raw. Select all the photos plugin. Click on the Filmstrip fly-out menu and the photos were correctly aligned to the horizontal
in the Camera Raw Filmstrip and, from choose Merge to Panorama. This will open the axis. This mode is particularly appropriate when
the Filmstrip menu, choose Merge to Panorama Merge Preview dialog box. merging single rows of photographs that make
Panorama. This opens the Photomerge up a super-wide panorama.
Preview dialog, where you can select
from three projection methods. In the
following steps I used the Cylindrical
option. The Spherical mode transforms
the photos both horizontally and
vertically. This method can be more
adaptable when it comes to aligning
tricky panoramic sequences. So, for
example, when you shoot a sequence
of images that consists of two or more
rows, a Spherical projection mode
may produce better results than the
Cylindrical method. The unadjusted
preview may appear distorted in shape,
but by dragging the Boundary Warp
slider to the right you can warp the 3 Boundary Warp 4 Hit Merge
image to fill the bounds of the image You can adjust the Boundary Warp slider Click the Merge button in the Panorama
frame. It is worth bearing in mind that to make the boundary of the panorama fit Merge Preview dialog to create a full Photo
Camera Raw-generated panoramas more closely to the edges of the frame. In Merge Panorama DNG, which will be added to
contain the necessary metadata to my example, I set the Boundary Warp slider the Filmstrip and named, based on the most
allow them to later be perspective- to 100% to warp the image and extend it to selected image by adding a –Pano suffix. The
corrected using the Adaptive Wide fit the surrounding rectangular frame. Develop settings applied here were based on
Angle filter in Photoshop CC, should the most selected photo in Step 1.
you prefer. Or, you can make use of the
Transform controls in Camera Raw to
edit the perspective.
The Photoshop Photomerge method
offers an alternative approach. You can
access this by selecting the photos in
Bridge and choosing Tools > Photoshop
> Photomerge. This Photoshop feature
predates the Camera Raw method
of stitching. However Photomerge
processing can sometimes cause
the highlight values to clip. You may
carefully set the highlight end points at
the pre-Photomerge stage, only to find
they become clipped in the resulting
Photomerge composite. This is why
I generally prefer to use the Panorama
Photo Merge in Camera Raw and 5 Finishing touches
Lightroom, because this method The final step requires fine-tuning the colour and tone settings in
preserves the raw file data and provides the Basic panel. I also added a Graduated Filter adjustment to the
you with full control over the tones, top half of the image to darken the highlights and bring out more
and avoids undesired clipping. detail in the trees to produce the finished version shown here.

Testbench CAMERA TEST
At a glance
Fujifilm
£449
● 24.2MP APS-C CMOS sensor
● 28mm equivalent f/2.8 lens
● ISO 200-12,800 (expandable to
XF10
ISO 100-51,200)
● Up to 6fps continuous shooting
● 3in, 1,040k-dot touchscreen
● 4K video at 15fps
● Wi-Fi and Bluetooth connectivity
An APS-C sensor in a genuinely pocketable

form? Matt Golowczynski finds out if
Fujifilm’s XF10 is too good to be true
W
ith budget performance is equalled only
For and against Data file compact by its handsomeness.
Sensor
cameras having As capable as these three are,
Very small considering its 24.2MP APS-C CMOS sensor
largely ceded not one can be said to be both
APS-C sensor Output size 6000 x 4000 pixels
their ground to smartphones, many affordable and pocketable. So
Lens 18.5mm f/2.8 (28mm equiv)
Fantastic build quality and have suspected that enthusiast it’s refreshing to see Fujifilm
Shutter speeds 30sec-1/4000sec (mechanical)
attention to detail 30sec-1/16,000 sec (electronic)
compacts would soon be the next introduce the XF10: a camera
casualty. And yet, even with the that manages to satisfy both goals
Very pleasing image quality Sensitivity ISO 200-12,800 (standard)
ISO 100-51,200 (extended) growing additional threat from while finding enough space for
affordable mirrorless systems, an APS-C sensor.
Responsive touchscreen Exposure modes PASM, SR+, Scene
the format has proved to be
Metering Multi, Spot, Average
Optical aberrations effectively remarkably resilient. Features
Exposure comp -5 to +5 EV in 1/3 EV steps
dealt with in camera Indeed, in some ways it’s in Officially, the XF10 does not
Continuous 6fps
shooting better shape than ever. In just this appear to be a direct replacement
USB charging is useful past year, Sony’s 1in sensor-toting for anything we’ve seen before,
Screen 3in, 1040k-dot LCD touchscreen
Slight overexposure is common RX100 line has now ventured but it sticks to a similar formula as
Viewfinder None towards superzoom territory, with the almost three-year-old X70.
Sub-standard video quality AF points 91 its latest RX100 VI built with an While it eschews some of the
Video 4K (15p); Full HD optic equivalent to 24-200mm. features that made that model
ALL PR CES ARE APPROX MATE STREET PR CES
Lagging in operation (59.94/50/24/23.98p)

Panasonic has finally updated its desirable, it offers fresh options
External mic 2.5mm stereo mini connector
Focusing could be snappier much-loved four-year-old LX100 and inherits a handful of others
Memory card SD, SDHC, SDXC with a Mark II model, once again from the company’s most recent
and quieter Power NP-95 battery with a Four Thirds sensor at its X-series cameras.
Shallow raw burst depth Battery life 330 shots heart. Fujifilm’s most recent Perhaps the biggest internal
Dimensions 112.5 x 64.4 x 41.0mm contribution was last year’s change from the X70 concerns
No built-in ND filter Weight 278.9g with battery and card X100F, a model whose stellar the sensor. In place of the X70’s

The auto white
balance system can
sometimes struggle
under mixed light, as
this somewhat cold
rendition shows
Fujifilm XF10, 1/35sec
at f/2.8, ISO 6400
16.2MP sensor, which was bearing aspherical surfaces. A resolution (3840x2160) before captures the image in a single
designed with the same X-Trans nine-bladed diaphragm should allowing you to extract your action, and as this saves the
architecture as those inside many please those intending on favourite from the pack. camera from having to focus on
other Fujifilm cameras, the XF10 frequently capturing images Those intending to use the a specific subject, it speeds things
has been furnished with a more with elements blurred in the camera for video are more likely up when shooting spontaneously.
conventional 24.2MP sensor with background, and while its 10cm to call upon the various Full HD This principle of zone focusing
a Bayer RGB colour filter array. minimum focusing distance may options, which record at a range has been in use for some time,
From its specs alone, it appears seem a little long, this is standard of frame rates up to 60fps, and of course, although this is the first
to be the same sensor as the ones for a camera with such a lens. these are complemented by the time it’s been implemented on a
inside the recent X-T100 and Fujifilm has not made reference now-standard assortment of Fujifilm camera in this manner.
X-A5 mirrorless cameras, or a to any particular processing slow-motion options in standard Another new feature is the
close relation at the very least. system here, so it seems unlikely HD. There’s even a microphone SQUARE mode. While this is
Fitting a sensor of this size in that the model employs one of the port – a bit of a rarity on a camera nothing more than a 1:1 aspect
a body so compact is only made X-Processor engines found inside of this size that lacks a hotshoe – ratio shooting option, it’s been
possible by partnering it with a the majority of its more premium though it’s a 2.5mm port rather given greater prominence here,
fixed-focal-length lens. Here it cameras. In any case, it enables than the standard 3.5mm. and can be accessed quickly with
is an 18.5mm optic, which the camera to shoot images The XF10’s autofocus system a swipe of the camera’s screen.
provides an angle of view continuously at a maximum 6fps, combines contrast and phase- Ostensibly aimed at anyone with
equivalent to using a 28mm and also allows videos to be detect AF into a single Intelligent an Instagram account, its appeal
lens on a full-frame camera. recorded in 4K UHD, although Hybrid AF system, and the user will no doubt extend to anyone
The lens’s f/2.8 maximum only to a maximum 15fps. Such a is able to manually address 91 used to shooting with a 6x6cm
aperture is respectable, and the low frame rate significantly curbs individual points. Continuous and medium format film camera.
seven-element, five-group design the feature’s appeal, although one manual focus options are also A slot at the base of the camera
helps to keep it relatively compact, advantage this provides is the provided, as is a new Snapshot accepts SDHC and SDXC memory
something that’s no doubt further 4K Burst shooting option, which mode. This immediately focuses cards, in addition to older SD
helped by two of these elements captures 15fps at 4K UHD to a distance of 2m or 5m and types, with support for the

In-camera raw processing
allowed highlights to be pulled
back and shadows lifted
in this high-contrast scene
Fujifilm XF10, 1/90sec at f/5.6, ISO 200
UHS-I bus interface. Wi-Fi operate with the thumb alone, understandable, although there’s Perhaps the most impressive
and Bluetooth are also both which makes you wonder why it’s also no external unit available (and way in which this can be used
on board, and these allow instant not embedded within the back no hotshoe designed into the body is when playing back images, as
transmission to smart devices and plate instead. that would accommodate it). the immediate response makes
printers, while also providing a way In the absence of directional Images are composed and viewed checking fine details and accurate
to control your camera remotely. controls or a menu pad control on a 3in LCD screen, which has a focus in enlarged sections of
The XF10 is also equipped with dial on the back plate, it falls to respectable 1.04 million dots but images quick and convenient.
USB 2.0 and microHDMI sockets, the focus joystick to do much of no option to be physically adjusted One recurring issue with the
in addition to a separate port for a the menu navigation. Operating in any way for low- or high-angle touchscreen is that it’s easy to
remote. The familiar NP-95 so much of the camera this way shooting. Tilting screens are fast run into the side with your thumb,
battery provides around 330 might not be to everyone’s taste, becoming a standard feature on which is home to a few virtual
frames per charge, which is about but it’s a good use of space and cameras of all varieties, and its buttons including one for focusing
average for such a model, and makes a lot of sense. Similarly, omission here may displease mode. As this only requires a
you can conveniently charge this some may not warm to the shallow some, although it’s worth noting single press to cycle between
through the camera’s USB port. control ring around the lens, and that the majority of compact
the fact it’s de-clicked means it cameras with APS-C sensors 6fps is a perfectly
Build and handling offers no feedback when rotated. aimed at a similar audience have respectable burst rate
Available in black and champagne Despite its low price, the XF10’s precisely the same design. on such a camera,
gold finishes, the XF10’s design build quality is superb, as is The LCD screen does a very which makes action
is decidedly more basic than the attention to detail. It’s easy to form good job outdoors, and even in captures possible
Fujifilm XF10, 1/1400sec
company’s X100-series models, the impression that it’s not as brighter light it doesn’t appear
at f/7.1, ISO 200
or indeed, even the previous X70. robust as its pricier X100-series to suffer like some others do. Its
The camera has been crafted cousins when you pick it up for the crispness decreases in poorer light
with a more Ricoh GR-esque first time, but this is likely more to as noise begins to take hold, and it
minimalism, although it’s even do with the camera’s small size lags a little here too, but we would
more stripped down. The front and light weight than the quality expect performance to drop in
plate is free of the buttons and of its build. Every dial on the body such conditions.
switches that adorn Fujifilm’s has been crafted from metal, and The screen is also sensitive to
similar models, and there are no this continues to most of the touch, and this can be used to
dedicated shutter speed, ISO or panelling and the majority of the define the focus point or select
exposure compensation dials that controls. The doors to both the items in the Q. Menu (which
have become synonymous with battery compartment and ports rounds up many commonly used
X-series cameras. appear to be constructed from options). It can also be used to
The default set-up does, polycarbonate, but both are swipe through images, though the
however, have the top-plate dial finished to complement the main menu can only be navigated
adjusting exposure compensation surrounding areas, and neither using the physical controls. The
when you’re in either Aperture or presents any concerns. screen is pleasingly responsive
Shutter Priority modes. Much like when used for most of these
the mode dial to its side, it’s just a Viewfinder and screen tasks, and in good light this makes
few millimetres tall, and on such a The XF10’s price point makes focusing and triggering the shutter
small body it’s not comfortable to the absence of a viewfinder in one action pleasingly prompt.

CAMERA TEST Testbench
options, it’s a little too easy to matter greatly, but it could be
accidentally switch to manual problematic for anything else.
or continuous focus without you
immediately realising you’ve done
so. Thankfully, you can disable the
Conversely, the manual focusing
system works very well, with the
de-clicked ring around the lens
Focal points
touchscreen if you find it to be moving smoothly enough for fine The XF10 squeezes a lot inside its conveniently
more of a bother than a blessing. adjustments – particularly useful sized body. Here we study some other controls
when adjusting focus during video.
Performance
The camera starts up in just under
Burst shooting is another area
where the camera comes unstuck.
Fn buttons
There are two Function Buttons on the body: one on the top-plate just
a second and powers down in With a fast UHS-I memory card
to the left of the mode dial and one just to the right of where the
fractionally less time, which is in place the camera can only
right-hand thumb naturally falls, though it’s not actually labelled an
perfectly reasonable for such a manage five raw frames (or
Fn button. These can both have a particularly broad range of functions
model. While the menu isn’t quite simultaneous raw and JPEG
assigned to them, including the new SQUARE and Snapshot modes, and
as comprehensive as those on frames) at its maximum 6fps
will no doubt be appreciated and regularly used by the target audience.
more premium X-series offerings, speed before it slows. The camera
its clarity is generally very good, also can’t be operated as these
and should ensure that even those are processed, but the fact that
new to Fujifilm’s GUI can find their there are so few frames to deal Control ring Focus joystick
way and change settings without with does at least mean that this is The default function of Fast becoming a standard
needing the manual. over in a matter of seconds. this ring depends on your control on mirrorless cameras
The level of control over Switch to shooting JPEGs alone shooting mode, although you and enthusiast compacts, this
autofocusing is about as and you’re rewarded with around can customise it to your allows the focusing point to be
comprehensive as we should 18 or 19 frames captured without requirements if you prefer. It quickly shifted around the
expect on such a camera, which is any slowdown, which exceeds can, for example, adjust ISO, frame. Like many of Fujifilm’s
to say very good. Single point, Fujifilm’s own rating of around 13 Film Simulation, white balance other X-series models, it can
Wide/Tracking, Zone and All frames, and these are sent to the and so on, and it can also be also be used to quickly
options are on offer, with the memory card quickly enough for set to manually focus the lens. navigate the menus and find
ability to define specific focusing the camera to immediately return the settings you need.
zones and to adjust the size of to operability.
single AF points for focusing on Elsewhere, the camera offers a
smaller subjects. The focus lever number of useful touches that you
makes shifting this point fast and soon appreciate in use. Pressing
41mm
straightforward, although it could the Q button when playing back

do with being more sensitive to a raw file, for example, helpfully
diagonal movements. brings up the post-capture
By the standards of many other raw-processing options. There’s
compacts the focusing system is a also a handy countdown timer that
little behind for speed, with just a runs during long exposures, plus
little too much back-and-forth there’s the option to silence all
shifting and general hesitation. For operational sounds in Flash Touchscreen
static subjects this isn’t too slow to one action. The small flash that’s You can use this to trigger the
embedded in the XF10’s front autofocus systems in both stills
plate offers a guide number and video recording, and to focus
of 5.26m at ISO 100, which is and expose the image at once. Film
on a par with similar models. Simulation and scene modes can
The usual options we expect also be changed this way, and
to see, such as slow-sync additional functions can also be
and second-curtain sync, assigned to up, down, left and right
are all present and available swipes. Upon playback, you can
to be used when required. swipe it to browse images and
pinch-zoom to check details.
64.4mm
112.5mm

The lack of a built-in ND filter is a shame, but freestyling
with a separate filter can yield pleasing long exposures
Fujifilm XF10, 4sec at f/16, ISO 200
Considering the absence a touch of softness. This is only

of any kind of image minor, though, and improves when
Film Simulation modes stabilisation system, it’s also very

welcome to have the option to
determine a minimum shutter
you start to stop down.
A profile built into the camera’s
raw files automatically banishes
FILM Simulation modes are filters can be chosen to suit speed when using one of three chromatic aberration and
now a standard part of most of the scene too, although a more Auto ISO options (the upper limits vignetting, and this clearly works
Fujifilm cameras, with only the recent Acros setting, which is can be adjusted to preference). well, with neither being a concern.
cheapest compacts unlucky designed to replicate the Neopan This is particularly useful to Curvilinear distortion is also very
enough to miss out on them. Acros emulsion, has not been find here because the default well controlled; there’s no barrel
Drawing on the company’s included here. Given that this minimum shutter speed of distortion at all, and the slight
heritage in film production, these has also been left out of the 1/28sec doesn’t always deliver unevenness towards edges of the
are designed to emulate some entry-level X-A5 and X-T100 the crispest images when viewed frame is potentially down to a
of the company’s most popular mirrorless cameras, it appears at 100%. combination of the aspherical
emulsions such as Provia, Velvia that Fujifilm simply wishes to Elsewhere, however, a number elements in the optic and further
and Astia, the former being the reserve this for its pricier models. of things frustrate. The Snapshot processing than anything else.
default ‘Standard’ option. If you happen to be capturing feature has the effect of closing While the metering system
The remaining options that raw files, you can also adjust down the aperture to f/8 when doesn’t throw up any surprises,
make up the collection are also these options when using the shooting at 2m and f/5.6 when set it does seem to lean slightly
not necessarily tied to a specific post-capture raw-processing to the 5m option. The likely logic towards overexposure. This can
film. Classic Chrome, for example, feature. These Simulations to this is to ensure that if your be welcome in scenes with many
delivers more muted colours that are also available in Adobe subject isn’t quite 2m or 5m shadow details, although it does
are reminiscent of documentary Lightroom CC and Camera Raw away, the depth of field at these affect the ability to hold on to
images, while Pro Neg Std and programs among others. While apertures will still render it in highlight detail and can make
Pro Neg Hi are intended for the Advanced Filters that sit focus, although the fact that this colours less vibrant. Adjusting this
portraiture under different kinds alongside these options may not can’t be overridden does mean as you shoot is easy to do, though.
of light. Monochrome and Sepia be to everyone’s taste – think your shutter speed can suddenly The camera’s auto white balance
options are also on hand. Fish Eye, Toy Camera and so on drop if you tend to use Aperture system generally does well, but
Variations of the Monochrome – Fujifilm had added two slightly Priority, or anything other than there were a handful of occasions
option with red, green and yellow more sober options to the Manual or Shutter Priority. where it was easily persuaded to
previous collection for Spontaneous shots often require deliver a noticeably cooler or
the XF10. The Rich fast shutter speeds, so it’s a shame warmer rendition of a scene than
& Fine option applies there’s no way to bypass this. the one immediately captured
a light vignette and Given that it’s the only one before it, even if the conditions
intensifies colours in the you’re able to use, the quality had stayed the same.
centre of the frame, while of the lens on such a camera is The 15fps limitation of videos
the Monochrome [NIR] paramount. Wide open at f/2.8, captured in 4K mean that, while
setting is intended to details are very good in the centre detailed, they more closely
simulate black & white of the frame and they continue resemble stop-motion footage
images captured by to be rendered well up to the than anything else. Full HD at
near-infrared cameras. peripheries, though corners show 60fps yields better footage.
15 December 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

CAMERA TEST Testbench
Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
Rather than using Fujifilm’s X-Trans CMOS technology, the XF10 employs a 24.2MP APS-C
sensor with a standard Bayer colour filter array. While it’s not entirely clear whether the sensor
is the same one as featured inside the XT100 and X-A5, it does at least appear to behave in a
similar way. The best performance comes between ISO 200 and 1600, with good detail and
relatively little noise, although results up to ISO 6400 are perfectly usable at smaller sizes.
Resolution Things tend to move relatively slowly at the

affordable end of the large-sensor/fixed lens
Unsurprisingly, the sensor outputs a similar drops to a still respectable 3,000l/ph once you get to end of the compact market. The fact that
performance to the one inside the recent XT100. At the ISO 800, but it’s maintained well until ISO 3200, where the XF10’s only direct competitor at this
(native) base ISO 200 setting, raw files show around it drops to 2,800l/ph. The maximum ISO 12,800 point price point is the soon-to-be-replaced Ricoh
3,200l/ph, which is the same as many other models in on the native scale is where things fall once again, but GR II, however – a camera that’s three years
this price range, although the extended, JPEG-only, ISO only to 2,700l/ph. This consistency is impressive, with old and still over £100 more expensive –
100-equivalent option shows even better detail. This no sudden drops as you incrementally raise the ISO. gives it an edge from the off.
Indeed, at this price, it’s managed to
RAW RAW RAW RAW
ISO 100 ISO 1600 ISO 12,800 ISO 51,200 carve its own place in the market, although
it does present an interesting question: is it
reasonable to expect its ‘absent’ features?
Many people would have no doubt preferred
On the right we show details to see a viewfinder and mechanical image
from our resolution chart test stabilisation, for example, but these would
pattern (above). Multiply the almost certainly come at the cost of size or
number beneath the lines by price (or both). The lack of a hotshoe and
200 to give the resolution in option to use conversion lenses are perhaps
lines per picture height. less of a concern, though a built-in ND filter
wouldn’t be unreasonable to expect. While
it’s not completely devoid of frills, it remains
Noise a camera best suited to someone who simply
wants a certain standard of image quality in
Noise is as well controlled as we would expect for such a sensor, with a very small form.
pleasingly clean results at the base ISO 200 setting and steady control up This isn’t to say that it performs badly,
to ISO 1600. Noise begins to take hold at ISO 3200, and while it becomes but there are certainly weaknesses worth
more prominent at ISO 6400, raw files can still be salvaged. As is often the bearing in mind. The relatively shallow
case, the highest ISO 12,800 option is really best avoided. JPEGs can be burst depth disappoints, and video quality
treated with five levels of noise reduction in the camera, and while in is equally unimpressive, but then many
particularly problematic scenes results can end up looking a little waxy, photographers never call upon either of
The crops shown below are taken this isn’t quite as destructive as may be expected in the ISO 3200-6400 these features. Perhaps the most significant
from the area outlined above in red range. The XF10 doesn’t shoot raw images at extended sensitivity settings. shortcoming is the general performance of
the autofocusing system, which is far from
JPEGISO100 RAW ISO 400 RAW ISO 1600 ideal when you consider the XF10’s appeal
to street photographers.
Still, elsewhere shows it to be a capable
camera with much to offer. Image quality
is very pleasing, with good detail, low
noise levels and a generally sound optical
performance, and there’s plenty of scope
for customising images both before and after
capture. It’s also built very well, takes up little
space and doesn’t weigh much. For some
people this is more than enough, so if you
RAW ISO 6400 JPEG ISO 25,600 JPEG ISO 51,200
happen to fall into this camp it’s worth a look.
FEATURES 7/10
BUILD & HANDLING 8/10
METERING 7/10
AUTOFOCUS 6/10
AWB & COLOUR 8/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 8/10

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PRINTER TEST Testbench
Epson EcoTank
ET-7750
An A3-format photo and document printer Ink bottles plug into the top of each tank,
with a built-in scanner and an extremely healthy enabling fuss- and mess-free filling
ink supply. Matthew Richards cracks open a photo printing. All in all, the printer is supplied
with the best part of a whole litre of ink. But
bottle in celebration there’s a catch.
When the A4-format ET-7700 was launched,
W
hen it comes to large-format forking out for an expensive set of replacement it was more expensive than competing cartridge-
inkjet printing, cartridges are cartridges after just 20 or so full-sized photo based models. It’s sold with exactly the same
a source of constant prints. By stark contrast, the EcoTank ET-7750 inks in exactly the same quantities, sufficient for
consternation. They always has real staying power. printing up to 3,400 6x4in colour photos, as
seem to be running out of ink, even when you Like Epson’s ET-7700 A4-format printer, this well as some 14,000 mono A4 documents.
feel certain that you replaced them just the other upscaled A3 edition has print heads that are fed However, taking the high purchase price into
day. Indeed, the optional ‘XL’ cartridges for by comparatively large ink tanks, doing away consideration, plus paper cost, you’d need to
Epson’s own Expression Premium XP-900 A3 with cartridges altogether. The ink is supplied in print all 3,400 photos before breaking even
and Expression Photo XP-960 A3+ printers only bottles, and the printer comes with two against the cost of buying and running a
have a paltry 9ml of ink in them, or thereabouts. complete sets. Each set includes a 140ml competing five-ink A4 printer, like the Canon
To make matters worse, many inkjet printers bottle of pigment-based black ink for document Pixma TS6250. And naturally, with the Epson
are sold with ‘set-up cartridges’ that have a printing, plus four 70ml bottles of dye-based model, you have to pay the full amount
very small capacity. You can find yourself cyan, magenta, yellow and ‘photo black’ ink for up front instead of paying as you print.

The ‘Photo Enhance’
mode, turned on
by default, has made
these landscape colours
look a little lurid
Bigger is better creating around 800 A4 photo prints or 400 DVDs. Again, there’s a 2.7in colour screen,
With the ET-7750 printer the economies A3 photo prints. The ET-7750 therefore although it’s fairly small by today’s standards and
of scale work out rather better, though. As an makes good sense financially, and there’s the isn’t a touchscreen. Instead, there’s an array of
A3-format model, it can create documents plus point that you’ll only need to top up the control buttons spread out across the hinged
and photo prints that are twice as large as its ink tanks once, however long it takes you to front panel, which are handy for standalone
smaller A4 sibling. It’s also cheaper to buy than print that many photos. photocopying or direct printing from memory
the A4 printer was when it was released and, The similarities between the Epson A3 and cards. External interfaces include USB, wired
even now, there’s very little price difference A4 EcoTank printers include high-resolution Ethernet and Wi-Fi.
between the two models. The purchase price 5760x1440dpi print heads and variable-sized Paper handling is good, with two front-
compares much more favourably against other droplet technology. This can produce tiny loading cassettes that are ideal for stocking
competing A3 and A3+ printers on the market. droplets down to a size of 1.5pl (picolitre). Both with A4 plain paper for document printing, plus
Naturally, you wouldn’t buy an A3 printer just printers have a built-in A4-size scanner, an SD/ either 6x4in or 7x5in photo paper. There’s also
for printing 6x4in photos. The two sets of ink SDHC/SDXC memory card slot and a facility for a rear feeder that can take any size of paper
bottles supplied should prove sufficient for printing directly onto white-faced CDs and up to A3. This is more suitable for A4 and A3
Black & white photo

prints are quite neutral,
without noticeable
colour casts, but can
look a bit flat and
lacking in punch
Skin tones look natural in this print, with

automatic enhancements switched off

PRINTER TEST Testbench
The main printer control panel is fairly straightforward, but a larger screen with The viewing windows found on the front of the printer enable you
touch-sensitivity would be more intuitive to do a quick and easy visual check on current ink levels
photo papers as well as thick paper or card, as Quality counts

the page is flipped over during printing. Epson has a long and illustrious history of
Speaking of which, auto duplex (double-sided)
printing is also supported.
The maximum page size of A3 equates to
creating six-ink photo printers that add light
cyan and light magenta to the CMYK mix of a
standard document printer. Over the years, the
Our verdict
physical dimensions of 420x297mm, which is combination of a pigment-based black ink and A FEELING of dread can accompany
noticeably smaller than the 483x329mm of A3+ CMYK dye-based inks has more usually been large-format inkjet printing. Every print you
or so-called ‘Super A3’ photo printers. As well the preserve of Canon bubblejet printers, create might be the last
as being smaller, the aspect ratio of A3 is a worse aiming for combined document/photo printing before you need to buy
fit for photos taken on full-frame or APS-C suitability. As such, there’s a less generous new cartridges, yet Data file
format cameras that have a 3:2 form factor. colour space or ‘gamut’ on offer. It’s equally again. The ET-7750 is
For landscape-orientation prints, an A3 printer true that most A3+ photo printers have soothingly reassuring, Price £565
will crop a little more off the sides of the image. additional grey inks, enabling better fidelity not only because its ink Printing method
Piezo inkjet
Once you’ve used up all the supplied ink, when printing black & white photos. tanks are much larger
Ink technology 4 dye
ongoing running costs are much cheaper than Despite its relatively limited ink range, the and the ink itself is vastly inks, 1 pigment ink
pretty much any cartridge-based printer on ET-7750’s colour rendition is pretty accurate cheaper, but also Printing resolution
the market. Replacement 70ml bottles of the on the whole, with good tonal range. That because you can see the 5760x1440dpi
dye-based inks used for photo printing cost said, automatic ‘photo enhancement’ is ink levels through Colours Cyan,
around £10 each. This works out to about 14p switched on in the printer driver by default. It viewing windows at the magenta, yellow,
per millilitre. Ink costs for most cartridge-based can give snapshots a boost if image files are front. And they barely photo black, pigment
printers are ten times pricier. Even the most taken straight off the camera, but it’s best to drop at all with each black
frugal A3+ printers, like the Canon Pixma cancel the feature by disabling ‘colour successive photo print. Dimensions
Pro-10S and Epson SureColor P600, have ink correction’ for the sake of accuracy, especially However, when it comes 526x415x168mm
costs that are around five times more expensive. with edited images. to outright photo-print Weight 10.5kg
The bigger question is whether there’s a The automatic photo enhancements can quality, the Epson is good Compatibility Mac
compromise in terms of photo print quality make blues and greens in landscapes look rather than great, with a OS X 10.6.8 or later,
compared with more dedicated A3 and oversaturated, and give a reddish tinge to skin relatively limited range of Windows XP or later
A3+ ‘photo printers’. These generally use tones. Contrast and vibrancy can also look a bit ink colours under the
an extended range of eight to ten inks, over the top. Conversely, black & white photo hood. It’s geared more
enabling greater fidelity for both mono and printing is fairly free of unwanted colour casts to a mix of document
colour reproduction. but a little lacking in depth and contrast. and photo printing, Recommended
Ultimately, neither colour nor mono photo rather than being a
quality is as good as that from printers like the photo specialist.
Canon Pixma Pro-100S (dye-based) or
Pro-10S (pigment-based) A3+ models.
Photo-printing speeds are pretty quick, For and against
especially in ‘standard’ quality mode, where
the printer is about twice as fast as the + Cheap ink costs
A4-format ET-7700, at all matching page + Comes with enough ink for 400 A3 photo prints
sizes. At standard/high-quality settings, 6x4in + Avoids the need to change cartridges constantly
photo prints take 22sec/1min 10sec, and A4 + Built-in scanner, card reader and Wi-Fi
prints take 1min 8sec/3min, while A3 prints
– ‘Only’ A3 rather than A3+
take 1min 52sec/5min 7sec. That’s about
average for a dye-based photo printer, and – Limited range of ink colours for photo printing
The two sets of high-capacity ink bottles supplied about twice as fast as most pigment- – Colour and mono photo quality aren’t the best
will be enough for around 400 A3 photo prints based photo printers. – LCD is quite small and not a touchscreen

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ACCESSORIES Testbench
Adonit PhotoGrip Case-friendly

The PhotoGrip’s spring-
clamp design means it’ll
Andy Westlake tests a robust, easy-to-use smartphone work happily with your
favourite phone case.
clamp that improves handling when taking pictures
● £44.99 ● www.adonit.net
THERE’S no doubt that latest-generation

smartphones are seriously useful photographic
tools. But without exception, they have a
serious flaw when used as cameras: their
thin slab-like form means that they’re horribly
insecure to hold. This can discourage you from
attempting certain shots for fear of dropping
your precious device.
Removable
Adonit has designed the PhotoGrip to fix this
problem (perhaps surprisingly, given that its main
release
business lies in making touchscreen styluses).
The Bluetooth shutter
In essence, it’s a chunky rubberised handgrip
button slides out of the grip
for your phone with a basic Bluetooth shutter
for use as a remote control.
release. It will work with most devices, even if
This also reveals a Micro
they have a case fitted – just make sure yours
USB port for
isn’t too wide or narrow to fit before buying.
charging it.
Before you start, you first have to pair the
Bluetooth release to your phone. As usual, you
only have to do this once; however the release
can only be paired with one phone at a time. At a glance
Thereafter, using the PhotoGrip is simplicity
itself. Simply pull the two halves of the clamp ● Handgrip for smartphone
apart and slide in your phone; it’ll be held in photography
place very firmly, with rubberised pads on the ● Built-in Bluetooth shutter
inside preventing any scratching. Holding the
release
shutter button down for a second turns it on,
with a small blue LED lighting up. Then whenever ● Works with Android and
the camera app is active, pressing the button will Apple phones
take a picture. In a neat touch, the Bluetooth ● Holds devices from 65mm
release can even be removed from the to 80mm in width
grip for use as a remote control.
Aside from the grip itself, you get Clip-in stylus
a few extras in the box. There’s a A small red stylus with a
small tripod that can double up transparent disc head clips Stand mode
as a handgrip for video shooting, into the side of the grip, and The PhotoGrip is shaped so
along with a neoprene pouch is intended for use with it can double-up as a desk
that will hold the grip with a large image-processing apps. stand that will hold
smartphone attached, and which
comes with its own neckstrap. A small
your phone in the
upright position.
Tripod socket
A standard 1⁄4in socket in
stylus clips into the side, which could come
the base allows attachment
in handy for changing settings in cold weather.
to either the supplied
Finally a short micro USB cable is included to
mini-stand or a
recharge the shutter release, although with a
full-size tripod.
promised 72,000-shot or 20-hour lifespan,
you may not need to do this very often.
Verdict
I tested the Adonit PhotoGrip with the Huawei ALSO CONSIDER: MIGGO PICTAR
P20 Pro, and found that it completely transforms
the device’s handling when using the camera. It This bulkier and more complex device (£60)
ALL PRICES ARE APPROXIMATE STREET PRICES
holds the phone tightly no matter what angle you includes three dials and a two-stage shutter
point it, and the rubberised grip is comfortable to release. It communicates with your phone
hold and feels completely secure in your hand. using sound, which allows control of a wider
However it’s disappointing that there’s no eyelet range of settings, but means it only works
for a wrist strap, and I ended up screwing one into Recommended with the dedicated Pictar app. Originally
the tripod socket. That small gripe aside, it’s a designed for Apple phones, an Android
great accessory for smartphone photographers. version is also available but hard to find.

Tech Talk
TechSupport
Email your questions to: ap@ti-media.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
How important is it to Queries on changing

edit my photos? a focusing screen
Q Sorry if this is a really
dumb question. I have
been a keen photographer
since I was a teenager. I only had
Q I found myself acquiring
a 300mm manual lens
yesterday for a pittance -
£5 at a local forum (the old-
a basic point and shoot but still fashioned kind of forum, where
managed to capture some nice people gather in real life, mostly
images. Fast forward through to sell stuff). Anyway, I like the lens
studies, marriage and kids and I a lot but the focusing is slow. My
finally got myself a DSLR and a camera is a Pentax K-50 - my first
prime lens. Photography can be DSLR, which I believe allows for
an expensive hobby and it’s easy changing the focusing screens
to keep on buying – so my (it is listed in the manual as
© AARON FOULKES
question is how important is ‘interchangeable Natural Bright
Photoshop or Lightroom? Are Matte III focusing screen’). I have
there any free alternatives. I a few questions as I would like
looked at GIMP but it’s quite tricky.to add a split focus screen but The Perspective Warp tool in
Is it worth persevering with GIMP? obviously wanted to do my Photoshop CC fixes perspective easily
Farah (AP forum) research. Am I correct in thinking
How do I straighten my image?
A
that adding a focus screen with a
When shooting with film, 45° split-image focus is not going
especially transparency
film, there is a much
greater need to get the picture
to affect AF when using regular
KAF2-compatible lenses? How
much is the optical image quality
Q Please find an image I took recently in Hungary, of a
church overlooking Lake Balaton. As you can see, it
is rather all over the shop perspective-wise. I have
Photoshop CS6 and know that it’s quite out of date now. I find my
right because correcting it going to be affected? I would efforts at straightening photos like this one are quite a challenge
afterwards is difficult. Some say assume this depends on the when using the Perspective option in the Transform tool. Am I
that this is a great argument in quality of the screen I receive/ likely to find better tools in the latest Photoshop CC?
favour of film and they revel in purchase? Is AE going to be Aaron Foulkes
A
the required discipline to achieve affected? I have read that a
great in-camera results. It’s a darkening of the optical image is The quick answer is, yes. While Photoshop CS6 had
perfectly valid point of view but to be expected but does this carry some Warp tools which were new and very advanced
an equally valid one is that digital across to the AE metering? Finally, for its time, they didn’t address the requirements of
provides huge opportunities how difficult is it to change the straight-line perspective adjustments. Photoshop CC has
for extracting more out of your focus screen? I am an electrical taken Warp into many new areas, including a new Perspective
images in post-processing, even engineer who takes things apart Warp tool. I am guessing that the problem you had with the
from less-than-perfect images. It a lot, but taking apart cameras, Transform-Perspective tool is that it works on the boundaries
really boils down to your personal I happen to know from past of the image and the adjustment point sticks to the boundary,
preference. My personal goal is experience, is a little finicky. It then unexpectedly jumps from one side to an adjacent one.
to think about my pictures before looks like it’s just a matter of Photoshop Perspective Warp is much more friendly. You simply
I take them so that they are in disconnecting the retainer lever draw a scaffold rectangle onto your image and then pull the
good shape before any post- and it pops out but again, I corners and sides around as much as you need. You can
processing. However, it’s very always like to do my research. redraw the scaffold to adjust different areas of the image if
rare that I find an image doesn’t C P Robertson (AP forum) required and you can repeat these steps as much as you need.
A
require additional work. You can
look at that in a couple of ways: With a bit of finesse and
either you could do better dexterity and a decent replacement, like a Pentax one, the central part of the sensor.
behind the camera or you’re a pair of tweezers, it’s the view should be as good, if Beware of second-hand ones
perfectionist. I like to think that not too difficult to replace the not better, than before. You that are cut down screens
post-processing enhances my focusing screen. Be aware that may have problems when using originally used in old film
inherent creativity. GIMP is quite the screen drops out so make spot-metering as the metering SLRs. Have you thought about
rich in features but its user- sure you’ve secured it with the sensor does transmit through the using the live-view mode on
interface is not very friendly. tweezers. AF won’t be affected focusing screen and the prismatic the rear LCD screen of the
I’d suggest you try some other as the focus sensor is under the nature of the split focusing aid camera instead?
free programs like Paint.net, mirror, not above the screen. in the centre of the screen will
Photofiltre Studio or PhotoScape. As long as you use a good-quality probably divert light away from Q&A compiled by Ian Burley

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Tech Talk
ofessor Newman on… Contact

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Bob Newman takes a considered look at the One year (51 issues) UK £155.50; Europe e259;
USA $338.99; Rest of World £221.99
development of in-body stabilisation Test Reports
Contact OTC for copies of AP test reports.
Telephone 01707 273 773
Back Issues
I
n 2004 Konica Minolta swing, the resultant movement of and y directions. This was detected Contact 01795 662976; support@mags-uk.com
introduced a digital camera the image on the sensor could be using accelerometers, as opposed Advertising
Email liz.reid@ti media.com
that was to change the calculated and the sensor moved to gyros. It required no additional Inserts Call Mona Amarasakera,
design of future cameras to compensate exactly. sensor actuators, since this mode Canopy Media, on 0203 148 3710
radically. It was the Dynax 7D: a In 2006 Pentax produced of movement also required simply Editorial team
Group Editor Nigel Atherton
single lens reflex using the Minolta the second camera with in-body x or y movement for correction. Deputy Editor Geoff Harris
A autofocus lens mount. While image stabilisation, the K100D. Technical Editor Andy Westlake
Reviews Editor Michael Topham
much of the camera’s specification This had one major difference Full-frame mirrorless Features Editor Amy Davies
matched that of its competitors, from the Minolta camera: instead In-body image stabilisation is a Features Editor Ailsa McWhinnie
with the same Sony 6MP CCD of piezoelectric actuators to drive feature in all the new full-frame Technique Editor Hollie Latham Hucker
Production Editor Jacqueline Porter
sensor that was found in every the sensor, it used voice-coil mirrorless cameras, save the Canon Chief Sub Editor Jolene Menezes
competitor except those from motors, an electromagnetic R system which sticks to lens Art Editor Sarah Foster
Senior Designer Steph Tebboth
Canon, one feature stood out. mechanism. The sensor unit had stabilisation only. There is an open Studio Manager Andrew Sydenham
The 7D boasted in-body image two coils mounted on it, one for question as to whether the larger Photo-Science Consultant Professor Robert Newman
Senior contributor Roger Hicks
stabilisation, which offered the each of the x and y directions. sensor will degrade stabilisation Office Manager Hollie Bishop
advantage of providing stabilisation Permanent magnets on the performance with respect to the Special thanks to The moderators of the AP
with any lens fitted to the camera. housing maintained a magnetic smaller sensor systems, such as website: Andrew Robertson, lisadb, Nick Roberts,
The Fat Controller
The system worked using a gyro field parallel with the axis of the Micro Four Thirds. There are two
Advertising
sensor in the camera, which could lens. When a current was passed intrinsic disadvantages associated Commercial Manager Liz Reid 07949 179 200
detect the camera being swung through the coils, a force was with the larger sensor. First, being Commercial Director Dave Stone 07961 474 548
Senior Account Manager Sereena Gill 07583 106879
either vertically or horizontally. exerted in either the x or y larger it will have more mass and Production Coordinator Chris Gozzett 0203 148 2694
Since the camera had an electronic direction, resulting in movement of therefore more inertia. This means Marketing
lens mount, it could determine the the sensor. Both systems had their that it will move more slowly or will Head of Marketing Samantha Blakey
focal length of the lens fitted. With advantages and disadvantages. need more electromagnetic force to Publishing team
Chief Executive Officer Marcus Rich
that information and the angle of drive it, and since the sensor is larger Group Managing Director Andrea Davies
Electromagnetic system it has to move further to correct the Managing Director Gareth Beesley
Editorial Director Simon Collis
The piezo system maintained same angular movements. Its size
Printed in the UK by the Wyndeham Group
the sensor in position when disadvantage is actually squared. Distributed by Marketforce, 5 Churchill Place,
de-energised and provided direct Against this, are a number of London E14. Telephone 0203 787 9001
control of position, while the mitigating factors. First, this size Editorial Complaints We work hard to achieve the highest standards of
editorial content, and we are committed to complying with the Editors’
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substantial errors as soon as possible.
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Limited or its associated companies reserves the right to re use
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Camera) Email: amateurphotographer@ti media.com Website: www.
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lens in addition to horizontal and be magnified less, the stabilisation Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill
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vertical swing. By adding a third system does not have to achieve reproduced, stored in a retrieval or transmitted in any format or medium,
whether printed, electronic or otherwise, without the prior written
voice-coil motor to the sensor the same accuracy. permission of the publisher or the editor. This is considered a breach of
copyright and action will be taken where this occurs. This magazine must
assembly, it could be made to In summary, while the smaller not be lent, sold, hired or otherwise disposed of in a mutilated condition or
in any authorised cover by way, or by trade, or annexed to any publication
The sensor is moved by three voice rotate to correct this movement. sensor system certainly should or advertising matter without first obtaining written permission from
the publisher. TI Media Limited does not accept responsibility for loss
coil motors: one moving the unit up In 2012 Olympus added two be more effective, all other things or damage to unsolicited photographs and manuscripts, and product
and down (bottom), two moving it samples. TI Media Limited reserves the right to use any submissions sent
more axes to provide what was being equal, it’s not beyond the to Amateur Photographer Magazine in any format or medium, including
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Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer

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A7 Mark III A7R Mark III
25.3
megapixels
42.4
megapixels
Gain control of
10 fps
4K Video
10 fps
4K Video
expressive
A7 Mark III Body £1899 A7R Mark III Body £2899
freedom
The Sony A7 III, with newly developed
A7 Mark III Body £1899 A7R Mark II Body £1499 24.2MP full-frame sensor
A7 Mark III + 28-70mm £2069 £1299 inc. £200 Cashback*
A7 Mark II Body £1199 A7S Mark II Body £2299 dŚĞ ƚŚŝƌĚ ŝƚĞƌĂƟŽŶ ŽĨ ^ŽŶǇƐ ƉŽƉƵůĂƌ ϳ ďƌŝŶŐƐ ĞǀĞŶ ŵŽƌĞ ĂĚǀĂŶĐĞŵĞŶƚƐƚŽƚŚĞ
£899 inc. £300 Cashback* A7S Body £1699 ĐŽŵƉĂŶǇƐ ĐŽǀĞƚĞĚ ^ ůŝŶĞƵƉ dŚĞ DĂƌŬ /// ďŽĂƐƚƐ Ă ŶĞǁůǇ ĚĞǀĞůŽƉĞĚďĂĐŬ
A7 Mark II + 28 -70mm £1399 £1499 inc. £200 Cashback* ŝůůƵŵŝŶĂƚĞĚ ϮϰϮDW ĨƵůůĨƌĂŵĞ ǆŵŽƌ Z DK^ ƐĞŶƐŽƌ ĂŶĚ Ă ƌĞĚĞǀĞůŽƉĞĚ/KEy
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A6500 A6000
24 24
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11 fps 11 fps
4K Video ϭ
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A6500 From £1179 A6000 From £429

A6500 Body £1179 A6000 Body £429 A7 III Body
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A6300 Body £699 Lens available
£499 inc. £200 Cashback* separately
A6300 + 16-50mm £849
£649 inc. £200 Cashback* *Sony Cashback ends 31.01.19
*Lumix Cashback ends 31.01.19
Z7
GX9 GH5S G9
Z6
EĞǁ EĞǁ 21 10.2 16
45.7
megapixels
24.5 megapixels megapixels megapixels
megapixels
9.0 fps 12.0 fps 9.0 fps 60 fps 20.3 fps
4K Video 4K Video 4K Video 4K Video 4K Video
Z 7 with Adapter £3499 Z 6 with Adapter £2199 GX9 From £599 GH5S From £1835 G9 From £1149
Z 7 with Adapter £3499 Z 6 with Adapter £2199 GX9 Body £599 GH5S Body £1835 G9 Body £1149
Z 7 + 24-70mm £3999 Z 6 + 24-70mm £2699 £549 inc. £50 Cashback* £1585 inc. £250 Cashback* £949 inc. £200 Cashback*
Z 7 + Adapter + 24-70mm £4099 Z 6 + Adapter + 24-70mm £2799 £1499 £1299
GX9 + 12-60mm £779 GH5 Body G9 + 12-60mm
£679 inc. £100 Cashback* £1349 inc. £150 Cashback* £1049 inc. £250 Cashback*
D850 D500 GX80 + 12-32mm £399 GH5 + 12-60mm £1699 G9 + 12-60mm Leica £1699
Black £1499 inc. £200 Cashback* £1399 inc. £300 Cashback*
45.7
megapixels
20.9
megapixels
GH5 + 12-60mm Leica £1999 G80 Body £629
£1749 inc. £250 Cashback* £579 inc. £50 Cashback*
6.0 fps 10.0 fps G80 + 12-60mm £699
4K Video 4K Video £599 inc. £100 Cashback*
D850 Body £3499 D500 From £1759 RECOMMENDED LENSES:

WĂŶĂƐŽŶŝĐ 8 18mm f2.8 4 ASPH Vario ............£1049 WĂŶĂƐŽŶŝĐ 45 175mm f4.0 5.6 .......................£349
D850 Body £3499 £1574 inc. £185 Cashback* WĂŶĂƐŽŶŝĐ 12 35mm f2.8 II Lumix G X ............£799 WĂŶĂƐŽŶŝĐ 100 300mm f4 5.6 II ......................£487
*Nikon Cashback ends 15.01.19 D500 + 16-80mm £2549 WĂŶĂƐŽŶŝĐ 14 42mm f3.5 5.6 G X ASPH OIS....£299 WĂŶĂƐŽŶŝĐ 100 400mm f4 6.3 ........................£1269
E-M10 III
Black or Silver X-H1 X-T3
OM-D E-M1 II £175
K-1 II
Cashback* Black Black or silver
20
megapixels 36.7 26.1
megapixels
E
Ğǁ
megapixels
60 fps 17.2 6.4 fps 24.3 20 fps
megapixels megapixels
4K Video 8.6 fps &Ƶůů &ƌĂŵĞ
CMOS Sensor 8.0 fps 4K Video
OM-D E-M1 II From £1499 E-M10 III From £579 K-1 II Body £1799 X-H1 From £1591 X-T3 From £1299
OM-D E-M1 II Body £1499 OM-D E-M10 III Body £579 K-1 II Body £1799 X-H1 £1591 X-T3 Body £1299
£1324 inc. £175 Cashback* £494 inc. £85 Cashback* KP Body £920 £1361 inc. £230 Cashback* X-T3 + 18-55mm £1599
OM-D E-M1 II + 12-40mm £2099 OM-D E-M10 III + 14-42mm £629 K-70 from £599 X-H1 + Grip £1852 X-T2 Body £999
£1924 inc. £175 Cashback* £544 inc. £85 Cashback* £1622 inc. £230 Cashback* £749 inc. £250 Cashback*
RECOMMENDED LENSES: RECOMMENDED LENSES: FUJINON LENSES
KůǇŵƉƵƐ 25mm f1.2 Pro.................................................................................................. £889 WĞŶƚĂǆ 50mm f1.4 FA*.........£1199 &ƵũŝĮůŵ 23mm f2 R WR XF........................................................................ £409
KůǇŵƉƵƐ 45mm f1.2 Pro.................................................................................................. £1049 WĞŶƚĂǆ 100mm f2.8 Macro ..£477 £364 inc. £45 Cashback*
KůǇŵƉƵƐ 12-40mm f2.8 Pro............................................................................................. £759 WĞŶƚĂǆ 15-30mm f2.8 .......... £1449 &ƵũŝĮůŵ 10 24mm f4 R OIS XF Fujinon..................................................... £829
KůǇŵƉƵƐ 12-100mm f4 Pro.............................................................................................. £1599 WĞŶƚĂǆ 16-85mm f3.5-5.6.... £499 £694 inc. £135 Cashback*
KůǇŵƉƵƐ 7-14mm f2.8 Pro............................................................................................... £929 WĞŶƚĂǆ 28-105mm f3.5-5.6 ..£477 &ƵũŝĮůŵ 16 55mm f2.8 LM WR Fujinon ................................................... £899
KůǇŵƉƵƐ 14-150mm f4-5.6.............................................................................................. £469 WĞŶƚĂǆ 55-300mm f4.5-6.3 ..£389
*Olympus Cashback ends 15.01.19 Ύ&ƵũŝĮůŵĂƐŚďĂĐŬĞŶĚƐϭϬϬϭϭ
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Pursue perfection – Capture the future with the new

The new EOS 5D Mk IV full-frame mirrorless EOS R
From the darkest shadow to the brightest Canon joins the full-frame
highlight, a 30-megapixel CMOS sensor ŵŝƌƌŽƌůĞƐƐ ƉĂƌƚǇ ǁŝƚŚ ƚŚĞ K^ Z
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ dŚŝƐ ϯϬϯŵĞŐĂƉŝǆĞů ĐĂŵĞƌĂ ƐƉŽƌƚƐ
ĐŽŶĚŝƟŽŶƐ ǁŝƚŚ Ă ŵĂǆŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚǇ ƵĂů WŝǆĞů DK^ & ĂŶĚ ŚĂƐ ĂŶ
ŽĨ /^K ϯϮϬϬϬ ^ŚŽŽƚ ƵĂů WŝǆĞů Zt ĮůĞƐ impressive 5,655 AF points for
ĨŽƌ ƉŽƐƚƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ ǇŽƵ+ǀĞ ƋƵŝĐŬ ƉƌĞĐŝƐĞ ĂƵƚŽĨŽĐƵƐ ĨŽƌ ƐƟůůƐ
never seen before. and video.
K^ ϱ DĂƌŬ /s Body £3249
EOS R Body £2349
EOS R + 24-105mm £3269
RF 50mm f1.2 L USM £2349
30.4 7.0 &Ƶůů &ƌĂŵĞ
RF 28-70mm f2 L USM £3049 30.3 780 4K30P
megapixels fps CMOS sensor megapixels fps movie mode
K^ ϱ DĂƌŬ /s Body £3249 EOS R Body From £2349

EOS 77D EOS 7D Mark II EOS 6D Mark II EOS 1D X Mark II
26.2
megapixels
24.2 20.2 6.5 fps 20.2
megapixels megapixels megapixels
ϭϬ'ϬƉ
6.0 fps 10.0 fps movie mode 16.0 fps
& Ƶůů&ƌĂŵĞ ϭϬ'ϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
CMOS sensor movie mode CMOS sensor CMOS sensor
EOS 77D From £699 EOS 7D Mark II Body £1349 EOS 6D Mark II from £1549 EOS 1D X Mark II Body £5299
£614 inc. £85 Cashback* EOS 7D Mark II Body £1349 EOS 6D Mark II Body £1549 EOS 1D X Mark II Body £5299
EOS 77D + 18-55mm £819 EOS 6D Mark II + 24-105mm £1834
EOS 77D + 18-135mm £1079
£994 inc. £85 Cashback* *Canon Cashback ends 17.01.19
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• 10cm Min Height
MT055XPRO3
• 170cm Max Height
• 9cm Min Height
ĞĨƌĞĞ ϮEϭ
dƌĂǀĞů dƌŝƉŽĚ
• 150cm Max Height
• 21cm Closed Length
• 1Kg Max Load
Quality used cameras, lenses • 40cm Min Height
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and accessories ^ĞƌŝĞƐ ϱ ϲ^ ' ....................................... £1099 'ŽƌŝůůĂƉŽĚϱϬϬ ................£34.95
with 12 months warranty* ^ĞƌŝĞƐ ϱ ϰ^ y> ...................................... £999 MT055XPRO3.................................... £149 ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ<ŝƚϭ< .............£51.95
^ĞƌŝĞƐ ϱ ϰ^ > ........................................ £819 MT055CXPRO3 Carbon Fibre ............. £299 Available in Twist and Lever 'ŽƌŝůůĂƉŽĚ<ŝƚϯ< .............£84.95
ǁĞǆĐŽƵŬ ^ĞƌŝĞƐ ϱ ϯ^ > ........................................ £749 MT055CXPRO4 Carbon Fibre ............. £319 ................................... from £199 'ŽƌŝůůĂƉŽĚ<ŝƚϱ< .............£138
ΎǆĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ
&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ *Canon Cashback ends 17.10.18

DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
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£269
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£455 £539 £60 Cashback* £699 £569 £259 £479 £659 £249 £619 £134.99 £279 £349 £249
&ůĂƐŚŐƵŶƐ DĂĐƌŽ ŇĂƐŚ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
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44 AF-2 M400 52 AF-1 64 AF-1 15 MS-1 & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ Macro Flash i40 i60A Sekonic L-308X WƌŽ>ϰϳ)Z >)ϱ)
£169 £199 £199 £309 £299 £109 £169 £329 £159 £239 £269.95 £499.95 £714.95
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй Prices
ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌǇΎΎ ĂǀĂŝůĂďůĞ
on orders over £50 (based on a 4-day delivery service).
For orders under £50 the charge is £2.99** (based on a
ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ &Žƌ EĞǆƚ tŽƌŬŝŶŐ ĂǇ ĞůŝǀĞƌǇ
our charges are £4.99**. Saturday deliveries are charged
at a rate of £7.95**. Sunday deliveries are charged at a
sŝĞǁĮŶĚĞƌ 6m Background FlashBender2 Wall ZĞŇĞĐƚŽƌ rate £8.95**.;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ ƚŽ E/ Žƌ
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Prices subject to change. Goods subject to availability. Live
&ůĞǆddϱ£199 £229 £149 £54 £169.99 £37.95 System £94.99 £61.99 From £33.99 £28.99 Chat operates between 9.30am-6pm Mon-Fri and may
not be available during peak periods. †Subject to goods
Kī ĂŵĞƌĂ being returned as new and in the original packaging.
ŇĂƐŚ ŽƌĚ Where returns are accepted in other instances, they may
From £33 be subject to a restocking charge. ††Applies to products
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
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ĞŇĞĐƚŽƌƐ ƐƉĞĐŝĮĐĂůůǇ ĚĞƐĐƌŝďĞĚ ĂƐ /E Žƌ ŝŶĐŽŵƉůĞƚĞ ;ŝĞ ďĞŝŶŐ ƐŽůĚ
ϱϬĐŵ £24 for spares only). Wex Photo Video is a trading name of
Collapsible ϳϱĐŵ £39 ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
Ice Light 2 Umbrella Flash Kit ǌǇďŽǆ ^ƉĞĞĚ ǌǇďŽǆ ,ŽƚƐŚŽĞ ǌǇĂůĂŶĐĞ'ƌĞǇ Background dƌŝ&ůŝƉ <ŝƚƐ Urban Collapsible ϱĐŵ £62 dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ! ĂŶĚ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ
£549 £109 Lite 2 £47 From £117 White £22 Support £139 From £71 £163 ϭϮϬĐŵ £76 £26 ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲ!ϳϲ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ
2018.*CASHBACKS ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
with the manufacturer. Please refer to our website for
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Lenses EF S 35mm f2.8 Macro IS STM ..................... £369 70 200mm f2.8E AF S FL ED VR .....................£2549 24 70mm f2.8 Di VC USD G2 .........................£1199
£324 inc. £45 Cashback* 70 300mm f4.5 6.3 G ED DX AF P VR ............£329 70 200mm f2.8 Di VC USD G2 .......................£1289
EF S 60mm f2.8 USM Macro......................... £439 200-500mm f5.6E AF-S ED VR .......................£1299 70 210mm f4 Di VC USD................................£649
EF S 10 18mm f4.5 5.6 IS STM ..................... £239 70 300mm f4 5.6 SP Di VC USD.....................£329
CANON LENSES EF S 10 22mm f3.5 4.5 USM ........................ £529 100 400mm f4.5 6.3 Di VC USD.....................£749
EF 35mm f1.4L II USM................................... £1649 EF S 15 85mm f3.5 5.6 IS USM..................... £689 150 600mm f5 6.3 SP Di VC USD...................£799
EF 35mm f2 IS USM....................................... £519 EF S 17 55mm f2.8 IS USM ........................... £779 SIGMA LENSES -with 3 Year Manufacturer 150-600mm f5-6.3 VC USD G2 ......................£999
EF 40mm f2.8 STM........................................ £199 £679 inc. £100 Cashback* Warranty
EF 50mm f1.2L USM...................................... £1339 EF S 18 200mm f3.5 5.6 IS............................ £499 20mm f1.4 DG HSM Art .................................£699
EF 50mm f1.4 USM ....................................... £349 EF S 55 250mm f4 5.6 IS STM ...................... £299 24mm f1.4 DG HSM .......................................£649
EF 50mm f1.8 STM........................................ £119 TS E 24mm f3.5L II ........................................ £1799 30mm f1.4 DC HSM .......................................£359 SONY E-MOUNT LENSES
EF 85mm f1.2L II USM.................................. £1929 TS E 50mm f2.8L Macro................................ £2199 35mm f1.4 DG HSM .......................................£649 FE 24mm f1.4 G Master .................................£1449
EF 85mm f1.4L IS USM.................................. £1379 TS-E 135mm f4 L Macro................................ £2199 50mm f1.4 DG HSM Art . ..............................£570 FE 28mm f2 ....................................................£349
£1279 inc. £100 Cashback* ΎĂŶŽŶĂƐŚďĂĐŬĞŶĚƐϭϳ(Ϭϭ(ϭ) 85mm f1.4 Art DG HSM .................................£999 FE 50mm f1.8 .................................................£179
EF 85mm f1.8 USM ....................................... £399 105mm f2.8 APO EX DG OS HSM Macro .......£359 FE 85mm f1.4 G Master .................................£1649
EF 100mm f2.8 USM Macro.......................... £519 8 16mm f4.5 5.6 DC HSM..............................£599 £1549 inc. £100 Cashback*
EF 100mm f2.8L Macro IS USM .................... £899 10 20mm f3.5 EX DC HSM .............................£329 FE 85mm f1.8 .................................................£599
EF 135mm f2 L USM...................................... £959 NIKON LENSES 17 70mm f2.8 4.0 DC OS HSM ......................£349 £549 inc. £50 Cashback*
EF 300mm f4 L IS USM.................................. £1269 20mm f1.8 G AF S ED.................................... £729 18 35mm f1.8 DC HSM .. ...............................£642 FE 100mm f2.8 G Master...............................£1499
EF 500mm f4 L IS II USM............................... £8599 24mm f1.4 G AF S ED.................................... £2179 18 250mm f3.5 6.3 DC Macro OS HSM.........£349 £1399 inc. £100 Cashback*
EF 11 24mm f4L USM ................................... £2789 35mm f1.8 G ED AF S.................................... £489 18 300mm f3.6 6.3 C DC Macro OS HSM......£369 FE 12 24mm f4 G ...........................................£1449
EF 16 35mm f2.8L III USM ............................ £2045 35mm f1.8 S Lens.......................................... £849 24 70mm f2.8 DG OS HSM ............................£1079 £1369 inc. £80 Cashback*
EF 16 35mm f4L IS USM ............................... £949 50mm f1.4 G AF S ......................................... £415 24 105mm f4 DG OS HSM .............................£599 FE 16 35mm f2.8 G Master............................£1995
EF 17 40mm f4 L USM .................................. £699 50mm f1.8S L ................................................ £599 50 100mm f1.8 DC HSM Art .........................£949 £1895 inc. £100 Cashback*
EF 24 70mm f2.8L IS USM II.......................... £1729 60mm f2.8 G AF S ED.................................... £579 70 200mm f2.8 EX DG OS HSM .....................£899 FE 24 70mm f2.8 G Master............................£1699
EF 24 70mm f4L IS USM ............................... £799 85mm f1.8 G AF S ......................................... £469 100 400mm f5 6.3 DG OS HSM.....................£699 £1599 inc. £100 Cashback*
£624 inc. £175 Cashback* 105mm f2.8 G AF S VR IF ED Micro .............. £849 120 300mm f2.8 OS.......................................£2699 FE 24 70mm f4 ZA OSS Carl Zeiss T* ............. £749
EF 24 105mm f3.5 5.6 IS STM ...................... £414 300mm f4E AF S PF ED VR ............................ £1709 150 600mm f5 6.3 C DG OS HSM..................£789 £669 inc. £80 Cashback*
EF 24 105mm f4L IS II USM........................... £999 500mm f5.6E PF ED VR AF S......................... £3699 150-600mm f5.0-6.3 S DG OS HSM ...............£1329 FE 70 200mm f2.8 G Master..........................£2299
£889 inc. £110 Cashback* 8 15mm f3.5 4.5E ED Fisheye....................... £1229 £2199 inc. £100 Cashback*
EF 28 300mm f3.5 5.6 L IS USM ................... £2289 10 24mm f3.5 4.5 G AF S DX ........................ £799 FE 70 300mm f4.5 5.6 G OSS......................... £1099
EF 70 200mm f2.8 L IS III USM...................... £2149 16 80mm f2.8 4E ED AF S DX VR.................. £989 £1019 inc. £80 Cashback*
EF 70 200mm f4 L IS II USM.......................... £1299 18 200mm f3.5 5.6 G AF S DX VR II.............. £429 TAMRON LENSES - with 5 Year Manufacturer FE 100 400mm f4.5 5.6 OSS G Master ..........£2499
EF 70 300mm f4 5.6 L IS USM ...................... £1229 18 300mm f3.5 5.6 ED AF S VR DX................£989 Warranty £2399 inc. £100 Cashback*
EF 70 300mm f4 5.6 IS II USM...................... £464 24 70mm f2.8 G ED AF S................................£1699 85mm f1.8 SP Di VC USD ...............................£749
£354 inc. £110 Cashback* 24 70mm f2.8E AF S ED VR............................£2099 16 300mm f3.5 6.3 Di II VC PZD Macro.........£499
EF 100 400mm f4.5 5.6L IS USM II ............... £1999 24 120mm f4 G AF S ED VR ...........................£1079 18 200mm f3.5 6.3 Di II VC............................£199
£1699 inc. £300 Cashback* 28-300mm f3.5-5.6 G ED AF S VR..................£939 18-400mm f3.5-6.3 Di II VC HLD ....................£599 Ύ^ŽŶǇĂƐŚďĂĐŬĞŶĚƐϯϭ(Ϭϭ(ϭ)
Photo Bags & Rucksacks ŽŵƉƵƟŶŐ

Pro runner BP 350 AW Flipside 300 AW II
II Backpack Lifestyle Windsor Anvil Slim Professional Hadley Pro
Messenger S: Backpack Original
Purpose-built • DSLR, with up Khaki PIXMA Pro 100S ....£359
to organise to 70-200 mm
This practical PIXMA Pro 10S ......£499
messenger bag
and protect attached lens, or
features an easily ImagePROGRAF PRO-1000
more gear, and compact drone ...............................£899
accessible top
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Photo Critique
Final Analysis
Roger Hicks considers… ‘Armenian Patriarch,
American Colony, Jerusalem’, c.1900-1910
F
ounded in 1881, the American
© US L BRARY OF CONGRESS
Colony in Jerusalem was a
self-supporting Christian
utopian and philanthropic
community. They were a fascinating
bunch and from about 1900 onwards they
ran a photographic division with several
photographers. They photographed many
things: historic buildings, local people at
work, and of course worthies.
Harootiun Vehabedian was the
Armenian Patriarch of Jerusalem and
there would have been a steady demand
from the faithful for pictures of him. I first
noticed this picture as a thumbnail when
I was browsing through the wonderful
Library of Congress online collections:
that extraordinary headgear, apparently
of watered silk, is hard to miss. A bigger
version revealed not only his suitably
patriarchal visage but also the cascade
of medals and crosses on his chest, his
massive sleeves, his rosary and the
strangely gathered fabric at his waist.
Kipling’s phrase, ‘more than oriental
splendour’, immediately came to mind.
Inherently theatrical
Then I started looking at it as a
photographer. It’s almost certainly a
daylight studio with a big north-facing
roof light (look at the shadows) because
location photography with such even
lighting would have been difficult or
impossible. The uncluttered background
argues for the same: the buttoned sofa and
the ornately carved table could either have
been props, or borrowed from elsewhere
in the colony. The left hand side of the
background is however a puzzle. Is it
painted? Or a shadow of something, from
a lamp to camera left? Whatever it is, it
well illustrates that an absolutely plain not so cluttered as to distract attention All in all, it is a superbly executed
background is rarely as attractive as one from the principal subject. photograph, and it provides a wonderful
that has some texture or pattern, but is The posing must have been difficult. To a example of how quickly things can change.
certain extent, all churches are inherently Little more than 100 years ago the
theatrical, and the Patriarch would be the Ottoman Empire still existed; the
‘The rosary illustrates an lead character, the centre of attention. Armenian Genocide had yet to happen;
old portraitists’ trick: Did he come up with that thoughtful look, and the State of Israel was only a dream.
staring meditatively into the distance, or The American Colony itself would
asking someone to hold was it suggested? The rosary illustrates dissolve in the 1950s, though improbably
something with which they an old portraitists’ trick: asking someone
to hold something with which they are
it lives on as a hotel. More than most
photographs, this one is a voyage in
are familiar’ familiar, be it a pipe, a bracelet or a rosary. time and space.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Oscar Espinosa

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Saturday 15 December 2018

Passionate about photography since 1884

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