ALL YOU NEED.

BREAK FREE.
PRE-O
RDER
BONU
O F S
Ask in- FER!
store fo
Ends 0 r detail
s.
6/01/20
20

JUST RIGHT.
Sometimes a camera comes along that really hits the sweet-spot.
The new E-M5 Mark III is a beautifully balanced combination of size and
power. On the surface it is a discreet travel companion that can go with
you anywhere, but beneath the weatherproof skin are levels of performance
inherited from the flagship E-M1 range giving it hidden talents.
All you need to explore wherever and whenever you like. Find out more
at your local dealer or go to olympus.co.uk. #breakfreewitholympus
 ONLY
Saturday 26 October 2019
£2.99
Olympus OM -D E -M 5 III
latest update
Hands on with the
y mirrorless marvel
FIRST LOOK
to this tin

Passionate about photography since 1884

3 you need
£500 bargain
Why the Nikon D7200
filters
for successful landscapes
No camera
required
is a canny used buy Get creative with a
flatbed scanner

Nikon Z
24-70mm f/2.8 S
Nikon’s first pro zoom for
the Z mount is a stunner APOY winners
Your best street photography

Tested Formatt Hitech Firecrest 85mm filter kit ● Manfrotto Advanced2 hybrid backpack
 C AT C H T H E W I N T E R L I G H T
W I T H N I KO N

Photographer: ©Alex Stead

Get instant discounts on selected Nikon cameras and NIKKOR lenses.

The time is now! Offer available from 15th October 2019 until 15th January 2020.
For further information and full terms and conditions please visit nikonpromotions.co.uk
Available at participating retailers.
 7days
A week in photography
COVER PICTURE © MARK BAUER

#NoFilter is a popular If you’re as sick of this wet weather as

In this issue
8 First look
Andy Westlake gets an
early look at the Olympus
OM-D E-M5 Mark III
11 Christmas cover
competition
Get your image on the cover
of our Christmas issue!
hashtag on social media I am then you’ll enjoy our feature on creating
as a metaphor for proudly images at home using your flatbed scanner.
showing yourself and your life We also take a first look at the new Olympus
warts and all, with no editing. OM-D E-M5 Mark III, test Nikon’s first pro-
But in landscape photography there are three
filters you should certainly not be without –
spec zoom for the Z system, and look back at
its D7200, now a great-value used buy. If you
as we mention on this week’s cover. (No, enjoy the variety of features we present every
the Cokin rainbow filter is not one of them). week why not subscribe? You’ll find the
Turn to page 18 to learn all about them. details on page 57. Nigel Atherton, Editor
Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.
Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com.
Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.

12 Photo North 2019 amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer

co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
Amy Davies eyes up some
festival highlights
16 It’s good to share
A top selection of readers’
pictures from social media
This week in 1938
18 The 3 magic filters
TREASURES FROM THE HULTON ARCHIVE
It’s the magic number. See
how a pro gets top results
with just three filters
27 APOY Round Six
A wonderful mix of the top
30 winners of Round Six of
our competition – Street Life
36 Scanner art
What, no camera? Indulge
your creativity using a
scanner and found objects
40 Food in a flash
Rotolight’s all-in-one flash
for perfect food shots
45 Nikon Nikkor Z
24-70mm f/2.8 S
Michael Topham tests
Nikon’s first professional
zoom for the Z mount
© GETTY IMAGES

49 Formatt Hitech
Firecrest 85mm
ND Starter Kit
Andy Westlake sees if this
kit can do as good a job as Commissionaire’s Dog by Kurt Hutton
a pricey 100mm set-up 22 OCTOBER 1938: A hotel commissionaire talks to In the Heart of the Empire. Today, dachshunds are a

Regulars a small dachshund in Piccadilly Circus, London. Kurt

Hutton was a German-born photographer who went
very popular breed of dog, but during the First and
Second World Wars, their association with Germany
on to become a pioneer of photojournalism in Britain. made them less so. Stories suggest they were
3 7 days
After migrating to England in 1934, he went to work routinely abused or even killed in the streets, with
24 Inbox for Weekly Illustrated, and would later go on to become owners accused of being ‘German sympathisers’. Taken
42 Join the Club one of the founding staff of the Picture Post, where this just one year before the outbreak of the Second World
image was first published in 1938 for a story titled War, we wonder what the fate of this little chap was.
56 Accessories
57 Tech Talk The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company
66 Legends in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.

3
 NEWS ROUND-UP
The week in brief, edited by Amy Davies

The 100 millionth Canon EOS-series camera

An EOS R mirrorless camera was the 100 millionth EOS-series camera to
roll off the Canon production line. The very first EOS model was the
EOS 650, an SLR, which launched in 1987 and featured the world’s
first fully electronic lens mount. Production originally began in
Canon’s Fukushima plant and now takes place at various locations.

Sir Jonathan Ive

© NATIONAL PORTRAIT GALLERY, LONDON

portrait unveiled
Photographed by Andreas
Gursky, this image of Sir
Jonathan Ive, Apple’s chief
design officer, was taken
at Apple’s new
headquarters at Apple
Park, California. Unveiled
at the National Portrait
Gallery, it is the only
portrait commission
Gursky has undertaken for
a public museum.

Societies of Photographers: convention 2020

Canon, Sony, Fujifilm, Elinchrom, Panasonic, Rotolight, Pentax
and Epson are just some of the names you can expect to see at
next year’s The Societies of Photographers 2020 London Photo
Convention & Trade Show. It will take place from 22-25 January in
Hammersmith, London. More information and tickets can be
found at thesocieties.net/convention.

Manfrotto updates
Lykos LED light
Designed for both
photographers and
videographers, the new Lykos
© DAN EL TR M WWW BWPAWARDS ORG

2.0 LED light is a two-in-one

solution offering a daylight and
a bicolour setting. The compact
light is also water-resistant
and can be controlled through a
dedicated app for iOS and
Lomography mono

film stock
The new Lomography Berlin
Kino Black & White Formula
BIG
Android. Available from
November, the Lykos 2.0 will
set you back £259.95. Overall winner of the British
Wildlife Photography Awards

picture
2019 35mm ISO 400 will be DESPITE the litter and crowds, this grey
available in both 35mm and heron was spotted hunting fish and using the
120 (medium format). Designed grill of a bridge for cover. ‘Presumably the fish
to produce a ‘timeless classic’ were taking shelter among the fallen leaves
look, the film will be available and plastic bottles,’ suggests photographer
from November in packs of five Daniel Trim. ‘Grey herons thrive around
or ten rolls with prices starting London’s waterways, but they also do well in
from £39.50.

4 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 £15,000
more urban settings such as the smaller parks
SOURCE: WELLCOME.AC.UK

and canals.’ Words & numbers

Daniel’s shot is the overall winner of the
British Wildlife Photography Awards, now in
its tenth year, and he takes home the top
prize of £5,000. You can view the winning
pictures and a selection of highly
commended entries at bwpawards.org or buy
the book, British Wildlife Photography Awards
10, published by Ammonite Press.
No one moment is most
important. Any moment
can be something Total prize money to be awarded to
the overall winner of the Wellcome
Photography Prize 2020. Category
Garry Winogrand winners will receive £1,250 each
American street photographer (1928-84)

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 5

 At just 370g
the Sigma fp is
the world’s
lightest
full-frame
mirrorless
Nikon confirms
camera

Z lens road map

AS WELL as announcing
the brand new Nikon Z
50 (see First Look, Nikon’s lens
19 October), Nikon has also road map for
released a lens road map for mirrorless
its mirrorless cameras, giving cameras

Sigma announces price users an idea of what to

expect over the next couple of
for ‘world’s smallest years. Joining those already
available, we can see more
full-frame mirrorless’ prime lenses, macro lenses,
zoom lenses and those which
AFTER BEING revealed earlier in the are specifically designed for
year, pricing information for the the new DX-format Z 50.
upcoming Sigma fp camera has now been Speaking at the launch
announced. Weighing a mere 370g, the event in London, a Nikon
camera is the smallest and lightest full-frame representative said that by the
mirrorless camera in the world. The end of 2021, focal lengths
24.6-million-pixel Sigma fp is part of the between 14 and 600mm will
L-Mount Alliance, and as such it will take be available. To date, the
L-mount lenses from Sigma, as well as Leica longest focal length available
and Panasonic. Other features include a for full-frame Z cameras is
fixed screen, a frame rate of 18fps and the 85mm, so it’ll likely be
ability to select a sensitivity as low as ISO 6. welcome news for sports and
Sigma is expecting stock of the fp to be action photographers to see
available towards the end of the year, at a planned lenses such as a
price of £1,999. Look out for a hands-on 70-200mm f/2.8, 100-
first look of the camera in next week’s issue. 400mm and a 200-600mm
making an appearance.
Arguably more of a proof of sharpness, an extremely portrait-orientation controls,
concept than anything else, shallow depth of field and but allows hot-swapping of
Nikon also announced the beautiful bokeh. If you’re keen batteries during video
pricing for its 58mm f/0.95 to get your hands on one, recording. It should also help
The camera will take L-mount lenses from ‘Noct’ lens, which comes in at sales will start at the end of to create a better balance
Sigma, Leica and Panasonic an eye-watering £8,299. The the month. when using Z cameras with
manual-focus prime lens has Nikon has also announced a those upcoming long lenses.
been designed for ultimate battery pack for its Z 6 and The price is £179, and it will
image quality with high Z 7 cameras. This offers no be available from November.

Tributes paid to Aberystwyth photographer

© DYFED POWYS POLICE

AP IS sad to report the was last seen on Thursday

death of photographer 3 October, before being
Keith Morris, known locally as reported missing the next day.

Subscribe to
as ‘Mr Aberystwyth’, who was
found in the water at Borth
beach, Ynyslas, Wales. Keith,
61, whose images have
appeared on the pages of AP,
was particularly highly
regarded for his landscape
and weather photography. The
A spokesperson for
Aberystwyth Lifeboat Station
told the Cambrian News, ‘Keith
was a great photographer and a
great supporter of the RNLI. His
photos of storms, starlings and
daily life put Aber [sic] on the
front page across the world and

SAVE 40%
* circumstances of his death were did so much to promote all that
not yet confirmed as AP went Aber is.’ Our thoughts are with Keith Morris aka ‘Mr Aberystwyth’
to press, but it is understood he Keith’s friends and family. will be sadly missed

Visit amateurphotographersubs.co.uk/AKY9. For the latest news visit www.amateurphotographer.co.uk

* when you pay by UK Direct Debit

6 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 How much is your camera
gear worth?
If there’s anything in your kit bag you’re no longer using, get an instant valuation from MPB online.
Whether you’re selling or upgrading, we make trading in easy - with free insured shipping and fast
funds straight to your bank account.

Trade, upgrade or get paid with MPB.

Change gear.
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@mpbcom
Olympus OM-D E-M5
Mark III
Andy Westlake takes a first
look at this updated compact,
lightweight but fully featured
Micro Four Thirds model

Connectors
The 2.5mm remote
release and 3.5mm stereo
mic sockets sit behind their
own covers for improved
weather-sealing. They’re
joined by Micro USB and
HDMI ports.
Bluetooth
Combined with the built-
in Wi-Fi, this enables
automatic transfer of images
to your phone, even when the
camera is switched off and
packed away in a bag.
At a glance

Rugged £1,100 body only

build ■ 20.4MP Four Thirds
Unlike most small cameras, sensor
the E-M5 III includes extensive
sealing to make it dust-, ■ 121-point phase
splash- and freeze-proof detection autofocus
when used with similarly ■ 10fps shooting with
protected lenses. continuous AF
■ 5-axis in-body
stabilisation
■ Cinema 4K video
recording
Power
The Mark III uses the
BLS-50 battery, which is
slimmer than the BLN-1
employed by the previous E-M5
models. It’s rated for 310 shots
per charge and supports
USB charging.

IT’S NOW almost eight years since
Olympus introduced the original
OM-D E-M5, and with it, the concept of
a small, fully featured and weather-sealed
mirrorless camera aimed squarely at
enthusiast photographers. Its successor,
the E-M5 Mark II, added a whole slew of
updates and improvements early in 2015.
But the camera market has moved
on considerably since, with other
manufacturers offering multiple new
models in the meantime. So news of
the latest iteration feels long overdue.
In essence, the Mark III retains most of
the core characteristics that have made
the E-M5 range so appealing. Its petite
body measures just 125 x 85 x 50mm,
yet finds space for an extensive
complement of external controls, along
with full weather-sealing and Olympus’s
class-leading 5-axis in-body image
stabilisation. Compared to its predecessor,
it gains key features from the flagship
OM-D E-M1 Mark II, most notably the
same 20MP sensor that includes on-chip
phase detection for radically superior
autofocus. Despite this, it is 55g lighter,
thanks mainly to the body shell being
made from polycarbonate rather than
metal – which is sure to be a controversial
change for existing E-M5 lovers.
Leaving that aside for now, in almost
every other respect the Mark III looks like
a well-judged update, with a range of
internal improvements and external
design tweaks that aim to bring its core
capabilities bang up to date with the
competition. Perhaps the biggest practical
improvement that users will notice straight
away is the phase-detection AF system,
which on the E-M1 Mark II we found to
be extremely capable of keeping up
with fast-moving subjects. This, in turn,
promises continuous shooting with AF
tracking at 10 frames per second –
double the rate the E-M5 II could hit
at the best of times. Updated control
algorithms are designed to make the

8 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Like previous E-M5
models, the Mark
III is small but
handles well

The ECG-5 grip should improve handling with large lenses

focus less likely to jump from the desired
subject to the background.
In-body image stabilisation (IBIS) has
long been one of Olympus’s biggest
strengths, and a new downsized but
more efficient mechanism is said to
deliver up to 5.5 stops stabilisation on its
own, or 6.5 stops when used with one of
the firm’s IS lenses. In practice, this gives
an unmatched ability to shoot handheld
at slow shutter speeds, allowing you to
keep the ISO low in poor light, or use
creative motion-blur effects.
There are plenty more advanced
features on board, many of which you
won’t find elsewhere. Pro Capture mode
buffers up to 14 frames from before the
shutter button is fully pressed, enabling
you to capture fast, unpredictable action
when you wouldn’t normally have time
to react. There’s also Live Composite for
light painting or shooting light trails; focus
bracketing and stacking for close-up
photography; optional in-camera
rectilinear conversion when shooting
with the M.Zuiko Digital ED 8mm F1.8
Fisheye Pro lens; anti-flicker shooting
under fluorescent lighting; and a
tripod-based 50MP high-resolution
composite mode.
The Mark III also gains a major
upgrade to its video abilities and is now
capable of recording Cinema 4K footage
at 24fps and 237Mbps. In combination
with the IBIS, this should provide a
capable option for ‘run and gun’
the move with lightweight kit. Other
features include Full HD recording at up
to 120fps for slow-motion work, and a
built-in microphone socket for higher
quality audio.
Updated control layout
Olympus has also made plenty of
external design tweaks, which together
give an improved shooting experience
straight out of the box. The exposure
mode dial has moved beside the twin
electronic control dials to match the
other models in the OM-D range, and
gains both a dedicated B position for
quicker access to the firm’s uniquely
useful long-exposure modes, and a C
position for saving custom user set-ups
for quick recall. There are new dedicated
buttons for ISO, exposure compensation
and drive mode, and the AEL button
is much better positioned, as is the
surrounding switch that’s used to
select between focus modes. Slightly
disappointingly there’s no AF joystick, so
users still have to make do with using the
d-pad to move the focus area.
Like its predecessor, the Mark III sports
a large 2.36m-dot electronic viewfinder,
but it’s now of the OLED type rather
than LCD, which Olympus says provides
improved brightness. An extended
eyepoint of 27mm should allow more
comfortable viewing for those who wear
glasses. Below it, the fully articulated
touchscreen LCD provides excellent
External grip
FOR THOSE who wish
to shoot with larger,
heavier lenses, Olympus
is offering a new matched
grip, in the shape of the
ECG-5. Specifically
designed for the Mark III,
it’s superficially similar to
those made for previous
E-M5 models, in that it
screws into the base of
the camera to provide a
significantly deeper and
taller grip, topped by its
own shutter button and
electronic control dial.
dial are placed on top of the grip
But it differs from the
previous generations in not
supporting the addition of
a vertical grip for portrait
format shooting. Those
interested in video work
will also be disappointed
to learn that unlike with
the Mark II’s HLD-8G grip,
there’s no headphone
socket for monitoring audio
during recording.
Having used it briefly, the
ECG-5 certainly provides
a really comfortable hold
that should significantly
improve handling with
telephoto lenses. I’m just
not entirely convinced
that it was styled by the
same team who designed
the camera itself. It’ll
cost £179.99.
A shutter button and control

E-M5 III kit options

videographers who like to shoot on flexibility for shooting at unusual angles.

First impressions THE E-M5 III is due to go on sale in the middle of

IN MANY respects, the OM-D E-M5 Mark III appears to be just the update that
Olympus needed to make. The improved AF system and 4K video capabilities bring
the camera in line with current expectations, while the layout tweaks improve what
was already one of the best-handling small mirrorless cameras on the market. The
plastic body shell is bound to disappoint Olympus fans, but on a more positive note,
the Mark III retains the tactile controls and robust construction of its predecessors.
The question is whether it will still stand out sufficiently in an increasingly crowded
market, and we’re looking forward to addressing this in our upcoming full review.
November, in a choice of silver or black finishes. It’ll
cost £1,099.99 body only; £1,399.99 with the M.Zuiko
Digital ED 14-140mm F4-5.6 II; £1,599.99 with
the M.Zuiko Digital ED 12-200mm F3.5-6.3; and
£1,699.99 with the premium, large-aperture M.Zuiko
Digital ED 12-40mm F2.8 Pro. All three of these lenses
are weather-sealed to match the camera. Buyers placing
pre-orders prior to 15 November will receive a £100
trade-in bonus and a free spare BLS-50 battery.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 9

 COMPETITION

Be a Christmas
cover star
Would you like to see one of your images in print,
on the cover of the world’s number one weekly
photography magazine? If so, read on...
THE HOLIDAY season is almost upon us,
which means it’s time for Stir-up Sunday,
sentimental TV adverts, and the Amateur
Photographer Christmas cover competition.
This year we have teamed up with Photocrowd
and Billingham to offer you global exposure,
and some great prizes to boot.
The prizes
The overall winner (as judged by the AP team)
will see their picture grace the cover of the AP
Christmas Special issue (21-28 December).
They will also receive a Billingham Hadley Pro
2020 bag worth £240, courtesy of Billingham
(www.billingham.co.uk). The winner can
choose from six classic colour combinations.
A second winner (as awarded by the public
vote via Photocrowd, www.photocrowd.com)
will receive a year’s digital subscription to AP.
If the standard of entries is deemed high
enough, the winner(s), and a selection of
commended entries will also appear inside
a future issue of the magazine.
For full terms and conditions, visit
www.amateurphotographer.co.uk.
The closing date for entries is
midnight on 18 November 2019
Tips for cover success
Don’t crop in too tightly. Leave space for the
magazine ‘furniture’ – masthead, coverlines
and graphic devices. Busy images with lots of
detail are generally unsuitable as they make
superimposed text tricky to read.
Shoot portrait-format pictures. While it’s
not unheard of for us to use a section of a
landscape-format shot, your chances are
improved by shooting in the upright format.
Make eye contact. If you’re submitting a
portrait, ensure good eye contact, with the
subject looking directly into the lens. Make
sure the eyes are pin-sharp.
Provide plenty of options. Try various angles
and subject placements, with the main focal
point to the left, the right and centre, to give
the art editor lots of options on where to put
the coverlines.

HOW TO ENTER
The competition is open to everyone, whether amateur or professional, and you are
free to interpret the theme in any way you choose. Naturally we are happy to see shots
of baubles, trees and lights, but we also want pictures that show the creative potential of
the season in general, so feel free to submit winter landscapes, indoor portraits, frosty
flora and fauna etc. If you think you have something suitable on file, great; if not, have
a go at shooting something for the competition. To enter, upload your image(s) to the
Photocrowd website via the following link: www.photocrowd.com/apxmas.

For your chance to win, go to www.photocrowd.com/apxmas

 Festival

Photo North 2019

With just a few weeks to go We Feed the World
captures the
triumphs and
until Photo North takes place challenges of 50
farming and fishing
in the beautiful market town of communities

Harrogate, Amy Davies rounds around the world

up some festival highlights

N
ow entering its second
Photo North takes place
year, Photo North is very
across the weekend much on track to become
of 30 November to one of the highlights of the
2 December 2019 at the UK photo festival scene. Last year’s
Harrogate Convention inaugural event included a wealth of
Centre, Kings Road, British talent, all gathered together in
Harrogate HG1 5NX, this quaint Yorkshire town. I had the
North Yorkshire. privilege of attending and meeting
Advance tickets can some fantastic photographers including
be bought until 20 Homer Sykes, John Bolloten, Carolyn
November for £10/ Mendelsohn, Ella Murtha (daughter of
day or £20 for the full the late Tish Murtha) and more who
three days (discounts have since featured on our pages.
Co-founded by regular AP
available for students).
contributor, Peter Dench, the team
Prices on the door cost
behind Photo North works tirelessly
£12/day or £22/three. to bring together a wonderful (and
For more information eclectic) set of displays, talks and
on all the events, events across the three days. Nearby
talks and shows, see hotels can be booked for a reasonable
photonorthfestival.
© TINA HILLIER

price, so if you’re not particularly local

co.uk you might want to consider making a
weekend of it.
This year there are displays from a
wide range of exhibitors. The Getty the treasures from the Hulton Archive Denis Thorpe’s A
Images Gallery will be showing some of – which you may recognise from View from the North
our new feature on page three. It’s collection documents
Images from the a must-see for any fans of historical life in the North of
extensive Hulton pictures and will include images from England from 1948
Archive will be shown some of Britain’s most legendary until the present day
in a special display photographers, including Thurston
at Photo North
Hopkins, Terry Fincher, John
Chillingworth, Slim Aarons and more.
If any of you entered your shots
into the esteemed Pink Lady Food
Photographer of the Year competition,
you might see some of your work on
display too, as selected images from
the awards will be shown.
One of the UK’s most-celebrated
documentary photographers, Jim
Mortram, will be showing his seminal
Small Town Inertia work, while there
© JOHN CH LL NGWORTH / GETTY MAGES

will also be displays from Dafydd Jones

© DENIS THORPE / THE GUARDIAN

for his work Screen Time, and John

Bolloten’s Love Story (which we
featured in AP 18 May 2019).
We’re also thrilled to see Carolyn
Mendelsohn’s Being Inbetween project

12 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Spotlight
Some of the best work on
display at the festival

© MIK CRITCHLOW
Mik Critchlow –
Coal Town
Critchlow’s long-term project Coal
Town began in 1977. Documenting
his home town of Ashington,
Northumberland, he worked with his
local community with a deep-rooted
empathy for the townsfolk – he’s also
the son of a miner.

© ED KASHI
© THURSTON HOPKINS / GETTY IMAGES

Fans of classic
documentary
photography
should find plenty
Images That Resonate
to enjoy at Photo When we visit exhibitions we learn
North this year lots about the subject, but we rarely
discover much about the image-maker.
With Images that Resonate, the display
project displayed – as featured in brings together several images taken by
AP 18 May 2019, with a book of the a diverse range of photographers which
work due to be published soon by hopes to change that (selected by
Bluecoat Press. Jason Olley).
We Feed the World is another big
highlight not to be missed. The project
brings together more than 300
photographers to celebrate the small,
family farmers who produce over 70%
of the world’s food.
As well as showcasing imagery in the
form of displays from these fantastic
©STEPHEN MCLAREN

photographers, there will also be

several talks, seminars and events
which will be free to those who
purchase day or weekend tickets – see
opposite page for details. There will also Document Scotland –
be a ‘live lounge’ area which features A Contested Land
food and drink stalls, live music and Exploring the complex relationship
book signings. between Scotland’s people, history and
Winners of the annual Photo North landscape through the work of several
student competition will also be photographers, Document Scotland was
announced on the Sunday of the founded in 2012 by four photographers
festival – this year the theme of who were tired of clichés and to provide
the competition is ‘Family’. an accurate view of their nation.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 13


Viewpoint
Jon Bentley
Utilising empty shops to promote
photography could be a great way to
revive the ailing British high street
Y
ou can’t get away from reports
that Britain’s high streets are
in crisis. Boarded up empty
shops stand like tombstones
– a sad testament to soaring business
rates, the spending squeeze and of
course the success of internet retailing.
But I think there’s a small way
photographers could help inject life back
into this fading streetscape.
While in Edinburgh recently for the
Fringe, I was strolling from a hilarious play
to an uproarious stand up when I came
across the shop front of Tête-à-Tête Foto.
It convinced me that more photographers
should have a retail presence.
Obviously photographers’ shops are
nothing new. Edward Reeves in Lewes has
been going since 1855 and W W Winter
in Derby from 1852, for example. But
they tend to be primarily studios, and
feature the photographers’ commercial
work in the window. You only go into
them if you’re arranging something like a
family picture session or sorting some
promotional shots for your business.
More recently most photographers
have eschewed the costly and time-
consuming burden of a high-street
presence altogether as they can do
business purely online.
Photo partnership
Tête-à-Tête is different in that it combines
business, studio and gallery. Ewan Barry
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
and Audrey Pinard formed this Scottish
and French photo partnership in 2008.
Most of their work is commercial and
wedding photography but they decided
to exhibit their personal photographs
and sell them from the room overlooking
the street.
For the Fringe they were showing stills
taken in Edinburgh and in the 17th and
18th arrondissements in Paris, where
Audrey’s mother lives. There’s a beautiful
collection of black & white architectural
and street photographs, including quite
magical reflections in windows and classic
car bodywork and shadows on buildings.
A tantalising glimpse of an enlarger in the
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 24 and win a year’s digital subscription to AP, worth £79.99
14
In next week’s issue
On sale Tuesday 29 October
© ALONGKOT.S /GETTY IMAGES
© JON BENTLEY
Stock
Ewan Barry is one of the founders of
Tête-à-Tête Foto in Edinburgh
room leading off the gallery suggested
secrets
some of these rich prints could be
silver gelatin. Ewan told me they were
high-quality digital prints on Baryta
Photographique museum-standard paper
but that he has had special analogue-only
exhibitions in the recent past.
He revealed that the gallery and studio
combination has been very successful for Want to earn cash? Here’s the
them – it’s classified as a retail building
but it’s not in a massively desirable part best way to maximise sales
of town, so the rent is cheap. They also of your stock library images
organise workshops and city photography
tours from the shop.
Now you could argue that Edinburgh
with its bustling tourist trade and visual
heritage is an easy touch. It may be more
difficult setting up shop in Dudley or
Doncaster. But hold on a minute.
Everywhere has some visual potential and
an army of keen photographers. And why
stop at shops for individual photographic
businesses? Shared studio, exhibition and
training spaces could find a perfect home
in unused shops as well.
Councils and property owners will need
to play ball; there’ll have to be some Samyang AF 45mm F1.8 FE
flexibility on rent levels and business rates. Andy Westlake tests a lovely prime for
Sony full-frame mirrorless cameras
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
But it must be better than having the
spaces shuttered up. Make way for
refreshingly photographic retail therapy. A lasting legacy
Victoria and Albert: We celebrate how
Jon Bentley is a TV producer and presenter best known Prince Albert championed photography
for Channel 5’s The Gadget Show.
Still-life in the studio
With simple gear, Ian Plant shows how
easy it can be to shoot studio still-lifes
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
The best pictures on social media this week

#appicoftheweek
The forest by Noel Bodle
Fujifilm X-T1, 55-200mm, 1/40sec at f/10, ISO 320
THIS photo was uploaded to our Instagram page by photographer Noel Bodle
using the hashtag #appicoftheweek. He tells us, ‘I visit King’s Wood near
Challock, Kent, every May for its wonderful display of bluebells. I had recently
bought the 55-200m lens, and thought this would be a great time to test it out.
I came across this wonderful scene within minutes of arriving. It was beautifully
lit from behind with fresh new greens. I didn’t intend to make it black & white; it
was only when I viewed the image on the computer that I saw its full potential.’
Picked by Claire Gillo, technique editor as our #appicoftheweek

Win! Each
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

week we choose our favourite picture on Facebook, Instagram, Flickr,

Twitter or the reader gallery using #appicoftheweek. PermaJet proudly
supports the online picture of the week winner, who will receive a top-quality print of their image
on the finest PermaJet paper*. It is important
to bring images to life outside the digital sphere,
so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.

We also likedÉ
Tranquil
by Gary Chittick
Huawei P20, 27mm, 1/300sec at f/1.8, ISO 50
Gary’s peaceful and tranquil image was photographed
recently early one morning. He reveals, ‘The image was
taken at Knapps Loch beside Kilmacolm in Inverclyde.
This is a small, man-made fishing loch popular with local
walkers and photographers. The forecast was for low
temperatures and little wind, which gave the potential
for mist. As the sun rose and lit the mist and land
softly, the boats made an interesting and idyllic scene.
It’s definitely a location to return to at different times
of the day.’
Picked by Geoff Harris, deputy editor
 SOCIAL MEDIA

Glencoe light
by Joe Higney
Nikon D800, 10-20mm, 0.6sec at f/16, ISO 50
JOE HIGNEY’S image shows us what good light
can do. As he explains, ‘I had set out for the east
end of Glencoe, Scotland, but when I arrived my
intended shot was in shadow. Further down the glen
near Loch Achtriochtan, I remembered it would catch
the last light. On arriving the sun was too low, but the
waterfalls below Bidean Nam Bian were shinning. My
gamble partially paid off as the clouds parted and lit
the face of Stob Coire nan Lochan... the light fell short
of the waterfalls though.’
Picked by Tracy Calder, technique editor

NYC
by Helen Trust
Canon EOS 5D Mark III, 24-70mm,
264sec at f/11, ISO 50
HELEN shared her amazing New York cityscape
scene on our Instagram page. We were attracted
to the intense dark blues and greys of this impressive
man-made scene. Helen says, ‘This shot was taken
on what was originally a dull overcast evening
in New York, but then a brief moment of magic
occurred. Shot from Jersey City looking across to the
fabulous Lower Manhattan skyline, the wind picked up
and the clouds were moving rapidly so I couldn’t resist
setting up for a long exposure. During the four-and-
a-half minute exposure, this glorious last light of the
day illuminated the One World Trade Center and the
clouds provided an out-of-this-world halo. It was an
incredible evening I will never forget.’
Picked by Michael Topham, reviews editor

Want to see your pictures here? Post them on our Instagram,

Twitter, Flickr or Facebook page with the hashtag
#appicoftheweek. See page 3 for more details.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 17

 Verity Milligan
Verity is a professional landscape photographer based in
Birmingham. She has worked on campaigns for organisations such
as Yorkshire Tea and Visit Britain. She’s happiest when outdoors,
and relishes the opportunity to connect with people, environments
and cities. Visit www.veritymilliganphotography.com.

To reduce the glare and make the rainbow pop,

a polarising filter is the best option and
one that Verity likes to use most of the time
Olympus E-M5 Mark II, 40-150mm, 1/60sec at f/14, ISO 200

KIT LIST
Polariser Neutral
▲

A polariser filter Density filter

is a landscape Stop down your exposure
photographer’s best time to make creative long
friend and will help exposures with this filter. These
reduce the glare from come in different strengths or
reflective surfaces, you can also purchase variable
such as glass and water, ones (which tend to be lower
and make your sky pop. quality but more versatile).

18 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 THREE FILTERS Technique

The

magic
3
filters
Verity Milligan shares why
you only need three filters
in your kit bag and how to
get great results with them

W
UNLESS STATED OTHERWISE, ALL PICTURES © VERITY MILLIGAN

hen it comes to knowing what

filters to have in your kit bag
we’ve identified the key three: a
Neutral Density graduated (ND
Grad), Neutral Density (ND), and polariser filter.
Most professional landscape photographers use
these filters at various times for many reasons,
from trying to achieve a longer exposure time
to reducing the glare from a reflective surface.
Different filters have alternative functions and
there are so many of them on the market that
sometimes it can feel overwhelming to know
▲

Neutral Full kit which ones to buy. However if you stick with
Density If you want to take your filters the key three you’ll get great results whatever
graduated filter seriously then be like Verity the circumstances.
Match the exposure value and invest in a full filter kit Landscape and professional photographer
of the sky to the ground by such as the LEE 100 filter Verity Milligan uses the key three for her
darkening it down with a grad. kit. These don’t come cheap, landscape and architectural work. ‘I have LEE’s
Although the square ND grads but if you take care of them new 100 filter system (which is at the pricier end
are easier to line up they also they will last a lifetime and of the scales), but previously I’ve used both
come in a screw design. give superb results. Kase and Benro filters, which are all good.’

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 19

 Technique
The ND Grad
A Neutral Density
Graduated (ND Grad)
filter is like an ND filter
but with a gradual blend
from dark on the top to
clear at the bottom. The top part
masks over the sky meaning the
exposure time between the sky and
land are reading closer exposure
values. Verity says, ‘I use graduated
filters when I want to expose for the
foreground and keep the correct
exposure in the sky. They can
be useful when shooting at the
beginning or end of the day when
the light is low and it can be difficult
to maintain good exposure in the
foreground and the sky. They can
also be very useful if I’m shooting
in gloomy/stormy conditions.’ She
continues, ‘The advantages to using
The distinctive exterior of the Selfridges building in Birmingham’s Bullring shopping centre shot with a
Neutral Density filter to create this particularly moody and atmospheric image
20
THREE FILTERS
a grad is the freedom it can give you
to shoot in bright conditions and the
control over the exposure. Sure, you
can replicate it to a certain degree
in post, but really this isn’t ideal.’
In terms of disadvantages, Verity
advises that you should be careful
regarding what situations you
deploy them in. ‘For example’, she
continues, ‘if you’re shooting a
mountain range with an uneven
horizon, you can inadvertently
end up darkening the mountain
peaks and unbalancing the
overall exposure.’
Graduated filters come in various
strengths and in a soft or hard
blend. As you can imagine the soft
is more gradual whereas the hard is
less so. Which one to choose to use
is your decision, as some prefer soft
whereas others prefer hard. Verity
for the most part opts for soft grads
rather than hard because they
are a little more forgiving if you’re
shooting landscape images.
‘However,’ she says, ‘hard grads can
be very useful and effective if you
had a defined horizon, for instance
if you’re shooting a seascape.’
Finally, when asked if she ever
stacks them she replies, ‘I tend not
to because it can mean that the sky
is almost too dark and ends up
looking surreal.’
2
The ND filter
A Neutral Density (ND
filter) comes in various
strengths (these are
measured in stops).
For those who want a
versatile option, variable ND filters
can alter their strength by spinning
– however generally the quality is
not so good. Verity says, ‘For me, an
ND filter is useful when I want to
show movement in an image. This
is particularly useful when I’m
shooting architecture and I want
to make the imagery more stylised.
It’s also very useful when shooting
seascapes. In terms of the
advantages they definitely help
to give an image form. It can be
difficult to tell a narrative through
a single image, so a sense of
movement can be very useful.
However, ND filters can be tricky.
First, you can find yourself guessing
at the time, especially if it’s over five
minutes. I advise getting yourself an
app to help you calculate the proper
timings. Second, there are a few
things that can go wrong, such as
light leaks through the viewfinder,
which can ruin a long exposure.’
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

3
The polariser
Finally the polariser is Verity’s
favourite and the one she opts
for most of the time. ‘For me, a
polariser is an essential piece of
kit for a landscape photographer.
The LEE polariser I use has the advantage of
warming up the image, but it also makes the
colours pop. It can also be extremely useful
for pulling out reflections from bodies
of water and reducing reflections if I’m
photographing a building.’ Like with the ND
and ND Grads, there are advantages and
Verity achieved this
pinkish-purple, ethereal
image of Lake District’s
Derwentwater by using
a polariser
An ND graduated filter
enhances this heavy sky
and adds atmosphere
disadvantages to using them, which Verity
discusses. ‘Using a polarising filter ensures
you have more control of the landscape in
front of you, and opens up the possibility
of exploring the scene in a different way.
However, they can also be difficult to control.
If your polariser is in the wrong position you
could end up with the sky looking rather
strange, and if you’re using one that is
attached to a filter holder it creates a small
space between the lens and filter which
can increase the risk of lens flare if you’re
shooting into the light.’
Verity’s
top filter tips
1 Clean regularly
It can be endlessly frustrating
when you get home from a shoot and
realise that you’ve got lens flare and
spots all over that killer image
because you haven’t bothered to
make sure the filters were clean.
When mounting them onto your
camera be careful not to leave any
fingerprints.
2 Less is more
When it comes to graduated
filters, I find that less is more. I tend to
use a .3 or a .6 rather than a .9 or
1.2. This gives me greater control
over the feel of the image and I can
always work on the exposure more in
post. But if the sky is too dark, then
I’m limited to what I can do without
creating unnecessary noise in the
image.
3 Buying
When buying an ND or ND grad
filter I would recommend picking up
the 100mm square versions that sit
in a filter holder. This provides much
more versatility and you can use it in
conjunction with other filters such as
a polariser. Although the screw-in ND
filters are much cheaper, you need to
buy one for each lens filter size and
this could become more costly.
4 Use wisely
When you first get your hands
on ND filters, it can be exciting and
you may wish to use them
immediately. However, there are
certain situations where they are
more effective, such as when you’re
by the coast or on a particularly windy
day. Also, you don’t have to take a
really long exposure; sometimes even
a one-second long exposure can
create something interesting.
5 Enhance reflections
Polarising filters can help to get
the most out of an image. I’m a fan of
using one to enhance the reflections
in a scene, especially if I’m shooting
next to a lake on a still, misty
morning. They can also be extremely
useful when capturing images of the
coast as you can use them to remove
reflections for damp rocks and create
a rather interesting foreground.
Stacked with other filters they can
help create something extraordinary
out of the ordinary. They’re also
brilliant for pulling out all the colours
of a rainbow, if you’re lucky enough
to find one!
21
 Technique
Filter systems
When it comes to investing in a filter there
are two main systems worth picking from.
You can either opt for a circular filter,
which screws onto the end of your lens, or
a square filter, which slots down a filter
holder attached to the front. Most
professionals use the holder system, as it
can be more versatile and easier to stack
filters on top of each other, but they tend
© GETTY IMAGES / DIMITRIS66
to be more expensive (although higher
quality). To attach the holder onto your
lens you’ll need an adapter ring, which
threads onto your lens and then fits to the
holder. You’ll need to buy the correct size
Some filters screw directly adapter ring for each of your lenses. The
onto the end of the lens lens thread size is measured in mm, for
Stack filters
together if you
have multiple
purposes
for them
Most professional
photographers
use the filter
holder system
example 58mm, 67mm, 77mm and
82mm are all common sizes.
The second system is a circular
screw filter that threads straight
onto your lens. Again you’ll need
to buy the filter in the correct
thread size for your lens. You
can also purchase step-up and
step-down rings if you have
multiple lenses with different
thread sizes and want to attach the
same filter. We recommend you
purchase the filter that fits the largest
thread size of your lenses,and use
step-down rings to fit accordingly. If you
step-up, you run the risk of seeing the Step-up and step-down rings
edge of the filter in the field of view. are useful for adapting one
filter to different sized threads
Stacking
filters
If you find that you need a longer
exposure time than your ND filter is
capable of, you can stack them together.
Verity advises, ‘If I want to have an
extremely long exposure and there is
a lot of light then I will stack ND filters
(usually a 6-stop and a 10-stop), but this
can lead to long exposure times and I’m
not the most patient of photographers!’
However it’s not just ND filters you can
stack together – you can also mix them
up, as Verity explains: ‘I’m much more
likely to stack an ND grad with other
filters such as a graduated and a
polariser, that both have a specific
purpose when I’m capturing an image.’
YOUR LETTERS

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Inserts Call Mona Amarasakera, Canopy
Media, on 0203 148 3710 use Canon L lenses?
Editorial team And what exactly is
Group Editor Nigel Atherton
Deputy Editor Geoff Harris Photography has long been an ‘street photography’?
Technical Editor Andy Westlake essential aspect of archaeology. (Something I claim to do
Reviews Editor Michael Topham
Features Editor Amy Davies Excavation destroys much of our basic myself, by the way.) Is it
Features Editor Ailsa McWhinnie evidence, and hence, photography photographing a street?
Technique Editor Hollie Latham Hucker
Acting Technique Editor Tracy Calder forms a key part of recording an No, it’s photography. It’s
Acting Technique Editor Claire Gillo excavation. With digital photography Photo books all just photography!
Production Editor Jacqueline Porter
Chief Sub Editor Jolene Menezes we can now map sites from the air let you display I think we need to just
Art Editor Sarah Foster and caption
Senior Designer Steph Tebboth using drones and a technique called your images
enjoy this wonderful
Studio Manager Andrew Sydenham Structure from Motion. We can make hobby/job of ours instead
Photo-Science Consultant
Professor Robert Newman 3D models of finds, buildings and of trying to categorise it all.
Office Manager Hollie Bishop even landscapes from digital images. make it beyond someone’s phone, Often people will judge
Special thanks to The moderators of the
AP website: Andrew Robertson, lisadb, Nick By using Reflectance Transformation though they at least store metadata. other photographers
Roberts, The Fat Controller Imaging we are no longer limited to But what about all those images on dismissively if they use
Advertising a few light directions when recording image-sharing websites? Paul’s equipment they deem to
Head of Market Liz Reid
07949 179 200 a worn inscription or carving. solution to make a DVD with captions be of a lower quality. I
Senior Account Manager Samuel Shaw Both traditional and digital and commentary is a super way to have been guilty of this on
07970 615 618
Production Coordinator Chris Gozzett photography, however, leave us with share photos with family and friends, occasion too, but I now just
0203 148 2694
a dilemma. If we destroy a site by but isn’t suited to long-term archiving. buy and use the gear that I
Publishing team
Chief Executive Officer Marcus Rich excavating it, and use photographs How many laptops have a DVD player? want and can afford. For
Group Managing Director Adrian Hughes to mitigate that destruction, we are How long will the software be around? example, I am a long-time
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Printed by Walstead UK Limited
honour-bound to take steps to archive Without careful digital curation (as Canon user but love the
Distributed by Marketforce, 5 Churchill those images. Negatives and slides provided by the Archaeology Data Sony E-mount series
Place, London E14. Telephone 0203 787 9001
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

must be stored in archival quality Service, for example), digital images bodies, and as I already
Editorial Complaints We work hard to achieve the highest
standards of editorial content, and we are committed to sleeves in carefully controlled will have a shorter life than glass plate have Canon lenses (not
complying with the Editors’ Code of Practice (www.ipso.co.uk/
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We will endeavour to acknowledge your complaint within 5 With this in mind, Paul Carwardine’s family images like Paul’s, I suggest that adapter and an EOS M5
working days, and we aim to correct substantial errors as
soon as possible. letter (Inbox, 28 September) jarred making a photo book will allow you to with Canon EF adapter for
All contributions to Amateur Photographer must be original, uncomfortably with me. We all know caption your images, and is a longer street photography (oops!).
not copies or duplicated to other publications. The editor
reserves the right to shorten or modify any letter or material about the problems of old photos: term solution than the ever-shifting Another thing is the way
submitted. TI Media Limited or its associated companies
reserves the right to re use any submission sent to the letters who, when, where and why? It’s worse sands of modern technology. we categorise people –
column of Amateur Photographer magazine, in any format or
medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE now that the majority of images never Kris Lockyear it’s OK to be known for
Amateur Photographer® is a registered trademark
working in a certain field

Win!
of TI Media Limited © TI Media Limited 2018 Amateur
Photographer (incorporating Photo Technique, Camera Weekly
& What Digital Camera) Email: amateurphotographer@ (e.g. fashion), but it doesn’t
ti media.com Website: www.amateurphotographer.co.uk.
TI Media Limited switchboard tel: 0203 148 5000 Amateur mean you’re ‘just’ a fashion
Photographer is published weekly (51 issues per year) on the
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publisher. TI Media Limited does not accept responsibility for Nothing up north We have one Jessops store We have a large Love the magazine by
loss or damage to unsolicited photographs and manuscripts,
and product samples. TI Media Limited reserves the right to
I thoroughly enjoyed your that never has stock (sorry photographic community the way. Please never
use any submissions sent to Amateur Photographer Magazine
in any format or medium, including electronic. One year
article about photography Jessops, but for those who who would bite your arm off shorten it to ‘zine’!
subscription (51 issues) £155.50 (UK), e259 (Europe),
$338.99 (USA), £221.99 (rest of world). The 2015 US annual
events (Grand day out, don’t live in the city we for some of the experience Phil Barrance
DEU subscription price is $338.99, airfreight and mailing in 28 September). Such a don’t want to order in for days that those further
the USA by named Air Business Ltd, c/o Worldnet Shipping
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Periodicals postage paid at Jamaica NY 11431. US Postmaster:
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Send address changes to Amateur Photographer, Air Business
Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd
for those in Scotland or and a Ffordes, which is a mention a good shop to While I agree with Tracy
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north of the central belt. two-hour drive and not trade, buy and browse in. Calder that not everyone
9AP. Air Business Ltd is acting as our mailing agent. In Aberdeen, we have open on weekends. Living in hope of a big name has access to an Avro
virtually nowhere to shop, I’d so love to see another to spend my wages in. Vulcan XM655 as
browse or take courses. camera shop open up here. Emma Garvie photographed by Mike

24 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


© KEITH JONES
Keith was lucky to shoot an Avro Vulcan XM655 with Beetles
Topham (Grand day out,
28 September), I can lay
claim (along with the car
club I belong to) that for
a short day early last year,
I had access to one such
magnificent beast. Thanks
to South Yorkshire Beetles
Club and the Newark
Aviation Museum, we had
a great day with the planes
and VW Beetles. You only
have to ask sometimes,
and make sure you are
courteous and polite.
Keith Jones
Priceless archive
I have been reading AP
for the past 70 years –
apart from a spell when
I was in revolt about the
price being raised from
approx 5p to just over 6p.
Photography gives me
joy, and I understand
the importance of saving
photos. I have recently
been having great fun
digitally printing from
negatives of photos taken
around 70 years ago,
including one of my
grandmother (see below).
I think it was in 1951 that well as it did when I bought serviced and with firmware
I was able to save £7.50
and purchase an Ilford
Craftsman camera. It had a all the functions that new
large uncoupled viewfinder, cameras include. I’d like a
two apertures (f/9 and
f/18), and could focus.
Shutter speeds were
1/25th and 1/75th of a
second. And it took 12
© R DUNLOP
R Dunlop digitised this 70-
year-old photo of his grandma
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
to the price of a camera
– they’re just pieces of
computer code on the
chip. Despite this, I do
believe that there is a
Back in the day
A wander through the AP archive.
huge potential market
for a stripped-down This week we pay a visit to 1996
1996
camera with only the
basic functions – Nigel
Atherton, editor
Martha Holmes
exposures of 6x6cm Pete Spencer lamented
on 120 film. that he could not find any
I am the only member in books by Martha Holmes
my family who has a visual (Inbox, 28 September).
record of many of my Abe Books, the online
relations and ancestors, bookseller, has a selection
and these are greatly of her work for sale,
prized by the current including Sea Trek, Nile,
generation. I copied the The Blue Planet and Life.
old negatives on an LED Gerry Knight
Light Pad using my
indispensable Benbo Pentax resolution
tripod, full-frame Nikon Further to my letter about
and macro lens, all costing the known fault on my
over a hundred times Pentax K-S2 (Inbox, 6
the price of my original July), there has been a
‘serious’ camera – but the welcome development.
photographs taken then Without much hope of
are priceless. success, I approached Park
R Dunlop Cameras to see whether
it could offer any advice.
Heads in the sand I cannot praise Park
What an interesting Cameras enough for its
Viewpoint from Hoshang response to this matter.
Billimoria (AP 24 August). Park Cameras has taken DURING the 1990s, AP moved away from the
It used to be British it on and, at absolutely no titillating glamour of previous decades and towards
manufacturing that stuck expense to me (even P&P more fine-art erotica. In 1996 the annual Erotica
its head in the sand in charges), commissioned an Special was guest edited by the late, great Bob Carlos
response to competition independent examination Clarke, though there is no mention of this prestigious
from abroad – now the and persuaded Ricoh coup on the cover. Even the picture is a lovely, but far
Japanese camera makers Pentax to fund repairs to from saucy, portrait of Beatrice Dalle. There is a ‘but’,
seem to be doing it as well. my K-S2 under warranty. though: it came sealed in a bag with ‘Erotica Special’
My main camera is now 10 My camera has now been written in big letters. Bob was more than just a token
years old and performs as returned to me, repaired, figurehead. He selected the portfolios and wrote
one of the interview features, as well as the Editor’s
it. I suppose I should updated. I am very pleased letter, in which he explained that ‘Erotica is a genteel
replace it, but I don’t want and, when the time comes, term for something sexy dressed up as art, and is
will most likely continue concerned more with aesthetics than arousal.’ Some
buying Pentax from Park of those who bought this sealed issue on the strength
camera with just aperture/ Cameras. I hope you feel, of the bag art would have been disappointed to learn
shutter priority and manual, like I do, that a word in this the hard way.
plus all normal functions AP in praise of both Park
such as auto focus, at a Cameras and Ricoh Pentax
reasonable price. would not go amiss. My
Michael Blake story with a happy ending
might also encourage
Most of the functions others with a similar
that you don’t want don’t problem to have a go.
add much, if anything, Mike Gosling
YOUR FREE ENTRY CODE
Enter the code below via Photocrowd to get one
free entry to Round Eight – After Dark
APOY02250088 Photographer Bettina Rheims featured in this special issue
25
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applicable items and alter trade-in values at any time. For more details visit wex.com/help/terms-and-conditions. Cash for trade-in values based on
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 Amateur
Photographer
In association with
of the Year
Here are the top 30 images uploaded to Photocrowd from Round Six,
Street Life, with comments by the AP team
Round Six Street Life
PATRICK REILLY from County Louth, Ireland,
is the winner of Round Six of APOY 2019.
He can choose products of up to £1,000 in
value (based on Sigma’s RRP) as his prize.
Classic street photography is usually shot on
wideangle to standard lenses, and Sigma has
plenty of options here. The SIGMA 24mm
F1.4 DG HSM | Art (left, £799.99) is capable
of resolving outstanding detail. Alternatively,
there’s the SIGMA 40mm F1.4 DG HSM |
Art (far left, £1,099.99), which received five
stars when reviewed in AP 2 March 2019.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
1 st
1 Patrick Reilly Ireland 30pts
Fujifilm X-Pro2, 23mm, 1/110sec at f/5, ISO 200
Our eye goes straight to the man’s face in
this excellent and witty capture by Patrick.
His expression is tricky to read. Is he simply
chatting or asking why his picture is being
taken? From there, our eye travels round the
frame, taking in the faintly bizarre elements
that make up the scene: the doll (and why
is he holding its hand?), the guns on the
table next to him, the sleeping woman and
- a lovely finishing touch - the sign that says
‘The Best Just Got Better’. So many stories
being told in one well-seen image.
27
APOY 2019

2nd
2 Alison Swinburne UK 29pts
Fujifilm X100F, 33mm, 1/850sec at f/4, ISO 800
This lovely shot deserves a special mention, as it came
a very close second in the judges’ scoring. The contrast
between light and dark is excellent, but it’s all about the
interaction between the man and the nun who is behind
the wheel. The warmth between them, and the smile on
the second nun’s face, is uplifting, and the placement of
the man’s hand on his chest gives it an added dimension
and symbolism. Very well captured, given that there’s
every chance the moment probably didn’t last more than
a few seconds at the most.

4th
4 Wendy Davies UK 27pts
Canon EOS 7D Mark II, 28mm, 0.4sec at f/22, ISO 100, polariser
Wendy has taken a bold, no-nonsense approach to this
shot, making it obvious she’s taking a picture, rather than
attempting to remain unnoticed. She has previsualised
the result well, shooting with a long shutter speed – but
obviously bracing the camera firmly – to reflect the hustle
and bustle of the people moving around her. It’s an
excellent result that ensures the viewer knows exactly
where their eye is supposed to travel to first.

28

3rd
3 Naf Selmani UK 28pts
Fujifilm X-T2, 32mm, 1/250sec at f/8, ISO 200
Successful street photography is all about timing,
a sharp eye, and a touch of serendipity. All these
elements come together in Naf’s image. Not
everyone would have seen the potential for an
image that’s framed by this arrow, but he did. What
makes this work so well is the wheel of the chair
being the only circular element in the image, and
the man’s bright yellow T-shirt echoing the yellow
street lines. Good work.
ra
In association with
5 Tom Franklin de Waart
Hong Kong 26pts
Nikon D850, 24-70mm at 62mm, 1/800sec at f/9, ISO 400
India’s stepwells are a popular subject for
photographers, and for good reason, as
this beautifully composed image by Tom
demonstrates. Filling the frame with the
pinky-beige steps was the right approach, to give
the sense of being enclosed in the environment,
while composing so the man is on the thirds and
about to go up the steps keeps it balanced.
5th
29
APOY 2019

7
7 Laura Hacking UK 24pts
Fujifilm X-T1, 16-55mm at 16mm,
1/125sec at f/8, ISO 1000
Without the cyclist, this would
be all about line and angles.
With him, it’s about the
trickiness of navigating
urban architecture that isn’t
designed for every eventuality!
11 Debarshi Mukherjee
India 20pts
Nikon D7000, 17-50mm at 17mm,
1/60sec at f/2.8, ISO 500
Facing a torrential downpour
has paid huge dividends, with
the goddess appearing to
bless both the rickshaw
passenger and driver.

6 Angela Lambourn UK 25pts
Nikon D610, 24-120mm at 50mm,
1/640sec at f/7.1, ISO 250
Almost like two pictures in one, the
framing here makes the most of the
scene’s colour and geometrical shapes.
11
10 Steve Beckett UK 21pts
Nikon D750, 35mm, 1/500sec at f/7.1, ISO 800
Good framing from Steve, who saw
the opportunity to make this shot about
more than just the man sitting on the
floor. Great timing and imagination.

10

12

12 Kaveh Garmany USA 19pts

15 Canon EOS 5D Mark II, 24-70mm at 70mm,
1/80sec at f/3.2, ISO 100
There’s a lot going on in this image, but
it’s never confusing. There’s nothing
more classic in street photography than
a couple embracing, especially when it’s
set within Italian architecture. Cropping
out the sky means we can concentrate
on the detail within the scene.

15 Martin Kimchi UK 16pts

Sony A6500, 28mm, 1/500sec at f/8, ISO 100
An intriguing image where the shadows
tell us more about the people than
the people themselves. A small step
to the left might have given a slightly
more balanced composition, but we
appreciate this may not have been
possible. A clever image nonetheless.
 In association with

8 Alan Edwards UK 23pts 9 Ulrike Unterbruner

Nikon Coolpix P7100, 10.7mm,
1/160sec at f/7.1, ISO 100
This is the sort of image
that will be looked back on
in years to come as a slice
of social history. Great shot.
13
Austria 22pts
Sony A7R III, 24-70mm at 43mm,
1/320sec at f/8, ISO 100
A Lowry-esque image in
which the whole is greater
than the sum of its parts.
9
14

13 Stanislav Sitnikov Russia 18pts 16 Sara Jazbar Italy 15 points

Canon EOS 7D, 15-85mm at 15mm,
1/85sec at f/5, ISO 100
We love the unusual composition here,
the boy’s enigmatic expression, and the
range of light and shade within the frame.
16
Nikon D500, 11-20mm at 19mm,
1/125sec at f/10, ISO 100
An atmospheric, beautifully timed shot.
It’s a touch over-processed, but kudos to
Sara for heading out in the pouring rain!
14 Rob Deyes UK 17pts
17 Sony A7, 200mm, 1/800sec
at f/8, ISO 400
There’s an almost sinister,
film-noir feel to this
image, which is all the
more effective for its
conversion to black &
white. Clever work.

17 Peter Griffiths
UK 14pts
Fujifilm X-T2, 18mm, 1/200sec
at f/2.5, ISO 400
We don’t know what’s
going on here, and we’re
not sure we want to, but
it’s a great – if discomfiting
– moment captured.

co. 31
APOY 2019

18

18 Scott Jessiman UK 13pts
Nikon D750, 70-200mm at 200mm,
6sec at f/10, ISO 50
Scott picked just the right shutter speed
to combine sharpness and blur, and
reflect the hubbub of the street scene.
19
19 Tom Franklin De Waart
Hong Kong 0pts
Nikon D850, 14-24mm at 14mm,
1/4sec at f/7.1, ISO 280
Another good example of balancing the
right amount of movement and stillness.

23

22
22 Adrian Jones UK 9pts
Canon EOS 5D Mark II, 50mm,
1/100sec at f/8, ISO 200
Gorgeous light, a nice composition, and
a slightly different take on street shots.
23 Steve James UK 8pts
Nikon D850, 180mm, 1/500sec at f/3.2, ISO 560
A typically British scene that’s been
nicely captured by Steve. The shared
umbrella is what makes the picture.

26 Des Gardner
UK 5pts
Nikon D800, 42mm,
1/800sec at f/8,
ISO 400
This is a strongly
composed image,
which is all about
the diagonal lines.
On a human level,
it’s also about

26 repetition and
mundane tasks.

29 Jon Hall Ireland 2pts

Canon EOS 5D Mark II, 70-300mm at 230mm,
1/500sec at f/5.6, ISO 100 30
Here, the viewer is left wondering what
the two men are looking at.

30 Cliff Harvey UK 1pt

Olympus E-M1 Mark II, 12-40mm at 34mm,
1/125sec at f/8, ISO 400

29 A witty moment that says a lot about

our interactions in the modern age.

32
 In association with

21 June Fox UK 10pts

Canon EOS 5D Mark III,
70-300mm at 155mm, 1/640sec
at f/5.6, ISO 1600
Although a street beggar
is not a new subject, there’s
no denying the excellent
composition and mood
of this image.

20
20 Jay Birmingham UK 11pts 24 Mark Corpe UK 7pts
24 Canon EOS 60D, 17-50mm at 38mm,
5sec at f/7.1, ISO 100
Canon EOS 5D Mark III, 85mm, 1/125sec at f/2, ISO 200
Nice use of a shallow depth of field to make
An iconic tourist spot is portrayed with a the main subject stand out, and the black &
fresh approach in this nicely composed shot. white processing is beautifully done.

25
25 Mike Morley 28 Christine
27 UK 6pts
Sony NEX-5N,
Matthews
UK 3pts
18-55mm at 20mm, Canon EOS 70D,
1/80sec at f/6.3, ISO 100 18-200mm at 200mm,
The British weather 1/250sec at f/5.6,
ISO 250
is a recurring
The repetition
theme in this
of the pink and
round of APOY,
purple colours
and this is another
in this shot lifts
good example.
it above the
Isolating just a
ordinary, as does
few colours adds
the young girl’s
to the strength
of the shot.
expression. 28
27 Sebastiano Pieri
UK 4pts
Canon EOS 100D, 10-20mm at
10mm, 1/30sec at f/8, ISO 800
The 2019 leaderboard
The reflection plays with our Thanks to winning Round 6 of this year’s APOY, Patrick Reilly has
perceptions in this shot. leapfrogged into the top five, but despite not having an image placed,
Caron Steele retains her lead. Tom Franklin de Waart has more than
one image in the top 30, so only his highest-scoring image counts.
Darrell CROWD 1 Caron Steele 90pts 6 Darren Rose 53pts
Godliman WINNER 2 Marco Tagliarino 74pts 7 Neil Burnell 51pts
Nikon D300S, 300mm,
1/320sec at f/9, ISO 800
3 Tom Franklin de Waart 68pts 8= Flavio Tosti 50pts
A very well-seen
shot, with a slightly surreal 4 Steve James 61pts 8= Jay Birmingham 50pts
atmosphere to it. 5 Patrick Reilly 54pts 10 Henrik Spranz 48pts

To enter and find details of the upcoming rounds of APOY 2019 visit www.amateurphotographer.co.uk/apoy and click Enter Now
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 33
Specialising in the Exceptional ...

“Grays of Westminster rightly claims a place in

Nikon’s history, and in the history of camera stores
the world over. It is a perennial stop for me when
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everyone, the sense of service, even the very
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40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
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Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
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 Technique
KIT LIST
▲
Scanner
We used the Epson V600 Photo for our
shoot; however any flatbed scanner will
do. Make sure your scanner software is
installed, and switch to the professional
mode for best results.

▲
Pick a subject
You’ll need to find objects to scan. It can
be anything from plants to objects you
have lying around the house. Get creative!

▲
Background
Decide what colour you want the
background to be and lay some card
behind your subjects. This will have
a great impact on the end result.
▲

Glass
cleaner
ALL P CTURES © CLA RE G LLO

In between scans give By scanning interesting objects

your scanner a clean such as this animal skull and
with glass cleaner some dead flowers, you can
to remove unwanted create something unique
marks and fingerprints.

36
Scanner
art
Claire Gillo reveals her creative top tips
and tricks for making a digital photographic
image using a flatbed scanner

W
ith those long winter The main thing to take into account
months in sight and when scanning your subject is the
the weather miserable resolution size. Depending on how
and cold more often much detail you want your scanner to
than not, now is the time to hibernate pick up will determine what setting you
indoors. In the winter season a great opt for. You don’t have to go big, as the
project to immerse yourself in is higher the resolution the longer it will
scanner art. Producing a photographic take to scan. If your computer is not the
image without the use of a camera is a fastest it can be extremely frustrating
creative and fun thing to do. It requires processing your image at the editing
a little bit of patience and consideration stage if your image is too large. The
in the initial set-up and ideas stage, but higher the resolution the more
once these are in place it’s plain sailing
from then on.
It goes without saying but to try this
at home you will need a computer and a
flatbed scanner. It doesn’t have to be an
expensive scanner to get good results.
We’ve tried this technique on a variety
of models, and price doesn’t really come
into it. Each scanner produces results in
its own unique way. If you have access
to a few scanners take some time to
experiment and see which one gives
you the result you prefer.
There are many subjects that lend
themselves to scanner art. Flowers are
one of the most obvious, and these are
definitely the most scanned subject
amongst the scanner-art community.
There are a number of ideas to try in
order to break away from the norm,
such as hands and feet, natural objects
like animal skulls and skeleton bones,
and even food can look effective,
although you don’t want your scanner to Get experimental in your approach.
Movement can work well with body
get too messy. There really is no limit to
parts like hands and feet
your creativity and imagination.

37
 Technique
detail you’ll be able to see, but
your decision should also take
into account the size of your object
your scanning. If it’s something
small and you want to enlarge
it ,you’ll need to select a
larger resolution.
The resolution is determined by
the dots per inch (dpi) setting on
your scanner. It has a range from
50-12,800. We recommend you start
with a resolution around 600dpi
and increase or reduce accordingly.
Before you begin you need to take
into account whether you want to
scan in colour or black & white
(grayscale) and at what bit Color
or bit Grayscale setting. On our
scanner we have a 24-bit Color
setting and 48-bit. The grayscale
comes in 8-bit Grayscale and
16-bit. Bits are all about the
SCANNER ART
amount of colours or black & white
tones in your scan, and as you can
imagine, the higher the number
on the setting the more colours
or range of tone you have. It’s
important to note the bit setting
has nothing to do with the
resolution. Your screen displays at
24-bit, and a JPEG file does too
as it compresses the image to this
amount. Really the Bit aspect only
starts to matter when you want to
print an image at a very large size
or if you make a lot of image edits
where you’re pushing and pulling
the pixels around. If this is the case
scan at 48-bit (16-bit Grayscale)
and save as a TIFF file. However
for our scanner art we used the
lower-quality settings and saved
out as JPEG, which was good
enough for our needs.

STEP-BY-STEP SCANNING
Top tips
1 Pixels per inch (ppi)
This is the resolution screen on the
computer. Dots per inch (dpi) is what your
image will print out at. The scanner setting for
resolution is set to dpi on the Epson scanners.

2 Switch your scanner’s setting

Use the professional mode as you have
the most control over the final outcome.

3 Keep the liquids away!

1 Scanning software
Start by opening your scanning software and
go to the professional setting. We scanned our
objects in at a resolution between 600 and
720dpi. This was large enough for what we
needed it for. We also set the Image Type to
24-bit color (for higher quality, select 48-bit).
2 Lay out your objects
Next arrange your subjects on the flatbed. You
want to include the smaller items at the front
so place them in first, and then the larger bits
behind. Less can be more so build up your
image slowly. Think about your background
choice too at this stage.
Try to get as little moisture on your
scanner as possible.
4 Keep your scanner clean
In between scans spray some glass
cleaner onto a cloth and wipe over the flatbed.
This will do the trick.
5 Do a preview and build
your image
When starting out it can be tricky to know what
might work, so build up your scene slowly and
gradually. Sometimes less is more. More
simplistic set-ups can often be more effective
than throwing in everything at once.

6 You can always scan

individual objects
Scan objects one at a time and create a
montage using Photoshop. Repeating patterns
and objects can look effective.

3 Scan in
Once happy click Preview to see a quick view.
Decide if you want to add in more objects,
move any around or take any away. Once
happy you can select the area you want to
scan and check your resolution is set to the
amount you want it.
4 The final edit
Once your image has been scanned you can
then edit it as much as you see fit. For ours we
opened them into Photoshop and tweaked
the tone and contrast. We also used the Spot
Healing tool to remove dust marks and prints
in the background.
7 Scanner set-up
We placed ours underneath a dark
office table, so even without the lid down
the background was dark. If you want to use
different coloured backgrounds get some card
and lay over the back.
8 For a creative result
Try moving your hand or object as it
scans. Remember not to look at the light as
it can damage your eyesight.

38 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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ADVERTISEMENT FEATURE
Ian found Rotolight’s LED
lights ideal for studio-
based food photography
when he shot this
strawberry landing on
a spoon of milk
Food in a f
When you need portable, flexible lighting for video
and stills, Rotolight’s all-in-one continuous LED and HSS
flash – AEOS – is just the trick, as Ian Pack explains
A
s someone who
shoots both video
and stills, I need
lighting equipment
that’s versatile, reliable and
powerful. Having spent an
afternoon shooting with the
LED lights from Rotolight
I can confirm that they are
just the trick! These high-
spec bits of kit offer a range
of features including High
Speed Sync (HSS) flash with
zero recycling time, which
40
makes them ideal for studio-
based food photography.
Unlike conventional flash
there are no capacitors to
recharge between flashes,
and with up to 200% of the
maximum continuous light
output available you can freeze
action with ease. Thanks to
this clever technology you can
carry just one light to shoot
both stills and video footage.
Both the AEOS and NEO 2
lights can be triggered using
an Elinchrom Skyport Pro
trigger. Impressively, this
allows you to use shutter
speeds faster than the native
internal flash synchronisation
(sync) speed of 1/125-1/250sec
– provided your camera is
capable of HSS flash. In
practice, this means you
can shoot with wider lens
apertures or use faster shutter
speeds to freeze motion up to
1/8,000sec. Food photography
is often shot under natural
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
TRIGGERS
The AEOS and NEO 2 will work
with Canon, Nikon, Fujifilm, Sony,
Pentax, Olympus and Panasonic
cameras. Rotolight supplies the
Elinchrom Skyport Pro. (Third-
party transmitters are available,
but will require the corresponding
receiver to work.)
l Phottix ODIN II (HSS) works
with Canon, Nikon, Sony, Pentax.
l PocketWizard FlexTT5 and
FlexTT6 support High Speed
Sync (HSS) for Canon and FP
Sync for Nikon.
l Cactus VI II (HSS) works with
Canon, Fujifilm, Nikon, Pentax,
Olympus, Panasonic, Sigma, and
the Cactus VI IIS (HSS) with Sony.

lash
daylight, but on many
occasions a burst of flash
will enliven an otherwise
static shot – think icing
sugar sprinkled on to a cake;
a ball of dough thrown on to
a flour-coated table; or in this
case, a strawberry landing on
a spoon of milk.
When using the flash setting,
Rotolight LEDs can remain
on, giving you a constant
modelling light to preview
highlights and shadows
accurately. Conventional
flashes use a separate constant
light source as a modelling
light, which gives an
approximation of the lighting
due to the shape and position
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
© AN PACK
relative to the flash tube.
Having this ‘what you see is
what you get’ lighting is very
useful, taking the guesswork
out of creating an image.
To obtain maximum light
output from the NEO 2 and
AEOS the colour temperature
needs to be set to 4200K. This
is because the clusters of two
LEDS used to change the
colour temperature of the
lights are both at maximum
output at this temperature.
For accurate colour you need
to either set a custom white
balance on your camera at
the time of shooting, or make
adjustments during post-
production. To cover all bases,
BEHIND THE SCENES
The set-up for this shot was fairly straightforward. I used the AEOS with
soft box as the key light and the bare NEO 2 as the accent/rim light to
lift the subject from the black paper backdrop. The spoon was held in
a clamp, which in turn was patched to another clamp to allow precise
positioning. The area was covered in towels in order to absorb any milk
splashes, which travelled over a metre! Between takes, the milk was
replenished by means of a syringe and the spoon dabbed with a paper
towel to remove excess milk.
For the main image I used a shutter speed of 1/1000sec, aperture of
f/8, and ISO of 1000. The focus setting was set to the tracking feature
to keep up with the movement. The strawberry was held just out of the
frame and the camera was triggered with a remote release when it was
dropped into the frame.
set your camera to record raw CRI of 96 and TLCI of 91, so
files when adjusting the colour they give a more accurate and
balance of your images. To consistent colour rendition.
achieve an accurate white- If you need a single
balance setting I used the continuous light and a
X-Rite Color Checker range. powerful and flexible flash
Your camera user guide will solution, the AEOS and NEO 2
have information on how to from Rotolight might well be
create a custom white balance the answer.
in-camera. Alternatively, just
sample a neutral grey in your
raw file converter of choice to Ian Pack
ensure accurate colour. Ian has been in
With conventional flash you the business of
need to use colour-correction photography, video
gels fixed to the flash head production and
or a modifier to adjust the visual media for
colour temperature. With the more than three
Rotolight AEOS and NEO 2 decades. He
you can adjust the colour recently embarked
temperature of the light from on a long-term project photographing
3150-6300K in steps of 10K or and interviewing the people behind
20K. The benefit of this is that the English wine revolution (www.
you can balance the light with heartofukwine.co.uk) and has a
existing ones such as warm photography and lighting blog called
interior lights or cooler bright Pack’s Hacks. Visit ianpack.blogspot.
sunlight. These lights boast a com for more.
41
YOUR PICTURES IN PRINT
Join
Club
the
The Rugeley and
Armitage Camera Club
is all about learning,
no matter the camera
When was the club founded?
Our camera club was formed in 2009 by six
local enthusiasts who held their meetings in
the corner of a bar. From this small beginning
the club rapidly increased its membership,
necessitating a larger meeting room. At
present, we have over 70 members, making
it one of the largest in the Midlands.
What does your club offer new members?
New members have the chance to meet
like-minded people in a friendly, relaxed
atmosphere. During breaks at the camera
club evenings, our members socialise with
others to view displays of images entered
into competitions or browse available
magazines for a donation to our chosen
charity, St Giles Hospice.
42
© L NDA SHAW
1
Describe a typical club meeting.
We commence the evening with relevant
information for members about forthcoming
events before planned activities begin. This
could be any of the following: a monthly print
or projected image competition on a themed
or open subject; members’ nights, where
we talk about some of our images; or an
audio-visual presentation on a subject ranging
from very basic camera control to more
advanced subjects such as low light, macro
and image editing.
Do you invite guest speakers?
We have guest speakers throughout the
season. Subject matter is varied and ranges
from informative presentations delivered with
a slice of good humour, to viewing the work
of experts learning about the how, why and
where images were taken.
Do members compete in regional or
national competitions?
Although entering competitions is entirely
voluntary, we try to encourage as many
members as possible to do so, especially
beginners, believing this to be one of the
quickest ways to improve your photography
with the opportunity to win prestigious
trophies. All competitions involve an outside,
independent judge who will give constructive
and informative advice about what is good or
not so good about an image, bearing in mind
that these comments are purely the judge’s
opinion. Listening to their advice leads to
improvement, as does learning from our
so-called mistakes. In addition to our monthly
club competitions we enter inter-club battles
against other local clubs, as well as an annual
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
© PADDY RUSKE
2
1 Damselfly by Linda 2 46447 by Paddy
Shaw This vibrant and Ruske Everything you
engaging study has the need for a successful
perfect colour palette steam-engine shot
to show off the damselfly can be found in this
in all its glory. charming composition.
print and projected image competition held
between 12 other Staffordshire clubs. All
members have the chance to individually enter
MidPhot – an annual competition held for the
whole of the Midlands area which showcases
the best in Midlands photography.
Are any residential trips or outings planned?
We try to include field trips and outings into
our busy schedule. These can consist of
walking in Cannock Chase in Staffordshire, for
the varied wildlife; Westonbirt, The National
Arboretum in Gloucestershire, for beautiful
shots of vivid coloured trees; and of course
The Black Country Museum in Dudley.
Do you have any funny club stories?
At one of our annual presentation evenings we
held an auction of prints, donated by speakers
and members. Celebrity auctioneer, Charles
Hanson from television’s Bargain Hunt was
invited to join us and we were thrilled when he
agreed to come along and host the evening.
Over £1,000 was raised that night and
donated to the club’s chosen charity, St Giles
Hospice, Lichfield.
What are the club’s goals for the future?
Our aim for the future is to continue to offer
stimulating evenings which meet the ever-
changing needs of our members, whether
they are complete beginners or experienced
photographers using anything from a top-of-
the-range camera to a smartphone… all bitten
by the photography bug!
Want to see your club featured on these pages? Drop
us a line for more information at ap@ti-media.com.
 YOUR PICTURES IN PRINT

© DAVE HANMER
4

© GRAHAM ORGILL
3
© BR AN WHEATLEY

5 3 Striped Cordial by Dave 4 Autumn Colours by 6 Mirror image by Carole

Hanmer A striking shot
which works exceptionally
well thanks to the vivid colour
of the cordial and the perfect
framing of the background.
Graham Orgill A classic
still-life subject, this scene
has a very painterly effect
which means it wouldn’t be
out of place on a gallery wall.
Perry With lots of space
around the subject, and a
muted colour palette, this
surreal image has been
executed extremely well.

6
© CAROLE PERRY

5 Handmade Bread by 7
Brian Wheatley An Club essentials
ordinary scene is anything
but on second glance –
some expert manipulation Rugeley and Armitage
work on display for this Camera Club
gothic shot. The Davy Suite at Lea Hall Miners
Welfare Centre & Social Club, Sandy
Lane, Rugeley WS15 2LB, Staffordshire
7 Antelope Ground Meets Mondays at 7.30pm from September to June
Squirrel by Mary Eaton
Sharp and with plenty of Membership Annual fee is £25 for individuals, £40
detail, this classic study for couples, or £50 for families
© MARY EATON

of a small critter is Contact Carole Perry at carole-perry@sky.com

very charming. Website www.rugeleyandarmitagecameraclub.com

43
 VISIT T
H
PRINTL E
EXHIBIT IFE
FREE W ION FOR
ORKSH
AND GR OPS
E
GIVEAW AT
(R E G IS
TER ON
AYS
L IN
E N O W)

FUJIFILM PRINTLIFE: Free workshops

MY LIFE EXHIBITION. Great giveaways
24 - 27 OCTOBER 2019 Interactive activities
TRUMAN BREWERY Register online!
visit fujifilm-printlife.eu/london
LONDON for full details

The lens performed exceptionally well
when asked to shoot a series of
portraits wide open towards the sun
Nikon Z 7, 1/500sec at f/2.8, ISO 100, 45mm
Nikkor Z
Is Nikon’s first professional zoom for the Z mount a
success? Michael Topham gave it a try to find out
W
hen a camera manufacturer
announces a new lens mount
– just as Nikon did last year
with the Z-mount - we
immediately start guessing what new lenses
might follow. Nikon, however, wasn’t shy about
letting us know about what it had planned in the
future. The lens roadmap that was released at
the same time as the Z 7 and Z 6 revealed six
lenses would join the Z 24-70mm f/4 S,
Z 35mm f/1.8 S and Z 50mm f/1.8 S during
2019. One of these – the Z 24-70mm f/2.8 S,
is the latest lens to arrive with us for review.
Before we cast eyes over the fastest standard
zoom for the Z-series to date, we should
mention that many more lenses for the
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
LENS TEST
Z-series are in the pipeline. The updated lens
roadmap, which was released at the same time
as the recent Nikon Z 50, tells us the Z 20mm
f/1.8 S, Z 50mm f/1.2 S, Z 14-24mm f/2.8 S
and Z 70-200mm f/2.8 are to be joined by an
S-Line 105mm Macro and a 60mm Macro.
Two compact prime lenses – a 28mm and
40mm – are also expected, along with four
additional zooms. These include a 24-105mm,
100-400mm, 24-200mm and 200-
600mm. Release dates are to be confirmed.
Features
The lens we’re looking at here is the second
standard zoom Nikon has made for its Z-series
cameras. There are a number of differences
Testbench
between it and the Z 24-70mm f/4 S, not least
the fact it costs £1,120 more. With a maximum
aperture of f/2.8 across the zoom range it’s a
stop faster, and just as you’d expect from a lens
with a pro-spec status, it employs advanced
optics and extensive weather-sealing.
The optical construction of the lens is made
up of 17 elements in 15 groups. Two ED
(extra-low dispersion) elements are included,
as are four aspherical elements. While Nikon’s
Nano Crystal coatings suppress ghosting and
flare coming from backlight at diagonal angles,
an all-new multi-layer ARNEO coating is also
applied to compensate for light entering the
lens from vertical angles.
To ensure fast, accurate and silent autofocus,
a powerful stepping motor (STM) combines
with Nikon’s Multi-Focus System. This system
uses two actuators to move two focus
groups at once, enabling the lens to
45
The lens goes about its business of focusing in an
accurate, sprightly and quiet manner. Users who
shoot JPEGs should take advantage of the Auto
distortion control option from their camera’s menu
system Nikon Z 7, 1/4000sec at f/2.8, ISO 100, 70mm
achieve critical focus rapidly, even at close
focusing distances. On the topic of
focusing, it has a minimum focus distance of
0.38m (1.25ft) at all positions through the
zoom range. Being the internal type of focusing
system there’s no fret of the front element
rotating either, but it’s worth noting the 82mm
thread size is larger than the 72mm and
77mm threads on the Z 24-70mm f/4 S and
F-mount AF-S 24-70mm f/2.8 E ED VR.
To stabilise handheld images, users should
use the 5-axis in-body image stabilisation built
into Nikon’s Z 7/Z 6 cameras, which allows you
to shoot up to five stops slower than otherwise
possible. In the box you get all the usual
accessories you’d expect, including front and
rear lens caps as well as a CL-C2 lens case.
The plastic HB-87 lens hood that’s lined with
felt on the inside locks with a 90-degree turn
and has a release button that needs to be
depressed before it can be removed.
Users have the option to control AF-ON as
well as a whole host of AF/AE lock options
from the Fn button on the barrel
Nikon Z 7, 1/4000sec at f/2.8, ISO 100, 70mm
Build and handling
The lens is 25% lighter and 18% shorter than
the AF-S 24-70mm f/2.8 E ED VR in Nikon’s
F-mount lens lineup. Unlike the slower Nikkor
Z 24-70mm f/4 S, it doesn’t have a retractable
design, which means the zoom ring doesn’t
have to be twisted to extend it to 24mm
before it can be used. One feature that has
been well received on some of Nikon’s new
Z-mount lenses is the addition of a control ring.
On lenses like the Z 24-70mm f/2.8 S that
feature one, it’s possible to change the function
of the control ring from its default setting of
adjusting focus to control aperture or exposure
compensation. The barrel on the lens we’re
looking at is longer and features functionality
unique to higher-class models in the Nikkor
S-Line. In addition to a control ring, a focus
ring is positioned ahead of the zoom ring,
allowing you to adjust the focus and control
exposure compensation or the aperture
‘Zoom creep isn’t an issue
when it’s pointed down’
without having to revert to the custom control
assignment options in the camera’s menu.
Between the control ring and the zoom ring
there’s also a L-Fn button that allows a number
of functions to be assigned to it, and a DISP
button that’s used to toggle through focal
length, aperture and focus distance on the
display panel beside it. As illuminated panels on
lenses go, it displays its information very clearly.
It’s useful for glancing at and can be used to
precisely set your focal length. It displays focal
length information in 0.5mm increments
between 24mm and 35mm, and 1mm
increments thereafter.
The build and overall finish is deserving of the
serious and professional photographers it’s
designed for. Engraved focal length markings
stand out clearly in white against the matte
black barrel and the AF/MF focus switch is easy
to find with your thumb. The control ring and
manual focus ring rotate silently with satisfying
fluidity, while the rubberised zoom ring offers a
consistently smooth motion through the focal
range. The zoom operates across a quarter
turn of the zoom ring and there’s sufficient
resistance to ensure that zoom creep isn’t an
issue when it’s pointed down.
Image quality
To find out how well the lens performs, we
coupled it to Nikon’s 45.7-million-pixel Z 7.
Like other manufacturers, Nikon has taken the
direction of embedding its lens correction
profiles for its Z lenses into the cameras’ raw
files, which are applied automatically by the
 LENS TEST Testbench

Nikkor Z
24-70mm f/2.8 S
Resolution
The red line indicates that it puts in a mighty fine
performance at the wide end of the zoom range,
with corner sharpness improving by closing down
to f/4 and f/5.6. It is sharper in the centre and at
the edge at 50mm than it is at 70mm. Excellent
centre and corner sharpness is upheld through the
zoom range between f/5.6 and f/8. The influence of
diffraction sees sharpness drop off beyond f/11.

The lens can focus as closely as 38cm at all settings across the zoom Nikon Z 7, 1/125sec at f/2.8, ISO 100, 70mm

software you use at the processing stage.

Loading raw files into Adobe Camera Raw and
opening the lens corrections tab reveals a
message signalling the built-in lens profile for
Verdict 24mm centre
50mm centre
24mm corner
50mm corner
correcting distortion, chromatic aberration and It was only a matter of time before a fast
vignetting has been used. While there is a way standard zoom was released to complement 70mm centre 70mm corner
of disabling this automated behaviour, albeit Nikon’s excellent Z-mount cameras. While
not in ACR itself, there’s no real need to do so there’s nothing to stop Nikon users pairing Shading
unless you’d like to compare results with and F-mount zooms like the AF-S 24-70mm
without the automatically embedded lens f/2.8 ED with the Nikon Z 7 and Z 6 via the Use the lens at f/2.8 and you will notice that the
profile applied. FTZ adapter, coupling a heavy lens and corners of images appear darker than the centre of
Running a series of real-world tests against adding a bulky adapter somewhat defeats the frame, even with the embedded lens correction
the Z 24-70mm f/4 S before studying these the point of owning a smaller and lighter profile automatically applied. Stopping the lens
closely highlighted that the lens we’re looking camera body. Settle for the Z 24-70mm down a stop or two from f/2.8 to f/4 or f/5.6 helps
at is optically superior, both in terms of the f/2.8 S and you’ll reap the reward of the size alleviate the fall-off of light towards the edge.
sharpness it resolves across the frame and the and weight advantages it offers.
beautiful blur it creates at its widest aperture. The combined weight of lens (805g) and
This doesn’t take the shine off the Z 24-70mm Nikon Z 7 comes to 1,480g. This is a big
f/4 S though, which remains a good lens and saving when you compare it to combinations
has size, weight and cost benefits of its own. like the Nikon D850 and Nikkor AF-S
It’s sharpest at the wide end of the zoom. 24-70mm f/2.8E ED VR
Centre sharpness figures at 24mm peak above that weigh over 2kg. It’s a Data file
those at 50mm and 70mm. Edge sharpness lens that produces
improves at all focal lengths by stopping down excellent sharpness, is Price £2,019
to f/5.6 and seriously impressive sharpness built to the demands of Filter diameter 82mm
24mm f/2.8 70mm f/2.8
figures are obtained across the zoom at f/8. If professional use and Lens elements 17
you’d like to resolve the sharpest results and balances beautifully on Groups 15 Curvilinear distortion
your shooting situation doesn’t insist that you full-frame Z-series Aperture blades 9
shoot at f/2.8, it’s advisable stopping down to cameras. Although it’s Aperture f/2.8-f/22
at least f/4 between 50mm and 70mm. not cheap, it’s the best
Distortion is often an area where zoom lenses
Minimum focus struggle, however with the embedded lens
With the embedded lens correction profile Z-mount zoom we’ve distance 38cm
taking care of curvilinear distortion, no work is tested so far and fully
correction profile that’s automatically applied to
Dimensions89x126mm raw files produced by the Nikon Z 7 and Z 6, users
required to fix barrel or pincushion distortion. deserves its Gold Award. Weight 805g
It’s the same story with regard to chromatic
are provided with distortion-free results straight
Lens mount Nikon out of the camera that require no additional work.
aberrations. These are well corrected for, with Z-mount
no nasty surprises or obvious fringes of colour. Includedaccessories
Just as I discovered when I tested the Nikkor Lens cap, lens hood
Z 14-30mm f/4 S, the embedded correction (HB-87), lens case
profile alleviates corner shading at wide (CL-C2)
apertures, but doesn’t remove it altogether. SMIA TV = -0.1% SMIA TV = -0.1%
Vignetting is most obvious when the lens is
used at 24mm with an aperture of f/2.8. I
found taking manual control of the vignetting
GOLD
amount slider in Adobe Camera Raw and 24mm 70mm
setting it to +30 removed it effectively.

subscribe 0330 333 1113 I www.amateurphotographe 47

Sell your Nikon to

Grays of Westminster are always seeking fine examples of Nikon cameras, lenses & accessories including:
Digital SLR Bodies ❖ AF Lenses ❖ Select Film SLR bodies
Manual focus lenses ❖ Vintage bodies ❖ Pre-AI lenses ❖ Accessories

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Polariser
A circular polariser is
integrated into the filter
holder adapter, with a 77mm
thread for attaching to
the lens.
Attachment
The holder is fixed on to
the adapter by tightening
a single screw.
Formatt Hitech
Firecrest 85mm ND
Starter Kit What’s in
the box?
Can you get away with using an 85mm filter
system instead of an expensive 100mm kit?
Andy Westlake finds out
I
t’s tempting to believe that, in these days
of Photoshop, you can replicate any
effect of using an optical filter in front of
the lens through post-processing. But as
explained on page18, that’s simply not true,
and there are still three filter types whose
effects really can’t be matched digitally:
polarising, neutral density (ND) and graduated
ND filters. The latter in particular only really
work as part of a square filter system.
The catch is that the 100mm-wide set-ups
favoured by landscape shooters are expensive,
and can easily add up to many hundreds of
pounds. However, one possibility to reduce the
cost might be to downsize. I’m sure many
readers will be familiar with the Cokin P system
which was hugely popular during the 1980s
and 1990s, and employs 84mm-wide filters. If
that size worked then, why not now? The
answer lies with our ever-expanding lenses; not
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
FILTER TEST
only have wideangles got increasingly broader
in view, but the current fashion is to make
lenses that are physically very large to achieve
super-high sharpness. But one of the
advantages of smaller sensor formats, and also
of mirrorless systems, is that they allow lenses
to go the other way, and be smaller than their
equivalents for full-frame DSLRs.
This has in turn induced the Welsh filter
maker Formatt Hitech to introduce a new
85mm filter holder under its premium
Firecrest brand, which it says is particularly
suitable for APS-C and Micro Four Thirds
set-ups. So how well does it work?
How it works
Formatt Hitech’s 85mm Firecrest system
adopts a similar design to its 100mm holder,
with a 77mm circular polariser integrated
into the filter holder adapter. You screw
Testbench
Adjustment
A small wheel on the
side of the holder allows
for easy adjustment of the
polariser from behind
the camera.
At a glance
£250
● 85mm square filter system
● Accepts polariser and
2 or 3 more filters
● For use with lenses up to
77mm thread
● Polariser, 6-stop ND and
3-stop ND grad included
THE FIRECREST 85mm ND Starter Kit
includes the filter holder, a 77mm polariser,
77mm adapter ring, and step-up rings for
lenses with 58mm, 67mm and 72mm
threads, along with a nylon pouch to hold
them. It also adds two high-quality glass
filters to get you started, a 3-stop ND Grad
and a 6-stop ND filter. Alternatively you can
buy the basic Firecrest 85mm Filter Holder
Kit, including a polariser but without the
ND filters, for £119.
 Testbench
In this dramatic portrait of a pair of Aston Martins,
I used a polariser to enhance the reflections and a
3-stop ND Grad to darken the sky
Sony Alpha 7 II, 24-105mm f/4 at 57mm, 1/15sec at f/11, ISO 100
the polariser onto your lens, and then mount
the holder directly onto it, fixing it in place via a
single screw. A second, blank 77mm adapter is
included for when you don’t want to use a
polariser. The holder rotates freely so you can
align graduated filters at an angle, but there’s
no way of locking it down, so you need to keep
a close eye on how it’s set.
For lenses with smaller threads you have to
use a step-up ring. I’m mystified as to why a
62mm option has been left out of the box,
given that it’s used by several popular lenses
including the Olympus 12-40mm f/2.8 and
the Sony 10-18mm f/4. However the firm sells
step-up rings in various sizes for £12 each, and
while this may look expensive compared to
what you can pay online, they are slim and
good quality, so worth spending a bit extra for.
The holder comes with two filter slots as
standard, allowing you to use a grad and an
ND together, with a low-profile foam rubber
seal preventing light leakage past the latter.
But it also comes with additional parts to add a
50
FILTER TEST
third slot, which can be handy for stacking NDs
or combining different types of grad.
Unlike some other systems we’ve seen
recently, the Firecrest 85mm holder doesn’t
have any special tricks for holding or
manipulating grads and NDs: they simply slide
into the slots, and are held in place by friction.
Adding another slot
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
But it does have one neat feature, in that the
polariser can be easily rotated from behind the
camera using a small wheel on the side.
Lens compatibility
So now for the big question: what lenses can
you use the 85mm holder on, and with what
Expanding the holder to take three filters is
straightforward. Remove the screws on one
side using the supplied Allen key, and then turn
the holder over while holding the assembly
together. Remove the top plate, add the
additional slot former, replace the top plate and
finally put it all back together, using the longer
set of screws. It should only take a couple of
minutes, but I don’t think I’d want to try it on
location for fear of losing a screw.

limitations? I tested it with a range of different
type lenses for multiple sensor formats, and
found that it’ll generally be fine with any lens
that has a filter thread of 77mm or smaller,
and with lenses as wide as 16mm equivalent,
regardless of sensor size. But there’s a caveat
as you approach these limits, in that your
leeway to align grads with a sloped horizon by
rotating the holder becomes increasingly tight.
Let’s look at this in more detail. Firstly, the
77mm limit rules out using it with a lot of high-end
full-frame optics, so if that’s the kit you use, you’ll
have to buy into a 100mm filter system. But
there are plenty of full-frame lenses that use
77mm or smaller threads, and these should
usually work OK. However the polariser is slightly
thicker than conventional slim filters, at 7mm, and
while this isn’t always a problem, I saw a little
corner vignetting with my Canon EF 24-105mm
f/4L IS USM and its Sony FE equivalent at their
widest settings, which would require cropping
or cloning out. The blank adapter is a couple of
millimetres thinner and doesn’t vignette at all.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
For this atmospheric landscape,
I added a 10-stop ND filter to the
6-stop ND included in the kit
Olympus OM-D E-M1 Mark II, 12-100mm f/4
at 25mm, 60sec at f/5.6, ISO 200
The Formatt Hitech 85mm system in use on my
Olympus OM-D E-M5 Mark II with 12-100mm lens
The second possible kind of vignetting is
from the holder blocking the lens’s field of
view, which limits the widest usable angle to
about 16mm equivalent. With slightly
less-wide lenses such as the Tamron
17-28mm F2.8 Di III RXD, there’s no hint of
vignetting when the holder is set straight, but it
can block part of the lens’s view when it’s
rotated even slightly. Zoom in to 20mm,
however, and you can rotate the holder to
any angle with no sign of vignetting. If you
build the holder up to three slots rather than
two, naturally there’s a greater risk of
vignetting, but you can still expect to use
lenses as wide as 19mm equivalent with the
holder set straight, while 21mm will allow for
free rotation.
In practical use
Using the Formatt Hitech 85mm Firecrest
holder on location reveals the strengths and
weaknesses of its design. Looking at the
positives first, the build quality is excellent, with
the rigid aluminium base providing a stable
foundation, while the nylon filter slots allow
easy swapping and positioning of filters. The
wheel for adjusting the polariser works
particularly well.
The filters supplied in the kit are also of high
quality, which is particularly important with the
polariser, given that it can’t be swapped out. In
terms of colour balance they’re effectively
neutral, with the 6-stop ND showing no sign of
excess infrared transmission, which can be a
troublesome problem with cheaper filters.
So far, so good.
The main irritation comes when you need to
change lenses. Unlike most other systems, you
can’t simply fit all your lenses with the requisite
adapters, and then swap the holder across with
all the filters in place. Instead you have to
unclip the holder, unscrew the polariser and
transfer it to the next lens each time, which
isn’t exactly a quick process. This may also
involve fiddling with step-up rings, which
I found could stick to the polariser at
inopportune moments. So it’s a good idea to
carry a couple of filter wrenches, just in case.
It’s also worth noting that Formatt Hitech’s
top-of-the-range Firecrest glass graduated
filters are only available with a soft transition
from dark to clear. This is fine for toning-down
bright skies, but if you want a hard grad when
there’s a tightly defined horizon line, or a
reverse grad at sunrise or sunset, you’ll have to
buy the firm’s resin filters instead, which
usually means having to accept slightly
lower optical quality.
Our verdict
IF YOU’RE interested in putting together a
square filter set-up, but are put off by the
cost, then the Formatt Hitech Firecrest
85mm system is well worth considering. As
long as you don’t have any lenses with filter
threads larger than 77mm or wider than
17mm equivalent, you should be able to
avoid excess vignetting. However it’s
important to understand that larger filters
give better scope for angling graduated
filters, which is often useful in landscape
photography. Otherwise, my main
reservation is the clunkiness of switching
between lenses. But crucially you can save
hundreds of pounds compared to alternative
options, including the
firm’s own 100mm
Firecrest holder or LEE
Filters’ Seven5 and 100
Recommended systems, with the cost
advantage amplifying as
you buy more filters.
51

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 IN ASSOCIATION WITH MPB | WWW.MPB.COM USED CAMERAS Testbench

SECOND-HAND CLASSIC

Nikon
D7200
It might be four years old, but the The D7200 has a sensitivity of ISO100-25,600,
GOLD

Nikon D7200 still presents its own with extended settings reaching up to ISO 102,400

advantages over the newer D7500

A
t the time of its release in 2015, the D7200 was Nikon’s
flagship APS-C DSLR. Like the D7100, it was intended to
meet the expectations of enthusiasts and semi-pros who
wanted a versatile camera with a number of professional-
grade features. Improvements included a 51-point AF system that was
more responsive in low light, introduction of NFC connectivity and a
24MP APS-C CMOS sensor that was less prone to generating banding
in night scenes at high ISO. The EXPEED 4 image processor didn’t offer
any increase in burst speed (6fps); however buffer depth improved from
a measly five raw files on the D7100 to a more acceptable18 frames.

What we said
●
‘The D7200 is a more
appealing choice for wildlife and
sports photographers with its
improved buffer performance’
● ‘Images have a very good
dynamic range and hold up
well at higher ISO sensitivities’
● ‘The D7200 ticks the
right boxes for outdoor
photographers’
● ‘If a hard-wearing body and
incredibly quick AF system are
your main priorities, the D7200
could be just right for you’
What to pay
The second-hand market isn’t
short of used D7200s. MPB.
com had six examples available
There is a 3.2in,
when we checked online, with 1.23-million-dot fixed
good-condition models showing screen at the rear.
signs of use and light marks/ The viewfinder offers
scuffs to the body going for 100% frame coverage
around £454. Pay around £55
more and you’ll be able to pick
up a D7200 in excellent
condition with a shutter count
of around 10,000 frames for
£509. Like-new examples of
the Nikon D7200 go for £554.

How it fares today New alternatives

The D7200 isn’t in the same
league as the D500 in terms
of speed or performance, but it
shouldn’t be overlooked. As the
images over the page show, it
produces stunning results in the
right hands. Conveniences such
* ALL PRICES WERE CORRECT AT THE TIME OF WRITING
The Nikon D7500 that arrived in
2017 omits some of the great
features you get on the D7200.
You do get the 20MP sensor For and against
and EXPEED 5 image processor At a glan e
from the D500, but it lacks a + Enlarged buffer allows more than
dual card slot and doesn’t offer
£454-£534

100 JPEGs to be shot continuously

as Wi-Fi connectivity, long metering support for manual
battery life and an intuitive layout focus Nikkor AI (non-CPU) body only (via MPB.com)* + Battery life: 1,110 shots per charge
of buttons, make it a sensible lenses. It shoots a burst at 8fps ● 24.2MP DX-format APS-C CMOS sensor + Dust and weather sealed
upgrade for photographers who for up to 50 raw images, but ● ISO 100-102,400 (extended) - Live View focusing is noticeably
own older entry-level Nikon doesn’t allow you to attach or ● 51-point Advanced Multi-Cam 3500 slower than more modern DSLRs
DSLRs and DX-format lenses. use it with a battery grip. II AF system - No touchscreen control
● 3.2in, 1.23-million-dot fixed screen - Fixed screen makes it harder to
See over to find out what Nikon D7200 owners have to say ● 675g (body only) shoot from low/high angles

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 53

 IN ASSOCIATION WITH MPB | WWW.MPB.COM

What the
owners think
Three Nikon D7200 users give their verdict

Joe Mortimer
My photographic journey
started with the humble
D3300. Photography fell
hand in hand with other
interests, as I mostly shot
landscape, nature, travel and
adventure sports. Whilst the
D7200 had a similar 24MP
crop sensor, I was impressed
with its range of advanced
features in a more rugged,
weather-sealed body. It
represented an affordable
‘do it all’ option for the
beginner/intermediate such
as myself. For landscapes
I gained exposure bracketing,
and for wildlife and sports it
provided a higher frame rate,
higher maximum shutter
speed and back-button
focusing. The advanced flash
features even allowed me to
experiment with portraiture
and off-camera flash. The
weight of the D7200 when
considering its sensor size
became its biggest drawback
for activities like travelling
and hiking. With full-frame
cameras becoming more
competitively priced,
and advancements in
mirrorless technology, I’ve
since moved on to newer
and lighter things. Although
no longer my primary
camera, I still own my trusty
D7200. It is a joy to use, and
a great camera to learn with.

For and against

The impressive and mighty + Rugged body
Emosson Dam in Switzerland + Advanced flash functionality

© JOE MORTIMER
© JOE MORTIMER

Nikon AF-S 18-140mm f/3.5-5.6G

ED VR, 1/160sec at f/13, ISO 100
+ Reasonable frame rate for action/sports
– Size and weight compared to mirrorless

Laura Hill
© LAURA HILL

I upgraded to the Nikon D7200

after starting my journey in
photography with a Nikon D3300.
One of my passions is capturing
images of wildlife, especially owls,
so the big attraction at the time
was it being the best crop sensor
camera within my budget that
could handle low light reasonably
well. I have owned the D7200 for
just over a year now and feel my
photography using this camera
has improved hugely. I no longer
have to worry too much about the
light fading, and often find myself
cranking up the ISO without too
much worry that noise is going
to ruin the final result. In an ideal
world the camera would record
in 4K resolution; however Full HD
is adequate for me and I’m very
pleased with how crisp and clear
the video quality is. I also find it
useful being able to send raw files
to mobile devices via Wi-Fi.
This shot of a puffin
hiding in the shadows For and against
was captured on one of + Good ISO capability
Laura’s wildlife trips
Sigma 150-500mm f/5-6.3 DG OS
+ Built-in Wi-Fi
HSM, 1/250sec at f/7.1, ISO 200
+ Weather sealed body
– No 4K video recording
54 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Testbench

Bottlenose dolphins at play,

Isle of Coll, Scotland
Nikon AF-S 18-140mm f/3.5-5.6G ED VR,
1/640sec at f/8, ISO 200

Andrew Bulloch Andrew won Young Scottish Landscape

I began taking photos when I was Photographer of the Year in 2018 with
13 using my father’s DSLR. I then this image of Eriskay football pitch
Nikon D7200, Nikon AF-S 18-105mm f/3.5-5.6
decided to purchase my own
G ED VR, 1/3200sec at f/3.5, ISO 400
Nikon D7200 as it was going for
a very reasonable price second-
hand. It looked to be a decent
all-round camera and that has
proven to be the case. It has won
me a couple of awards including
the Young Scottish Landscape
Photographer of the Year. The
biggest drawback is the focusing,
which can sometimes be a little
slow and is not always as accurate
as I would like, but as most of my
shots are of stationary landscapes
I have plenty of time to check the
focus. An articulating screen would
also be a useful addition, but I
wouldn’t expect one for the price.
The dual SD card slots are handy
and the battery life is usually more
than enough to last a day of casual
© ANDREW BULLOCH

shooting. At some point I might

upgrade to the Nikon D850.
For and against
+ Dual card slots Trade in and upgrade your set-up for the
+ Reliable performer perfect shoot, every time. Buy, sell and trade
– Lacks articulated screen in your photo and video gear with MPB. It’s
– Focusing could be more accurate quick, easy and secure. www.mpb.com

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019 55

 Testbench ACCESSORIES

2
Manfrotto Advanced
camera Hybrid backpack
Andy Westlake examines a hybrid bag that converts from At a glance
a backpack to a shoulder bag ● Convertible shoulder bag/
● £149 ● www.manfrotto.co.uk
backpack
Grab handles ● Holds camera body and
AS ITS name suggests, this bag has an unusual trick, Two small handles clip three or four lenses
in that it can convert between three carrying modes: together, allowing you to ● Rear pocket for 13in laptop
backpack, shoulder bag and briefcase. The idea is carry the bag and 10in tablet
that you can carry it on your back when it’s fully briefcase-style. ● Size is carry-on-friendly
loaded with kit, and then convert it to a shoulder bag (43 x 28 x 19 cm)
for easier access when you’re shooting. Then when
you’re travelling, tuck the straps neatly out of the way
to make it easier to fit into a luggage rack.
At first sight, it’s really cleverly designed, with lots of
neat touches. It has a semi-rigid back, with padding
and ventilation slots designed to make it more
comfortable to carry. The camera module is
removable, and will hold a full-frame SLR with a
standard zoom attached, along with a wideangle Passport pocket
zoom or perhaps a couple of small primes. The space A hidden flat-zipped pocket
above it will accept a large telezoom such as a on the front face can be used
100-400mm, and there’s an additional small to keep travel documents
compartment for accessories. A movable internal safe and secure.
divider lets you combine these spaces to create a
single, larger compartment if you need to carry
clothing or suchlike. There are also pockets on either
side, one of which will expand to hold a Rain cover
water bottle, and tripod straps on the The bag is supplied with a
front. At this point, it appears to waterproof cover that can be
tick all the boxes. used with both the backpack
Unfortunately when you Trolley slip and shoulder bag
come to use it, some design The bag can be slipped configurations.
flaws emerge. In shoulder-bag over the handle of a roller
mode it’s easy to work from, suitcase for easier
but the rigid back means that it transportation.
doesn’t mould to your body like a
messenger bag, making it feel
rather bulky. The bottle pocket also
ends up on the underside of the bag, so
you’ll need to find another way of carrying your drin
It’s not even especially comfortable to carry on you
back when full, as the backpack straps are rather
thinly padded, and there’s neither a sternum strap
nor a waist belt to help stabilise the load. In backpa
mode it also lacks both a flat base for putting it dow
and a top handle for picking it up or pulling it from
luggage rack. Both of these are surprising and ALSO CONSIDER
annoying oversights.
’ve found the Vanguard VEO
Verdict lect range offers a more
I really liked the idea of the Advanced2 camera ccessful hybrid design. The
ALL PRICES ARE APPROXIMATE STREET PRICES

Hybrid backpack, and in many ways I’m impressed O Select 41 and 45M models
by the ingenuity of its design. It’s well made, has a similar in size to the
nicely flexible interior, and can carry all the essentia nfrotto, with the 45M being
for a day’s shooting. But to me, it never feels quite signed for mirrorless systems;
right in either of its carrying modes. Personally, at t Recommended th cost £130. Meanwhile the
size I’d probably just choose a conventional VEO Select 49 (right) is rather
messenger bag instead. larger and costs £150.
56 26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Tech Talk
BLAST FROM THE PAST
Welta
Superfekta
John Wade discovers an unusually versatile twin lens reflex
LAUNCHED 1935
PRICE AT LAUNCH £27.10s (£27.50)
GUIDE PRICE NOW £450
(recent auction buy)
Following the launch of the
Rolleiflex in 1928, camera
manufacturers around the world
began making their own versions
of the twin lens reflex (TLR)
design. The vast majority of such
cameras – which used twin lenses,
one for shooting, the other for
reflecting its image to a large
viewfinder screen on top of the
body – shot twelve 6x6cm images
to a roll of 120 film. The images
being square meant that, when
changing from portrait to
landscape shaped subjects, there
With the
back rotated
ready to
take
landscape-
shaped
pictures
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 26 October 2019
was no need to turn the camera
on its side, an awkward
manoeuvre with any TLR.
The Superfekta is rare in that it
shoots eight 6x9cm images on
120 film. In its normal operating
position, the film winds vertically
through the body providing
portrait-shaped pictures. To shoot
landscape-shaped subjects, the
camera features a revolving back
that turns the film through 90°,
while changing a mask in the
viewfinder to show the
appropriate orientation.
And the Superfekta has another
trick up its sleeve: it’s one of only a
handful of TLRs that were made to
fold. In its normal shooting
position, with the focusing hood
erected and the twin lenses
extended from the body on
bellows, the camera measures
25x8x13.5cm. Folding down the
focusing hood and pressing studs
The Superfekta
in its normal
vertical orientation
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57
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 26 October 2019 65

 Legends
of photography
© DENNIS STOCK / MAGNUM PHOTOS
Dennis
Stock
© GETTY IMAGES
The Magnum legend created a
definitive document of the hippie
movement, as Oliver Atwell notes
I
n 1968, Magnum
photographer Dennis
Stock embarked on a
five-week trip that took
him through all the winding
highways that veined the
landscape of California. His
purpose was simple – create
a definitive document of
the hippie movement, the
countercultural community
that has, in retrospect, become identified as yet another form of busied himself documenting
so identified with the era. The
resulting book, California Trip, essentially passed around
was published in 1970 and is
now, for the first time since its currency. It’s fortunate, then,
initial release, available to buy. that Dennis Stock acted when
That two-year period – 1968
to 1970 – is significant. It was
during that time that the
free-love and peace dream
66
collapsed. It was in 1969 that
the Manson Family – a small
community that came from
within the hippie movement
– waged their campaign of
murder in order to instigate a
race war on American soil.
Second-wave feminism did its
part to dismantle the movement rain-soaked Times Square is
through its vocal disdain for the one of his best-known images.
concept of ‘free love’, which they In the following years, Stock
patriarchy, where women were jazz musicians, published his
groups of men like sexual
he did. He was present with a
camera right at the end.
Though, of course, no one
knew that at the time.
It’s likely you know Dennis
Stock’s face, even if you don’t
realise it. He was the model for
Andreas Feininger’s beautiful
1951 image ‘The Photojournalist’.
It was a shot taken for LIFE
magazine, after Stock took home
first prize in a competition for
young photographers. Stock’s
rise in photography was
swift. Prior to winning the
competition, he had apprenticed
under the photographer
Gjon Mili. After winning the
competition, he was made
an associate member of the
Magnum Agency, becoming
a full member in 1954.
The following year, Stock met
the actor James Dean and
photographed the young actor
in Hollywood and his hometown
in Indiana. Stock’s portrait of
Dean walking through a
book Jazz Street and made a
string of documentaries. It’s
incredible that he was able to
find five weeks among all this
to head out to California.
Perhaps the most famous
image from the project is the
one we see here, taken at the
26 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
‘Brucemas Day,
Venice’, from the
series California Trip
by Dennis Stock
1968 Venice Beach Rock
Festival. Stock was taking shots
from the stage when this
reveller leapt up and started
dancing. It’s a powerful image
– one that encapsulates a
moment alive with electricity.
The woman is faceless yet her
posture says everything: the
tilt of the head, the arching
of the arm over her head, the
sway of hair and that strand
that tethers her fingers to her
scalp. The image is imperfect –
elements of the middle and
background seem a little wonky,
possibly a result of Stock
having to act quickly to get the
shot. Yet that imperfection
works so well; it serves to offer
the scene a dynamic edge. The
whole landscape seems to be
dancing before the sturdy
totemic figure of the woman.
Stock died of cancer in
2010 and left behind a body of
work that most photographers
can only dream of. He is
perhaps one of the most
naturally gifted photographers
we’ve featured in the
Legends column.
California Trip by Dennis Stock is published
by Anthology Editions, £28, 112 pages,
paperback, ISBN 978-1944860264. Visit
www.anthologyeditions.com.
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