Tuesday 7 February 2023

Fujifilm X-H 2S
s photographer get
How does a pro pres
TE ST on with this 26MP APS-C flagship?
FIELD

Passionate about photography since 1884

Photos that sell

Make your photography pay for itself. What’s in demand
and how to price your work for profit

Canon RF
15-30mm
Affordable wideangle
Fallen heroes zoom for mirrorless
The quest to identify the
soldiers in a big find of
£3.99

WWI portraits KELSEYmedia

The Evidence Project Powerful images showing the effects of climate change
Inside this week’s issue
3 7 days
Welcome
10 It’s good to share 14 What images are
selling best and
14 Trend spotting how do you price
and pricing your work? This is
a question we get
22 The lost soldiers to grips with this
of Vignacourt issue, talking to a range of
28 Crisis? photographers who are making
What crisis? money from photography – they
also share tips for working out
34 Great AP how to price your work for profit.
subscription offer It’s another varied issue, so other
37 Inbox highlights include a look at how
wildlife photographers are using
© KERRY UNWIN

40 Reader portfolio their images to raise awareness of

42 Fujifilm X-H2S climate change, and a fascinating
field test project to identify the soldiers in a
recently discovered haul of First
49 Canon RF World War photos. Whatever their
15-30mm F4.5-6.3 fate, we salute them. Meanwhile,
IS STM pro press photographer Andy
52 Accessories Blackmore delivers a long-term
test of Fujifilm’s flagship mirrorless
© COURTESY OF VIGNACOURT1418 KERRY STOKES COLLECTION

55 BuyingGuide: camera, the X-H2S, and we review

best buys Canon’s latest 15-30mm lens.
66 Final analysis Enjoy the issue. Geoff Harris,
Deputy Editor

COVER PICTURES © DAVID CLAPP / © COURTESY OF VIGNACOURT1418 KERRY STOKES COLLECTION

22 49
© JO-ANNE MCARTHUR/THE EVIDENCE PROJECT

42 28 This issue’s stunning cover photograph

of L’Oceanographic aquarium in Valencia,
Spain, at dusk, was taken by David Clapp
THIS WEEK’S CONTRIBUTORS
Connect with us
@ EMAIL US at ap.ed@kelsey.co.uk with your
letters, send us a link to your online gallery, or
attach up to 5MB of low-res sample images
JOIN US ONLINE in one of these AP communities:
WEBSITE: www.amateurphotographer.co.uk
DENISE MAXWELL DAVID KEITH WILSON ANDY ANGELA ANDY WESTLAKE FACEBOOK: amateur.photographer.magazine
CROSSLAND
AP’s former editor
BLACKMORE NICHOLSON Technical Editor TWITTER: @AP_Magazine
Denise is one of
five top pros who Journalist and on how top The pro press The AP regular Chief reviewer Andy INSTAGRAM: @AP_Magazine
share their tips to photographer photographers are photographer tells delivers her verdict rounds up the best FLICKR: flickr.com/groups/amateurphotographer
help you make David on a quest trying to bring us how he got on on Canon’s RF cameras and
money from your to identify WWI about positive with Fujifilm’s mount 15-30mm accessories, at all
photographs soldiers change in the world flagship X-H2S wideangle zoom price points
 Garden POTY
winners revealed
© TONY NORTH
THE WINNERS of the International
Garden Photographer of the Year
competition have been revealed, with the
overall prize going to Tony North for his
image, ‘Blue Tajinaste’, taken in La Palma,
Canary Islands, Spain. Tony was also the
winner of the Breathing Spaces category. Two
exposures were combined to create the
image, which was taken with a Nikon D500
and Tokina atx-i 11-16mm f/2.8 CF lens.
Commenting on the win, chief judge Tyrone
McGlinchey said: ‘Tony has literally elevated
the Breathing Spaces category to new
heights, by photographing endemic mountain-
top flora with a breathtaking landscape view
– well framed to include many points of
interest. This photograph excels in
highlighting plant life on our planet.’
Seeing stars
IN MORE competition news, the 2023
round of the Astronomy Photographer of
the Year competition is now open. Now in its
15th year, the annual contest invites entrants
of all ages to submit up to ten pictures, with
the chance to win the grand prize of £10,000
Categories include Skyscapes, Aurorae,
People and Space, Our Sun, Our Moon,
Planets, Comets and Asteroids, Stars and
Nebulae, Galaxies, and Young Astrononomy
Photographer of the Year.
Astronomy Photographer of the Year
includes two special prizes, the Sir Patrick
Moore Prize for Best Newcomer and the
Annie Maunder Prize for Image Innovation.
Closing dates for entries is 3 March, and
the winning images will be showcased in the London in September. Enter at apy.rmg.co.uk
4
Tony North won the
top prize with this
stunning image
‘It took an enormous amount of effort to be
in that place at the right time – on top of the
caldera in La Palma in the middle of the night
last May – and yet more to capture and
process the shots,’ Tony said. ‘This win is a
dream come true for me.’ Tony receives a
prize of £5,000, and the image was also
awarded the Threatened Plants Photographic
Award, in association with Botanic Gardens
Conservation International (BGCI).
The winner of the Portfolios category was
Barry Webb. The Portfolios category is run as
a standalone competition in association with
the RPS: Barry receives £1,500 and an RPS
Gold Medal.
The IGPOTY 16 exhibition at Kew Gardens,
Music Photographer
London, is open now and runs until 5 March.
For the full list of winners, see igpoty.com
of the Year
SO.CO, a website which connects
photographers, fans and
musicians with images and stories from
concerts, festivals and events, has
announced its first Music Photographer
of the Year awards.
Both pros and amateurs are invited to
enter the two open-entry categories, the
‘So.Co Image of Music Award’, sponsored
by LD Comms, and the ‘Photographer of
the Year Award’, sponsored by Affinity
Photo – with the latter initially being
public-voted to draw up the shortlist,
before the overall winner is selected by
So.co’s panel of industry experts.
‘Back to the Spaceship’, a runner-up in last The deadline for entries is 15 March.
year’s People and Space category, by Mikhail For further information and to enter, head
Minkov to https://so.co
exhibition at the National Maritime Museum,
 McFly by Belinda
Enthoven

Trio of new Voigtländer lenses Nikon

COSINA has announced the new Voigtländer 75mm F1.9 Ultron
VM lens, a Leica M-mount, manual-focus lens which is available
firmware
in single coated and multi-coated (SC and MC) versions. Nikon
Z-mount versions of its Voigtländer 15mm F4.5 E-mount, and the
update
Nokton 50mm F1.0 M-mount lenses, were also announced – the NIKON has
latter being a very fast lens choice for Z sytem users. announced
All three lenses can be pre-ordered online and are expected to be firmware
released in late update version
February. 2.40 for the
The Voigtländer firm’s Z 50
15mm F4.5 is camera.
priced at £849, Key changes The Z 50’s performance should be enhanced
the Nokton 50mm include the
F1.0 is priced at availability of eye-detection AF during video recording, better
£1,699 and both eye-detection performance for Auto-area AF, and an improved refresh
versions of rate for focus points displayed in live view during subject-tracking
the Voigtländer and face/eye-detection AF.
75mm F1.9 Ultron The Nikon Z 50’s key features include a 20.9MP APS-C sensor,
VM are priced at 11fps continuous shooting with AE/AF, 2.36-million-dot electronic
£699. viewfinder and 4K video at 30p.
For more details One of the See our review of the Nikon Z 50 at bit.ly/nikonz50ap
three new
see www.
lenses
robertwhite.co.uk

www.amateurphotographer.co.uk 5
 Tessa Bunney will be talking
more about her project on
Morecambe Fishing Families,
Going to the Sands
Photo North Festival
set for March
DETAILS of this year’s Photo North
Festival have been announced,
taking place from 24-26 March. Now in
its fourth year, the festival will feature
talks from a wide range of high-profile
speakers, including music and celebrity
photographer Chris Floyd. Chris rose to
fame during the heights of Britpop in the
1990s and has since become a leading
celebrity portrait photographer – he has
also published a new book, Not Just
Pictures, about his career.
Other speakers include portrait
photographer Richard Ansett, who won
first prize in the Sony Photography Award
for his work with Grayson Perry,
documentary shooters Tessa Bunney
and Joanne Coates, and Roy Mehta,
whose images explore cultural identity.
Lost Paul McCartney images on show
PREVIOUSLY unseen images taken
by Paul McCartney as The Beatles
shot to global fame are a highlight of a
new series of exhibitions to mark the
reopening of The National Portrait Gallery
on 22 June.
‘Paul McCartney, Photographs
1963-64: Eyes of the Storm’ includes
some of the best images the former
Beatles bassist recently discovered in
his archive. ‘This exhibition provides a
uniquely personal and never-before-seen
perspective on what it was like to be a
“Beatle” at the start of “Beatlemania”,’
the organisers explained. A 336-page
book, 1964: Eyes of the Storm, is being
published to coincide with the exhibition.
Other events to mark the reopening
include an exploration of the life and
6 www.amateurphotographer.co.uk
New year,
new hobby
Enhance your passion
for photography with a
subscription paying just
£13 for 13 issues
The curators are Sharon Price and
documentary and street photographer
Peter Dench, a regular AP contributor.
‘The Photo North Festival aims to
introduce or advance understanding of
the medium through our programme of
exhibitions – to inspire and engage
debate,’ he explains. ‘We have one
perfect venue, The Faversham in Leeds,
with headline events and renowned
photographers confirmed and the list is
growing. The creativity in planning the
festival format, talks and screenings is
something unique to offer people in the
north of England and beyond.’ There will
also be book and photo zine stalls and
networking opportunities. Day tickets
cost £12 (£25 for the full festival). See
Save
www.photonorthfestival.co.uk
career of the photographer Yevonde, who
pioneered the use of colour in the
75%
1930s, along with celebrations of
leading black artists and women
photographers, including Francesca
Woodman and Julia Margaret Cameron.
Full details of all exhibitions can be 2 EASY WAYS
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One of the images by Paul McCartney
Photography can

Change
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Together, let’s change the bigger
picture. MPB puts cameras and lenses
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Frankfurt Feminist by Katharina Dubno
Portrait of
Humanity Vol. 4
£25, Hoxton Mini Press, 320 pages, hardback, ISBN: 9781914314254
A total of 200 remarkable portraits from
around the world showcase what it is to
be human, finds Amy Davies
8 www.amateurphotographer.co.uk
Yarden and Max by Rona Bar and Ofek
Avshalom
THE ANNUAL collection of Portrait of
Humanity is starting to become a real
event to look forward to. Although this
book is now a few months old, if you
haven’t yet picked up a copy, now’s as
good a time as ever.
Among the sitters featured here are
teachers and students, parents and
children, artists and scientists, close
friends and strangers, but each with their
own special story to tell.
This volume comes with renewed hope
after the ‘end’ of the pandemic, but with
fresh fears for a new set of problems
– war, rising prices and of course, the
constant threat to the climate.
It’s the kind of the book that one can
flick through on a number of occasions
and find something different to catch
your attention each time. Conversely,

WCMX by Hannah Bailey
Mother and Child by Max Aleshkin
others may wish to methodically work
their way through the volume, taking time
to pause and reflect on each portrait as
the pages are turned.
What you’ll find, whichever approach
you take, is a beautiful collection bound
together by that which unites us – our
humanity. Whether the sitter is from
somewhere down the road or
somewhere across the world, you’ll find
there’s something to identify with in
pretty much every single photo. Whether
you recognise a family member, a friend,
or even yourself in the eyes staring back
at you, the location becomes irrelevant.
Speaking of binding, the physical
aspect of this book is also something to
be celebrated. It’s another cracker from
Hoxton Mini Press, sticking with the
same format it has used for all other
www.amateurphotographer.co.uk
Martin by Alex Crétey Systermans
Portrait of Humanity and Portrait of
Britain books. Packing 200 portraits into
a beautifully made book which costs just
£25 makes it an accessible purchase
that won’t break the bank.
Maybe it will inspire your own next
portrait set?
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
Indeterminacy by David
Campany and Stanley
Wolukau-Wanambwa
£15, Mack, softback, 104 pages, ISBN:
9781913620486
Part of Mack’s ‘Discourse’ series,
whereby theorists, artists, or writers
engage with a specific theme, this
volume explores issues surrounding race
in photography and photographic art.
Taking the form of a series of written
exchanges between the two brilliant photographic
theory experts, it’s an interesting discussion about a
topic that’s becoming ever-more prevalent.
It’s a relatively short book, but it’s one for firing the
synapses and engaging with the debate via the two
experts. David Campany has written over 20 books
on photography, while Stanley Wolukau-Wanambwa
has authored a number himself, been widely
exhibited and is currently the graduate director of the
photography MFA at Rhode Island School of Design.
Landscape Photography: For
mirrorless and digital SLR
users by Daniel Lezano and
Ross Hoddinott / Narrated by
Rhys David
£13.79, Sound & Vision Publishing,
3hr34mins, ASIN (Amazon): B0BLFKC96G
If you’re looking for a different
approach to picking up photography
tips, why not try the audiobook route?
Daniel Lezano and Ross Hoddinott
are well-established experts on
landscape photography, so this extensive audiobook
of advice is sure to help you improve yours. You
could even pop it on while out on a walk, picking up
tips while you snap for maximum productivity. Topics
covered include choosing the best gear, selecting the
right settings, getting great exposures, sharpness
and compositions, choosing filters, maximising
lighting and weather and more. Well worth a listen.
9
 Our favourite photos posted by readers
on our social media channels this week

AP picture
of the week
In the Garden of Small
Things by Richard North
Olympus OM-D E-M1 Mark II, Olympus 60mm
f/2.8 Macro and Raynox DC-250, 1/3sec at f/5.6,
ISO 200

‘A slime mould, Comatricha nigra, festooned with

cobwebs, which I found growing in the “must shred
sometime” pile in the garden. It is small, about 3mm
high, so I added the Raynox to increase magnification.
As depth of field is so shallow I use focus-stacking to
get front-to-back sharpness. This was made from 52
images focus-bracketed in camera and stacked in
Helicon Focus using B rendering algorithm.’
Instagram: @rnorth500
Website: rnorthphoto.co.uk

#appicoftheweek
Win!
To congratulate the AP Pic of the Week winner, Fujifilm is giving
*NOTE: PRIZE APPLIES TO UK RESIDENTS ONLY

the winner a £25 voucher* to spend on any photo prints or gifts

at myFUJIFILM.co.uk, so that they can print their image any way
they like! Simply go to myFUJIFILM.co.uk, select what you want,
then enter your given voucher code at checkout. The voucher is
valid for 6 months and can be used in multiple transactions. No
monetary eligibility or exchange. Need help using your code?
Contact myfujifilm_uk@fujifilm.com

10 www.amateurphotographer.co.uk
www.amateurphotographer.co.uk 11
Segla Emerges by Alex Leeder
Nikon Z 6 and Tamron 70-300mm f/4.5-6.3 Di III RXD at
300mm, 1/1250sec at f/6.3, ISO 800
‘This image was taken from Mefjord Brygge on the island of Senja in
northern Norway; a village set within a spectacular fjord. Visibility
was quite poor but the famous mountain of Segla appeared briefly
from the clouds. I managed to photograph a bird flying through the
scene at just the right time.’
Instagram: @alex_leeder_photography
Website: alexleederphotography.com

We also
liked...
51.5117’N, 0.1240’W
by Reuben Witcherley
Nikon D3500, Nikon 70-200mm f/4-5.6, 1/200sec at f/5.6,
ISO 200
‘I candidly took this image whilst I was in Covent Garden, London, doing
a recent project of documentation of people working throughout their
day-to-day lives. This piece of work particularly hit the mark in terms of
my personal brief.’
Instagram: @reubenwphotography

Want to see your pictures here? Share them with our Flickr, Instagram, Twitter, or Facebook
communities using the hashtag #appicoftheweek. Or you can email your best shot to us
at ap.ed@kelsey.co.uk. See page 3 for how to find us.

12 www.amateurphotographer.co.uk
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© GETTY IMAGES
Technique MAKING MONEY
Trend spotting
and pricing
Keen to make money from your photography? Top
pros tell Jeff Meyer what kind of images are in
demand at the moment, and how they set their prices
I
f you’ve been taking photos for a
number of years now, it’s probably a safe
bet that your hard drive and memory
cards are full of great images of people,
pets, places and more. In a cost-of-living crisis,
your camera, lenses and assorted accessories
may seem hard to justify, but the reality is that
there are many great opportunities out there
to get paid for your images and turn those
pixels into pounds.
Shooting images for brands and clients in
industries related to your area of photographic
expertise is a great way to supplement your
income, and like some of the photographers
you’ll hear from over the following pages, you
might even find it so lucrative that you can
ditch the day job and start working as a
professional photographer. Being a jobbing
14
photographer isn’t for the faint-hearted, but if
you’re persistent, build a nice portfolio and
stay abreast of imaging trends and changing
client needs, there’s no reason why you can’t
make a great living from photography.
But mastering your camera isn’t enough to
make a successful career. You must also have a
good business head to understand the value of
your time and work. And, most importantly,
you need to keep on top of what visual styles
are growing in demand.
To help you on your journey, we’ve spoken
to professional photographers from a variety
of different genres and asked them to share
their insights into how they price their work,
what they’ve learned about the business side
of photography and what trends they see
rising in their corner of the industry.
A quick pricing
formula
There is no ‘set’ answer for setting
prices as it depends on your genre,
clients and level of experience. But
here’s a useful approach from
multi-genre photographer and trainer,
Denise Maxwell – see the facing
page for more of her tips.
1 Work out what you need to
earn annually.
2 Decide how many days a week
do you want to work.
3 Then decide how many weeks
of the year you want to work
– for example, say you want to
earn £35k a year. Divide that by
48 weeks of working to allow time
for holidays, which works out at
729. Divide that by three days a
week (or however many), which
comes to 243.
4 So, you’d need to earn £243
from three jobs a week after
set-up costs to run a viable
business bringing in around £35k
a year. Don’t forget to include your
editing time in the calculation too.
www.amateurphotographer.co.uk
 Denise Maxwell:
Corporate portraiture
A multi-genre photographer across portraiture, weddings, fashion and
sports, Denise hosts workshops on helping photographers learn how to price
their work. Visit www.Lensi.co.uk and Instagram: @lensi_photography A branding shoot for
Jenny Evans (Human
See the ‘Courses’ section of her site for more about Denise’s courses on Accelerator)
earning a living from photography, including pricing for profit.

As a jobbing photographer,
you go where the
commissions are, and this
is what Denise says pulls
her into so many different
genres of photography.
Having this diversity of
work is one of the best
business lessons she’s
learned. ‘The lockdowns
during Covid showed that
we need to have diversity
in our portfolio,’ she
explains. ‘I have friends
who shoot event
photography and because
they focused only on one
genre, which at the time
had no commissions
coming in, they were
forced to get other jobs.
However, I was able to
keep my other work going.’
While others were
forced to wait out the
pandemic, Denise was
able to find work shooting
a project on allotments for
a local authority. She was
also able to find
commissions shooting
architectural images of a
council’s renovations and
new buildings.
Denise urges anyone
planning to earn money
with their camera to find
ways to build a portfolio of
work in multiple genres.
This means investing your
time when on holiday, for
instance, to get
architectural shots, or
going to photograph local
football matches. You can
then start pitching for
work in a broader range
of industries.
‘One of my biggest
categories of work this
year has been branding
portraiture,’ she says.
‘With companies there is
a trend for a more relaxed,
lifestyle type of feel to
their brand. I’m finding
that people no longer want
the stereotypical portrait
with folded arms in dark
suits. They want more
lifestyle imagery: beautiful
homes, more relaxed
environments. They want
images that people can
relate to.’
Another trend Denise
sees in what her clients
want is more inclusivity. In
corporate portraiture,
clients want their images
to include people of all
ages, genders, ethnicities
and abilities. She recalls
the ‘Make Money Equal’
campaign that she shot
for Starling Bank, which
sought to dispel some of
the common trends in
finance imagery that
portray women as infantile
or not very savvy with
money. Diversity was
hugely important to that
campaign, and Denise
won the work partly
because of her efforts
over the years to include
diverse groups of people
in her images.
The other major trend
she sees is companies
and individuals wanting
imagery that people can
relate to – scenes that
people can see
themselves in. Clients
want to look
approachable, while
others – particularly banks
– want more family
orientated imagery:
granddads with
granddaughters,
generations coming
together.
‘More and more,
companies are looking to
stand out from the rest,’
she says. ‘If ten solicitors’
firms all have the same
formal imagery, none will
stand out. People want
personality. With everyone
making so many decisions
on the internet these
days, imagery becomes
an important way to stand
out and people now want
to seem approachable.’
To price her portraiture,
Denise offers different
packages based on
whether it’s a single
person or a business with
lots of people. For
example, a 45-minute
package costs £295 and
a two-hour package is
£450. If a company wants
its whole team
photographed, the
package ranges from
£1,200 to £1,600.
‘These rates work for
me, but you might need to
price yourself differently.
The key is to work out your
costs, such as a studio or
equipment hire. These
rates cover my costs.’

A branding portrait of
Justice Williams MBE
(Personal Brand and
Business Strategist)
 Technique MAKING MONEY

‘Just married’
vibes, with the
couple walking the
aisle at the barn
at Upcote

Kelly Weech: Weddings Couple making an entrance

Based in Somerset, Kelly began her career as a professional wedding at Tortworth Court
photographer in 2010. Working in PR and marketing, she took the
opportunity to shoot a few of her friends’ weddings as a way to build a
portfolio and begin her transition into being a full-time wedding
photographer. Visit www.kellyweechphotography.com and
Instagram: @kellyweechphotography

There are three to stay on top of what’s photographer, go online

longstanding categories of
wedding photography:
classic style, reportage
and fine art. In the past
year Kelly has noted that
motion blur and direct
flash are making a
comeback. Kelly attributes
this to celebrities like
Brooklyn Beckham making
it popular with his wedding
photos. ‘When people see
these pictures, it filters
back into the industry. A
lot of the trends in
wedding photography
come down through the
editorial side and get
picked up even by classic
and documentary wedding
photographers,’ she says.
‘This is why it’s important
happening.’
Grain is also making a
comeback, according to
Kelly, and the ’90s trend
is even pushing into bridal
fashion with the return of
big bows and bands.
‘Basically, people are no
longer wanting the perfect
photo. They want
something a little more
nostalgic,’ says Kelly.
One of the biggest
mistakes Kelly sees new
wedding photographers
make is both pricing
themselves beyond their
level of experience and
not factoring their
outgoings into their fees.
They decide they want to
be a wedding
and see what someone
else is charging and think
they’ll do the same. ‘Often
I see people who have
shot one wedding and are
charging the same as me,
with 12 years’ experience.
This is a sure way to
failure for many newbies
as there’s so much
experience and confidence
to be gained over time.
For my pricing, I have a list
of annual expenses,
including insurance,
website hosting,
marketing, equipment
update and maintenance,
and a marketing budget,
reviewed each year. I then
work out my personal
expenses and then how
much disposable income
I want. You also need to
take into account tax:
I save 27% from each
wedding for HMRC. This is
then divided by how many
weddings I aim to capture
each year which is usually
40 as a maximum and
can be divided again to
create an hourly rate.
‘Once you start building
a portfolio and your
confidence, the key is to
up your pricing with your
experience and create
value to couples while
making the living that
you desire.’
Kelly says the way
forward is to embrace your
‘newness’. ‘Find couples
who may not have a huge
budget but will appreciate
your freshness and
creativity. I realised that
even if you are an amazing
photographer, if you don’t
market yourself you won’t
get anywhere. I’d say 20%
of what I do is
photography. The rest is
all marketing, networking
and PR.’

16 www.amateurphotographer.co.uk

Product photography
Based on the south coast of the UK, Jake has been a professional
photographer for more than a decade. As a product lifestyle photographer
for international brands, Jake aims to capture real and honest moments in
nature with a focus on human emotion and interaction with the landscape.
Visit www.jakebaggaley.com and Instagram: @cakejaggaley
As we’ve seen in some of
the other types of
commercial photogrpahy
discussed here, he
overarching trend in
product photography at
the moment is also real
people in real moments,
according to Jake
Baggaley. He shoots
mostly sport and outdoor
products, and the brands
he works with want to see
normal people using these
in those environments. ‘All
of my clients are wanting
more ordinary-looking
people instead of
professional models. And
about 80-90% often ask
my help to find these
models,’ Jake says.
‘Brands want a more
authentic feel to their
images. They want it to
feel like a natural, candid
moment. I think this
probably comes from the
fact that the world is so
documented now on
social media. Brands are
looking for a polished
version of social media.’
When it comes to
choosing which
photographers they work
with, Jake believes that, in
www.amateurphotographer.co.uk
his part of the industry,
brands are looking for
someone who shares their
passion for what they do.
‘If you’re doing it purely to
make money, there are
ways to do it, but the way
I’ve got my relative
success was because
I was loving making the
pictures that I shoot.’
Part of a shoot for Boake
Activewear, a local
smaller client, shot in the
New Forest. Jake sourced
the model from the
Bournemouth
Athletics Club
As an outdoor
enthusiast himself, Jake
says: ‘It’s really hard to
tell the story of something
if you don’t understand it,
but if you do understand
why being in the
mountains is magical, you
can really convey that
feeling in your
photographs. That comes
across in the images and
will sell your photography
over others.’
There are a lot of
logistics when it comes to
lifestyle product
photography, however, and
Jake says it’s important to
not forget how valuable
your time is. When he was
starting out, Jake would
often spend several days
sourcing models, scouting
locations, even retouching
images for free.
Jake didn’t charge for
this time in the beginning,
but he found he was
getting so busy doing
unpaid tasks that
something had to give.
‘When I decided I needed
to start charging for it,
clients were happy to pay
it,’ he says. ‘And with
more experience and a
bigger portfolio, I could
also start charging more
for my time. I had to learn
to be comfortable with
what I charge and not
undersell myself.
‘Eventually I got to the
point where I wasn’t so
busy all the time and can
spend time on the
projects I want to be
working on. I also find that
the images come out
better when I can justify
putting the time into
them.’
Given the nature of his
work, Jake sometimes
works with massive,
global brands like Adidas,
and smaller local brands.
Because their needs are
often different, he has
different price structures
for both. With smaller
clients, he charges a day
rate for photography, a
different day rate for
retouching and another
day rate for production.
If someone wants him to
source models and
locations, he’ll give them
a rate for a production
day. Having these
separate rates gives
budget-conscious clients
the flexibility to book him
for key needs.
‘A licence to the images
is always included in my
day rate, but for smaller
companies, the one
included would usually be
a one-year digital only
usage, which would cover
all their needs. I’m often
more flexible on this than
I am with the bigger
commercial clients –
smaller clients’ needs and
audiences are often
considerably smaller than
Adidas or Montane.’
This was shot for
the Kickstarter
campaign of
another smaller
brand, Times
Eyewear, in
Glencoe, Scotland
 Technique MAKING MONEY
David Clapp: Architecture
A former water engineer and guitar teacher, Devon-based David made the
transition to professional photography in 2009, specialising in landscapes
and architecture. His diverse architectural work spans bespoke building Reflections at Canary Wharf.
projects to superyachts to industrial fridges. Images of cities sell so much
Visit www.davidclapp.co.uk faster than landscapes,
according to David

When David made the
leap into professional
photography, he was
primarily interested in
landscape photography.
But over time, he realised
that he had just as much
interest in taking photos
of buildings and began
using them in his
landscapes. Before long,
he was shooting straight
architecture and began
working with an
architectural agency called
Arcaid, which has an
extensive library.
‘There were a lot of
people in there who did
the sort of strict
architectural discipline of
interior and exterior
shoots, usually for
publicity for building
projects. And I got quite
inspired by looking at
those sorts of images,’
David says. At the time,
these types of images
were heavily polarised,
almost monochromatic,
but over the years he’s
seen more high-key
images become popular.
David attributes this to
cameras having more
dynamic range than they
used to. ‘In commercial
architecture, everything
is shifting towards a
bright and airy style
that’s very clean and
decluttered.
‘The other big trend is
that companies are very
keen on video. They want
a photographer who is
versatile and can provide
a combination of still
shots and time-lapse
footage of a construction,
for example. Those
photographers who are
comfortable shooting both
stills and video will have a
leg up over others who
stick to one skillset.’
However, David warns
that commissions in
architecture aren’t as
plentiful as they once
were. ‘Most estate agents
now do it themselves, and
many architectural and
construction firms try to
do it in-house. Most
commissions come from
architectural firms that are
doing bespoke builds, or
from people who have
done significant rebuilds
or extensions on a
property. It’s these clients
who are willing to invest in
professionally shot
images.’
Most of David’s
architectural work is
priced on consultation.
‘I find out the shoot
requirements, exactly what
is needed, and agree a
price for the day. I start at
a theoretical price of
£500 and adjust this up
or down depending on the
client’s budget or the
commercial size of the
shoot. That might include
a half-day shooting and a
half-day processing. I like
to think that’s very
reasonable. But other
times it can be more
expensive, depending
on who I’m dealing with
and what their
requirements are.’
The biggest stumbling
block that David sees new
professionals make is not
speaking the language of
business. ‘I did a
commission for Pepsi a
few years back and I was
the first person out of
seven photographers they
spoke to who had asked
them what their budget
was, what their timeframe
was – all the normal stuff,’
he recalls. ‘Too many
people get so caught up in
saying their images are
saving the planet that they
lose perspective of what
the project is and what
the client wants.’
Also, don’t be afraid to
use photo-editing software
– though David would
never replace skies in any
of his images or
fundamentally change the
elements of the shot.
‘Dull, grey skies and
winter trees don’t sell
houses,’ he notes. ‘You’re
being commissioned to
create a postcard image,
so you need to also be
confident in your photo-
editing skills as well as
being totally on top of your
photographic technique.’

Perfection is
essential when
shooting
commercial
lifestyle imagery
like this yacht
shoot in Corfu,
taken whilst
dangling from a
harness
 ‘They say never
work with children
or animals, but
pets are family
too, so if you can
include them then
your clients will be
over the moon’

‘Spend some time

Child & Family Portraiture getting to know
A professional since 2014, Kerry built a portfolio photographing her own little ones before
children and those of her friends. One day she was asked how much she’d you start shooting.
charge for a family session and she hasn’t looked back, building a solid You’ll get the most
natural images,
business. Visit www.kerryunwinphotography.co.uk and full of personality
www.facebook.com/kerryunwinphotography that parents
will love’
Perhaps more so than steady. These are usually packages give you ten
other genres, family followed by a first birthday digital images on USB
portraiture moves through ‘cake smash,’ which is plus matching prints. And
trends, as clients seek to now a big trend in the UK. then Gold offers even
personalise their images. Clients pay a session more – all the gallery
One of the biggest trends fee, which covers the images on USB and as
Kerry has noticed is a rise shoot time and editing, prints, a gallery video set
in fine art studio and then approximately to music, credit towards
photography but also two to three weeks later another session and
more lifestyle images that they return to Kerry’s credit towards wall art. practice, as being a keen on that side of
are edited with a dark and studio to view their gallery. Kerry’s advice for pricing photographer is probably things to find someone to
contrasty feel. At this point they can your work is to calculate only about 20% of actually do their admin for them.
Newborn photography is choose between her your costs: for example, picking up a camera,’ ‘It’s tough; you need to
also getting bigger, as different packages: equipment, software, Kerry says. ‘Even though put a lot of hours, sweat
parents seek to capture Bronze, Silver or Gold. insurance. Then add on I was mostly aware that and tears in, but it’s totally
the early days of their Each package varies what you need to earn – there was a lot more to it worth it if you want to
baby’s life. Kerry says that slightly depending on the and don’t forget to leave than just taking pretty make a business out of
many of her clients who shoot, i.e. Newborn, some aside for tax and pictures, I don’t think I doing something you love.
book newborn Maternity etc.The Bronze national insurance. realised quite how much The only downside is that
photoshoots in the studio package typically includes ‘Luckily I had quite a lot admin is involved in I barely pick up my camera
tend to return later for three high-resolution hand- of business experience running a successful for fun now and it mostly
‘sitter’ sessions once edited images, whereas before I set up so I was small business. I would stays in the studio as
their little one is sitting up some of the Silver able to put this into say to anyone who isn’t work equipment!’

www.amateurphotographer.co.uk 19
New year, new... Nikon ?

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
For all your Nikon photographic needs,
visit us in person or online at
shop.graysofwestminster.co.uk

Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays

Instagram: @nikonatgrays LinkedIn: Grays of Westminster
22 www.amateurphotographer.co.uk

The
of
The discovery in 2011 of thousands of candid portraits of First World War
soldiers in a French farm was hailed as a miracle. Over a decade on,
researchers are still battling to identify them. David Crossland explains
M
illions of homes
in Britain have
them, displayed
on mantlepieces
or forgotten in attics: faded
photographs of their grandfathers
or great-grandfathers freshly enlisted
in Britain’s army, standing to
attention for the camera in their
new uniforms.
Mostly taken in studios, these
portraits tend to be formal and the
men often look proud and full of
anticipation.
The contrast with the candid shots
taken by Louis and Antoinette
Thuillier, a French farming couple
who charged a few francs for
souvenir portraits that the soldiers
could send home, is striking.
FIRST WORLD WAR
Left: Two
By the time the soldiers posed for to be mingling with the locals.
unidentified
British privates. the Thuilliers in the small Group photos show mates seizing
Courtesy of northeastern town of Vignacourt, a their chance for a bit of fun. There
Vignacourt1418 rest centre less than 40km from the are photos of soldiers posing with
Kerry Stokes front, the horrors of the First World children, with their motorbike, horse
Collection War were etched on their faces. or their rifle.
Many look exhausted and have Some are grinning flirtatiously in
evidently just marched in from the what researchers say is a sign they
trenches. Their uniforms are worn were being photographed by
Below: Private and mud-spattered. Some of them Antoinette, not her husband
Joshua Riley (top bear insignia for acts of valour or Louis who invested in a camera
right) was being wounded.
identified by his Scores of those brave faces smiling
son Ralph when into the lens can’t mask the shock,
the photo even resignation, in their eyes.
appeared in a BBC ‘What have I got myself into?’ they
documentary in
2016. Courtesy of seem to ask. ‘Am I going to make it?’
Vignacourt1418 Others look relieved to have
Kerry Stokes escaped the carnage of the Somme
Collection and other battles for a few days and
Sergeant Edward John Falloon of the
2nd Field Company Australian
Engineers from Richmond, Victoria.
Falloon was awarded the Military Medal
twice and was killed near Ypres in April
1918. AWM P10550.141 Courtesy of
Kerry Stokes Collection, The Louis and
Antoinette Thuillier Collection
23
FIRST WORLD WAR
after being wounded and
demobilised from the French
army. In a tragically large number of
cases, the subjects were killed in
forthcoming battles and this is the
last photographic record of them.
‘Postcard’ camera delivered
sharp images
The images taken between 1915 and
the end of the war are scarred by
time. But the emotions betrayed by
these men, or in many cases boys, as
they gaze out through the scratches
are piercingly real. The years fall
away, and the viewer gets a sense of
their plight.
The Thuillier Collection of around
4,000 glass plate negatives was
discovered in 2011 by Australian
researchers and French historian
Laurent Mirouze. They had spotted
prints of soldiers in a local pamphlet
published in 1988 as well as on the
walls of the Vignacourt town hall.
They tracked down the widow of
the man who had created those
prints and she directed them to the
grandson of the Thuilliers, Christian,
in the very farmhouse whose barn
‘The emotions betrayed by these men, or in many cases, boys,
are piercingly real, and the viewer gets a sense of their plight’
24
Above: British
had served as the studio. He led
soldiers with a
barrel of ‘English them up creaking stairs to the attic
Beer.’ Courtesy of where they found crates containing
Kerry Stokes thousands of plates that had lain
Collection, The there for almost a century at the
Louis and mercy of heat, cold, dust and mice.
Antoinette They were in the nick of time. The
Thuillier Collection farmhouse and its contents were
Above right: A about to be auctioned off.
soldier believed to The camera wasn’t found but the
be a stretcher- Thuilliers are believed to have used a
bearer in the ‘postcard’ camera designed to take a
Durham Light 9x13cm glass plate. Such plates
Infantry. Courtesy preceded photographic film and
of Kerry Stokes were coated with a light-sensitive
Collection, The
Louis and emulsion of silver salts. They were
Antoinette exposed for one or two seconds.
Thuillier Collection The postcards were printed by
placing photosensitive paper under
the glass in a special frame and
exposing it to light. It would be
washed to remove excess
chemicals and hey presto, the soldier
had his postcard.
Over the years, only a handful of
actual prints from Thuillier plates
had surfaced in official collections.
Researchers at the Australian War
Memorial (AWM) had long puzzled
over a distinctive painted backdrop
of columned arches in those photos
and suspected that a larger collection
existed from that studio. But no one
expected the scale of the stash found
in Vignacourt. Even the cloth
backdrop was discovered in that
timewarp attic.   
The photos depict British, French,
Australian, Canadian, Indian,
American and other allied soldiers,
as well as Chinese labourers. They
were billeted in houses or slept in
barns. In the evenings, they would
visit the town’s cafés for plates of
eggs and chips and copious
quantities of beer or wine.
The find created huge interest in
Australia because it included some
800 images of Australian soldiers or
‘Diggers’ with their trademark slouch
hats. Historians called it one of the
most significant finds from the First
World War. It opened a window on
the past of a nation that sees its
contribution to the victory as a
defining moment.
A quest to identify the men
ensued, aided by TV documentaries
about the plates watched by
millions. That publicity together
with intense research led to the
identification of 250 Diggers. There
were handovers of crisp prints to
tearful descendants.
www.amateurphotographer.co.uk

An unidentified soldier, believed to be a
member of the North Irish Horse,
watched by local children. Courtesy of
Vignacourt1418 Kerry Stokes
Collection
www.amateurphotographer.co.uk
The plates were bought by
businessman Kerry Stokes and are all
held in Australian archives. All of
them have been scanned.
‘We knew each man had a story to
tell and that it was now our job to
assemble the story for as many as we
could,’ said historian Peter Burness,
who made the discovery together
with the journalist, Ross Coulthart.
‘The images we revealed were unlike
most photographs of soldiers that we
had usually seen. The faces tell us
much about soldiers of all armies
and their ordeals.’ Coulthart wrote
two books about the find, The Lost
Diggers and The Lost Tommies.
Many Brits yet to be traced
The collection includes images of
some 1,500 British soldiers of whom
only 100 have been traced so far, a
relatively low success rate. That
prompted researchers at the
Vignacourt 14-18 museum, which
was opened in the farmhouse in
2018, to make a fresh appeal for help
last October.
Lauren Hewitt, the AWM’s photo,
film and sound collection manager
who worked on the project to
digitise and exhibit the Digger
images, said their quality was on a
par with what an amateur would
Above left: An
have taken at the time – not as good
unidentified
British soldier. as the work of official photographers
Courtesy of Kerry but in the majority of cases
Stokes Collection, ‘perfectly sharp and very well
The Louis and exposed and framed’. Many of them
Antoinette are rich in detail.
Thuillier Collection What made the collection stand
out, she said, was their natural,
Above: An
unidentified playful and spontaneous feel. ‘The
wounded British Thuilliers had hung the backdrop
soldier believed to from a barn rafter, and children,
be from the Royal animals and other soldiers were able
Engineers. to mill about while the
Courtesy of Kerry photographers worked.’
Stokes Collection, Many of the plates were cracked or
The Louis and
Antoinette suffered from emulsion loss and
Thuillier Collection needed extensive cleaning. They
were scanned at a resolution of
4000ppi with minimal subsequent
enhancement. Scratches and marks
were left, in line with the AWM’s
policy of showing photos ‘warts and
all,’ said Hewitt.
While Louis tended to take the
group shots, Antoinette focused on
individual soldiers, capturing scenes
that remain chillingly alive to this
day. ‘We often get visitors saying, “It
seems like all these soldiers were here
yesterday,”’ said Valérie Vasseur,
head of the Vignacourt museum.
‘She knew how to make people feel
comfortable, she had fun, she
dared to do things and had an
25
FIRST WORLD WAR

An unidentified young Australian soldier. Courtesy of Vignacourt1418 Kerry Stokes Collection

 undeniable artistic sensitivity.
We feel a complicity between
her and her subjects. Also, she was a
very beautiful woman.’
‘Each image tells a story,’ said
Vasseur. ‘When we can put a name
on a portrait he regains his identity
as a brother, son, husband or father.
It is our way of paying homage to
these young boys.’
The quest to identify the men will
go on. Researchers are beginning to
work with facial recognition software
to match Thuillier images with
photos from other collections. But
sometimes, tracing them is a matter
of a pure luck.
In 2016 Ralph Riley, a pensioner,
was watching a BBC programme
about the Thuillier images at his
home in Ipswich. Suddenly, he
recognised his own father, Joshua
Riley, who served with the Royal
Army Medical Corps, in one of the
photos shown. He immediately rang
relatives to tell them and in
September 2018 for his 90th
David Crossland is a journalist and photographer based in Berlin and works mainly for The Times. His book,
The Whispering Walls: First World War Graffiti, is due to be published in May.
The Vignacourt 14-18 museum opened in 2018 in the farmhouse where the Thuilliers took their photos (Photo taken by David Crossland)
www.amateurphotographer.co.uk
birthday, the family took him to
Vignacourt. ‘They greeted him as a
hero and showed him every
kindness,’ said Ralph’s daughter,
Vivienne Maunder.
The discovery prompted the family
to look back at the story of their
grandfather, an engineer who
survived the war, married in 1922
and lived into the 1970s.
‘From the outset he had declared
his intention not to kill, but
nevertheless was prepared to play his
part,’ Maunder said. ‘I knew him in
his 60s as a very kind and gentle
person, a wonderful grandad.
‘I think what we’ve taken from the
experience was just how little we
later generations knew of this brave
and principled man. It was a joy to
discover this element of our
history and we feel very proud
of him.’
If you think you might be able to help identify ‘The
Lost Tommies’, visit bit.ly/losttommies. See also
vignacourt1418.com for more about the museum.
British soldiers, possibly from the Royal Sussex Regiment, in
a relaxed frame of mind. Courtesy of Kerry Stokes
Collection, The Louis and Antoinette Thuillier Collection
27

How do you photograph the
climate crisis, biodiversity
collapse and environmental
disintegration? Keith Wilson
spoke to some of the
photographers contributing to
The Evidence Project…
28
I
n the last weeks of 2022, the
editors of the Collins Dictionary
declared ‘permacrisis’ to be
the word of the year. It was an
apt choice given the level of political
and economic havoc caused by a
war in Europe, double-digit inflation
and soaring energy and food prices.
But for anyone old enough to know
better, none of these contributing
factors were unfamiliar foes to the
global status quo. No, the crises that
raised greater alarm in the minds
of many were the catastrophic
wildfires, storms, floods and
drought that caused thousands
of deaths, displacements and
environmental damage, often on an
unprecedented scale.
It wasn’t all happening ‘over there’
either; in England’s green and
pleasant land, the mercury soared
above 40°C for the first time. The
cliché press images of crowded
www.amateurphotographer.co.uk
 CONSERVATION PHOTOJOURNALISM

Left: The flood Jo-Anne McArthur, are dedicating
that swept
through Germany’s themselves to the emerging field of
Ahr Valley in July animal photojournalism. Whatever
2021 was so the preferred term, they can all be
powerful that it found working on the frontlines of
tore up railway man’s escalating war on animals
tracks and even and the environment. As former
caused some to National Geographic photography
fracture. It was
Germany’s worst director Kathy Moran puts it:
natural disaster in ‘Conservation photography is often
over 60 years. conflict photography. It is the
Photo: © Eckart visceral proof of what we are doing
Bartnik/The to the natural world.’
Evidence Project Her words are taken from The
Evidence Project, a new book in
both English and Spanish editions,
that uses photography to explain the
link between the damage inflicted
upon the world’s ecosystems, the
climate crisis and outbreaks of
deadly new diseases. Published by
Photographers Against Wildlife
Crime™ in collaboration with
Below: In a Arturo de Frias, founder of ADF
burnt-out Foundation for Sustainable
eucalyptus Development, the book provides
plantation in
concise ‘What can you do?’ lists of
southeastern
Australia, a simple, cost-effective steps to help
kangaroo and her individuals cut their carbon
joey pause in a footprint and move to more
clearing as they sustainable means of consumption.
seek vegetation ‘With this unique new book, we
to graze following have gathered a startling collection
a massive wildfire of images that will stir conflicting
that killed millions
of animals. emotions: rapture and horror; joy
Photo: © Jo-Anne and grief,’ says Britta Jaschinski, the
McArthur/The book’s founder, managing editor and
Evidence Project co-creator. ‘Such a paradox is
designed to provoke debate and
incite the need for positive change.’
An unknown story
A prime example of a single image
encapsulating the damage caused by
our everyday consumption is Aaron
Gekoski’s photo of two Bornean
elephants comforting each other in
the remains of their rainforest
home, cleared for an oil palm
plantation. Palm oil is a common
ingredient in half of all the
supermarket foods that we eat.
However, so much rainforest has
been cleared to grow the crop that
fewer than 1,500 Bornean elephants
remain in the wild.
British-born Gekoski was living in
Malaysian Borneo when he decided
to photograph the impact of the
palm oil industry on elephant
populations. ‘Everyone knows what’s
happening to orangutans here, yet
the elephant problems are largely
covered up,’ he says. ‘So the story
was relatively unknown, visually
disturbing and incredibly complex; a
compelling mix for an
environmental photojournalist.’
Finding the story and taking the
photos is one thing, but without a
commission or agency backing what
are the chances of getting such
images seen by an international
audience? Gekoski entered a similar
photo of Bornean elephants,
called ‘Palm Oil Survivors’, to

beaches and melting ice-creams gave

way to pictures of parched parks,
grassfires, dried-up rivers and
animals dying of thirst. Last month,
the Met Office confirmed that 2022
was the UK’s warmest year on
record. This year is forecast to be
even warmer. And it’s still only
February. Thankfully, the climate
change deniers are dwindling and
fewer people are asking, ‘why is this
happening?’ Instead, more are
pleading, ‘what can be done?’ ‘How
should I respond?’ However,
addressing such questions requires
something with greater impact than
yet more scientific data. It needs
photography.

Conflict photography
Fortunately, such photography is not
in short supply. Many well-known
pros, including Aaron Gekoski, Britta
Jaschinski, Marcus Westberg and
Brent Stirton, describe themselves as
conservation or environmental
photographers, while others such as

www.amateurphotographer.co.uk 29
CONSERVATION PHOTOJOURNALISM

the Photojournalist: Single

Image category of the 2017
Wildlife Photographer of the Year
competition. He won. ‘International
competitions provide a huge
platform and allow our work to be
seen by global audiences,’ he says.
‘The response to the image was
fantastic and many people emailed
saying they had no idea what was
happening to elephants in Borneo.’
Gekoski isn’t alone in having a
successful competition entry raising
public awareness of a major
environmental issue. A more recent
example is Jo-Anne McArthur’s
perfectly composed portrait of an
eastern grey kangaroo and her joey
surveying their scorched domain
during Australia’s cataclysmic
wildfires of 2019-20. Called ‘Hope in
a Burned Plantation’, the image won
the 2021 Big Picture Grand Prize,
organised by the California Academy
of Sciences, and was a finalist the
Above: Several
same year in the Wildlife
weeks after the
Photographer of the Year People’s Ahr Valley flood,
Choice Award. For McArthur, this campsite in a
gaining access to a location that had neighbouring
been sealed off to the public was as valley was still cut
much of a challenge as finding the off. Three
right moment to press the shutter residents died
without alarming the animals. here. The
smashed caravans
The Canadian photojournalist were stacked to
says, ‘Sometimes, you have years to make room for
work on a project. Sometimes, like clean-up work.
the bushfires in Australia, you work Photo: ©Eckart
really hard to gain access to places Bartnik/The
where you might get nothing or just Evidence Project
a few photos.’

Disaster and artistry

Neither Gekoski’s nor McArthur’s
award-winning assignments could
be described as a local story in their
respective home countries. However, Right: Plastic
for Dr Eckart Bartnik, a German garden chairs
scientist and part-time photographer, immersed in thick,
viscous mud that
home was the location for a settled
climate–related disaster that made everywhere once
headline news worldwide. In July the flood waters
2021, record-breaking floods receded. Once dry,
devastated the Ahr Valley in the Eifel the mud set like
region of western Germany, claiming concrete.
the lives of 180 people and washing Approximately
3,000 homes were
away thousands of people’s homes. flooded.
It was Germany’s worst natural Photo: © Eckart
disaster in over 60 years. A group of Bartnik/The
international meteorologists and Evidence Project

‘The urge to feel the consequences

of climate change in my own area
with my own senses was too great’ –
Eckart Bartnik
30 www.amateurphotographer.co.uk

researchers concluded that the
record rainfall which led to the
floods was made up to nine-times
more likely by human-caused
climate change. ‘Two weeks after the
devastating event, I resisted all
accusations of disaster tourism and
drove to the Ahr Valley,’ he recalls.
‘The urge to experience the
consequences of climate change in
my own neighbourhood with my
own senses was simply too great.’
Bartnik used to work with
large-format cameras and applied the
compositional practices of these ‘old
school’ tools to his digital Canons
when photographing the aftermath
of the floods. ‘If a scene grabs me
emotionally, I search for the
decisive standpoint, often with the
help of a simple cardboard frame to
decide on the exact standpoint and
the angle of view.
‘Only then do I set up the tripod,
try out the best angle for the lighting
and make the final image.
Obviously, that slow approach
allows for rather few images.’
A slow, methodical approach
might not lend itself to the speed
required to provide images for a
breaking news story, but Bartnik’s
artistry meant there were means
other than news sites to reach the
public gaze. ‘Instagram brought me
in contact with a small gallery in
Berlin, which showed my images.’
After the exhibition, the
approaching anniversary of the
floods provided Bartnik with another
opportunity, so he contacted
Frankfurter Allgemeine Zeitung, one of
Germany’s leading daily newspapers,
which gave his images a full-page
spread on July 14, 2022 – one year
after the floods.
There was more to come: ‘My
www.amateurphotographer.co.uk
primarily two challenges,’ he
explains. ‘One was to make the
photographs compelling enough to
be published and win competitions,
but without taking anything away
from the brutality of the destruction.
The second was how to convey the
scale. I had never used a drone
before, but there was no other way
to convey the extent of what was
happening than from the air.’
Working undercover
In terms of publicity and
competition success, Westberg
succeeded on both fronts. In
Sweden, he made his images freely
available for use in campaigns and
conferences, and to illustrate
Above: Two
participation at the 12th Wiesbaden opinion pieces. ‘They have also been
Bornean elephants
Fotodays culminated in a TV feature comfort each published in newspapers and
for which I met a television crew in other after their magazines in Sweden and abroad,
the Ahr Valley. They did a fantastic rainforest home including The Guardian and The New
job to compare my images taken was destroyed. York Times, and awarded in half a
after the flood with the current Photo: © Aaron dozen or so photo competitions.’
situation.’ Gekoski/The Reaction to his exposé has been split,
Evidence Project he says, in a very predictable way.
Sustainability myth ‘The general public has been
While Germany’s deadly floods were A neck brace and horrified, environmentalists grateful,
sudden and spectacular, other restraining jacket while industry officials and most
once used on lab
climate and biodiversity crises have monkeys. politicians have been furious, often
been unfolding over a longer period, Photo: © Jo-Anne accusing me of “environmental
almost imperceptibly so. Such McArthur/The propaganda”, which is
scenarios can remain untold until a Evidence Project somewhat ironic, given the
photographer uses their images to
raise the alarm. The destruction of
Sweden’s ancient forests is one such
example. Like his fellow
countrymen, Marcus Westberg
thought Swedish forestry was
conducted in a sustainable way with
protection given to the biodiversity-
rich old growth forests of the far
north. The truth proved to be starkly
different: in the past 60 years,
three-quarters of Sweden’s old
growth forests have been felled and
replaced with monoculture
plantations of pine and spruce.
‘The relentless PR campaigns and
brainwashing of the Swedish people
– I can’t think of any other way to
phrase it – has been so complete and
so successful that even a
conservation photojournalist like me
did not suspect how dire the
situation was,’ he says. ‘This project
essentially grew out of a trip that was
meant to be an exploration of
Sweden’s beautiful, pristine wild
places.’ Instead, Westberg discovered
that much of these places resembled
a patchwork of clear-cuts and tree
plantations. Visually, a story about
logging trees on a massive scale was
difficult to convey. ‘There were
31
CONSERVATION PHOTOJOURNALISM

Above: The hand

millions of euros they have decision-making. Instead, I More importantly, I continue to hear
of an orphaned
spent on PR campaigns and putty-nosed concentrate on the technical from people fighting to protect our
lobbying the EU to present Swedish monkey, whose elements: composition, lighting, remaining forests about the
forestry as the world’s most mother was exposure. When the shoot is importance of having these images
sustainable.’ probably killed for finished, I allow myself to feel. being given attention abroad.’
Of course, investigative bushmeat. Conservation photographers can Gekoski also believes a powerful
photojournalism is always going to Photo: © Marcus suffer from compassion fatigue so it’s photograph acts as a trigger for
meet resistance. Aaron Gekoski Westberg important that we keep public action. ‘Making a difference
knows this better than most. He is Above centre: 30 empathising.’ can take many forms, some large-
used to working undercover in million dogs are Ultimately, what matters most is scale and some small,’ he says. ‘I’ve
places where the lighting is murky at killed each year in whether these photographers believe managed to get venues shut down or
best, such as Asia’s notorious wildlife Asia for their their work is making a difference to investigated by the authorities. As a
markets, where viral spillovers are a meat. Photo: resolving the issues they are result, animals have been rescued,
© Aaron Gekoski
constant risk. ‘The most important exposing. ‘In this case, I think that rehomed or released into the wild.
thing at these markets is to look Below: A timber my pictures have mattered a great Other victories may be on an
inconspicuous and non-professional. terminal in deal,’ says Marcus Westberg. ‘They individual basis. For example,
I only ever go in with one lens, Sweden. have been a talking point in perhaps someone now chooses
either a 16-35mm or the 24-70mm, Photo: © Marcus parliament and at industry meetings. responsibly sourced palm oil due to
Westberg
and no lighting. The shop owners
can be quite jumpy when they see
foreigners, so it’s important to try to
blend in and appear unthreatening.’
Jo-Anne McArthur also operates
secretively, entering factory farms
under cover of darkness. ‘I shoot in
difficult conditions, especially when
I’m trespassing to photograph on
private property at night,’ she says.
‘I use a handheld LED light and I
wear a headlamp. I’m often shooting
through cages, like at mink or
laying-hen farms. The clock is always
ticking, so you have to work quickly
and smartly.’  

Making a difference
Because of the harrowing conditions
that photographers like McArthur
and Gekoski often witness, they try
to remain emotionally detached
from the suffering of their subjects.
‘I try to switch off my feelings when
doing hard core assignments,’ says
Gekoski. ‘If you’re too emotionally
invested it could compromise your

32

‘Conservation photography is often conflict
photography. It is the visceral proof of what we
are doing to the natural world’ – Kathy Moran
seeing my elephant photograph, or
they report animal cruelty they’ve
witnessed at markets.’
McArthur believes her
photography is instrumental in
creating a momentum for positive
action and change. ‘It’s my
knowledge of animal suffering that
influences my photography,’ she
says. ‘The goal of my work is to
educate people so that we can
collectively reduce animal suffering.
It’s important that we keep doing it.’
Finding beauty
However, the scientist among this
group, Dr Eckart Bartnik, is more
circumspect: ‘There is hardly a day
without reports on wars,
catastrophes and devastations of
CONSERVATION PHOTOJOURNALISM
The Evidence Project
Co-creators: Britta Jaschinski/Keith
Wilson/Arturo de Frías
Managing Editor: Britta Jaschinski
Designer: David Griffin
Foreword: Kathy Moran
Printer: F&W Druck & Mediencenter,
Until 31 March, you can order your
copy for £75 including shipping:
bit.ly/evidence2023 or contact us
via www.keithwilsonmedia.com /
www.brittaphotography.com
Above: A mink
looks out from the
confines of a The Photographers
20cm wide cage Aaron Gekoski
on a fur farm in Aitor Garmendia
Canada. Alessio Bariviera
Photo: © Jo-Anne Ami Vitale
McArthur/The Angel Fitor
Evidence Project Arturo de Frías
Brent Stirton
Left: Stacked Brian Skerry
cages of bats, Britta Jaschinski
macaque monkeys Charlie Hamilton James
and civet cats at Doug Gimesy
an animal market Eckart Bartnik
in Jakarta,
Indonesia. Gregg Segal
Photo: © Aaron Helle & Uri Golman
Gekoski/The Javier Aznar
Evidence Project Jo-Anne McArthur
Luca Locatelli
Marcus Westberg
Marie-Claire Greve
Paul Hilton
Sebastião Salgado
Sirachai Arunrugstichai
Steve Winter
nature and a flood of accompanying Thomas P Peschak
images. What kind of images are
most likely to prevent us from
becoming numb? Should stark people with it, but still I have no
images constantly jolt us, or do illusion about the short half-life of
more subtle images leave a more images, mine included.’
lasting message?’ There is no shortage of
He has been inspired by the words photographic evidence and data
of British photographer Simon telling us what’s happening to the
Norfolk from a recent LensCulture Earth, but what remains in short
interview. ‘He spoke about the supply is a universal responsibility to
importance of beauty in images: act. In her Afterword to The Evidence
“beauty can provide a moral Project, Britta Jaschinski writes: ‘Earth
education, a clearer view of the is becoming a hostile place and
world”. I took this to heart in my without change the situation looks
images and dared to look for beauty, bleak for all her inhabitants. It is
for clarity, in the remnants of the time to take responsibility and help
flooding; beauty in the sculptures recreate a beautiful and safe place for
made of flotsam, piles of garbage all life. It is simpler and easier
and junk. I may have reached some than you think.’
33
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LETTER OF THE WEEK its features and taking
test shots proved it a very
Head of Market Dave Stone competent camera. 

Too London-centric?
Commercial Manager Brian Lynch
Ad Production Neil Hepden (01233 220245, any big photography displays etc. However, I continually
ap@tandemmedia.co.uk)
then London is the only choice and I reached for my old Sony
Management As much as I enjoyed the recent find it disappointing that yet again the A6400; it was lighter, had
Managing Director Kevin McCormick
Publishing Director Oswin Grady article on the new Centre for British rest of the country have to travel to superior autofocusing and
Publisher Liz Reid Photography I really have to ask once London to see such delights. I had grown used to
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Hayley Town
Print Production Manager Georgina Harris says to me that the capital is the only the magazine, I would have expected its design is sometimes
Print Production Controller Hayley Brown place where people can visit, and the that your magazine would have described as outdated.
Subscriptions rest of the country is to be ignored. enquired why this has happened The X-S10 has features
51 issues of Amateur Photographer are I did visit the old Photography without any consideration for the rest that other people will
published per annum.
UK annual subscription price: £152.49 Museum in Bradford, not long after of us, the population outside London. desire and use but, in
Europe annual subscription price: €199
USA annual subscription price: $199 it was presented as the place to go, One day I might actually be able to reality, I couldn’t see
Rest of World annual subscription price: £225 but even then I was made aware that take a trip to London; but as I’ve not myself using them.
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Customer service email cs@kelsey.co.uk that proved true. and I’m sure the loser will be the camera reviews, and not
Customer service and subscription postal
address Amateur Photographer Customer I’ve visited photography exhibitions industry itself. We need more given sufficient thought to
Service Team, Kelsey Publishing Ltd, in Manchester, Liverpool and alternatives so that people can visit what I really valued in my
Kelsey Media, The Granary, Downs Court,
Yalding Hill, Yalding, Maidstone, Birmingham, over the years. They exhibitions like this. Graham Burton own photography – which
Kent ME18 6AL
Find current subscription offers on were well-attended, so why do we is often of sporting
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LETTER OF THE WEEK WINS A SAMSUNG 64GB EVO PLUS MICROSDXC CARD WITH SD ADAPTER. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

vary. Lines open Mon-Fri, 10am-4pm Once more, it seems to have been is the photography world still too that a Sony one would
Email ads@kelseyclassifieds.co.uk decided that London is the only place London-biased? handle similarly to my
Kelsey Classifieds, Kelsey Media,
The Granary, Downs Court, Yalding Hill, where a permanent place is to be A6400. I purchased a
Yalding, Maidstone, Kent ME18 6AL
provided – no doubt with a lot more Sony Alpha 7C camera,
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original work of the author and not previously published.
Where photographs are included, which are not the strikes were over, with the present The Photography Show, held at the have the A6400 beside
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Win!
products and services offered by third parties.
are so similar. I take along
Kelsey Media takes your personal data very seriously. For
more information of our privacy policy, please visit www. all of my lenses; they fit
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www.amateurphotographer.co.uk 37
 YOUR LETTERS

the latest AP issue, I’ve

actually found an
inspirational idea!
In next week’s issue

© WILL CHEUNG
Tom Cairns

Olympus name
change
I don’t like the new name
for Olympus cameras:
Tony Jarrow loves ‘OM System’.
the A6400 The brand ‘Olympus’ is
a pedigree going back
features I realise are what are prime influences decades. Changing it is a
currently most important on the way we think about bad idea. I have a
to me – light weight and photography? substantial Olympus kit
great autofocus. I’ve Many people are comprising four bodies
learnt to live with the content to follow the trails and a selection of M.Zuiko
negative features. created by a flow of lenses, but I won’t be
 These days, I still enjoy others, while some defy buying any more with the
reviews in AP but don’t get the usual patterns and name ‘OM System’ on
carried away. Now, I more want to break away to be them. I seem to recall
appreciate those features notably different. Being Pentax being taken over

B&W
that are most important to the first inspirationally is by another company, but
me. Tony Jarrow not always a winning step thankfully, they kept the
because the unexpected ‘Pentax’ brand name
Thanks for the thought- results jolt people out of rather than using ‘PT

special
provoking letter, Tony. As their known comfort System’ or some other
we’ve said on numerous zones. Time and a slow awful name. Sorry, OM.
occasions, we have a duty acceptance come into play You have alienated at
to our readers to review before what was once least one Olympus
the latest camera fresh becomes more customer.
releases, but that doesn’t everyday. David Norris-Kay
mean you should feel any How inspiration is Will Cheung’s guide to
pressure to upgrade if you encouraged is an inexact This wasn’t their choice, mastering black & white, plus
are happy with your science, for obvious David. It was forced upon
existing gear. reasons. Just as people them by the mean-spirited we share editing secrets
have unique fingerprints, parent company who,
It’s inspiring

© BILLY CURRIE
so do photographers have having ditched the camera
Photography, we are told, unique styles of picture division, refused to allow
is often reliant on production. What pleases the newly created spin-off
inspiration. A classic one audience may not to continue using the
definition of inspiration have the same impact or Olympus name. The most
focuses on mental appeal. Perhaps the motto important thing is that the
stimulation to do or feel ‘each to their own’ is a company continues to
something. The truth is we good reminder that like make great cameras – we
are all stimulated by handwriting, picture-taking gave the OM-5 camera
different things, so who or reflects the photographer’s five stars out of five in
what stimulates us to do personality. December last year, for
better than we do Now that I’ve just read example.
currently?
In my thoughts, Architecture
inspiration is often How to take stunning shots of
prompted by motivation, a buildings – without needing extra kit
sense of creation, and a
desire to be different or Film photography
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE

better in some way. You We talk to Or Sachs about how he

only have to look at some takes his serene b&w film images
of the excellent work
appearing in AP to see the Horizon 202
evidence from John Gilbey on this 1990s Russian
photographers not swing lens 35mm panoramic camera
hampered by the norms of
others. Whether all results
appeal to wider tastes is
another matter, but who or AP’s review of the OM-5: we were very impressed by it
On sale every Tuesday
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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
Favourite subjects
Wildlife photography. It lets me get out
in the fresh air and de-stress from my
job. I like street photography too and
photographing street art/graffiti.
How did you get into photography?
At an early age I inherited my father’s
35mm Mamiya/Sekor camera, and at
about 18 I went to night school where
the process of developing film in the
darkroom got me hooked.
First camera
Praktica BX20 with 50mm lens.
What do you love about photography?
With wildlife photography I love the fact
I never know what I am going to see.
Current kit
Sony RX10 IV. I love it. I occasionally
use my Sony A77 with Sigma 105mm
macro; I have a problem with my left
hand after surgery five years ago so
can’t hold the weight of big lenses.
Favourite accessory
My Black Rapid camera strap.
What software do you use for editing?
40
1
Lightroom and Google Nik. Also Topaz
I’m Behind You
1 We all know the
Denoise and Sharpening.
usual puffin image
Where do you find inspiration? so when this puffin
I belong to SheClicks on Facebook and sat in front of me on
other members’ posts give me ideas. the cliff top on
I am friends with a few photographers Lunga, it presented
who run workshops so I see what they me with a different
are offering. I also check out travel perspective.
firms that offer wildlife holidays. Sony RX10 IV,
220mm, 1/2500sec
Favourite photographers at f/4, ISO 500
Victoria Hillman; Steve and Ann Toon
Favourite photography books
One is Success with Wildlife
Photography by Steve and Ann Toon.
I emailed Steve one of my first photos
asking for advice and he replied saying
he was trying to find a kind way to let
me down on my image but explained 4
he was impressed by it, which boosted
my confidence. Also, Forgotten Little
Creatures by Victoria Hillman.
Favourite tips
Don’t be frightened to make mistakes.
Also have fun and from time to time
put the camera down and enjoy the
beauty of what you are photographing.
About your pictures
In 2022 I got to go to two places from
my bucket list; the Isle of Mull in
Scotland and Lake Kerkini in Greece,
which were amazing experiences.
 YOUR PICTURES IN PRINT
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The Reader Portfolio winner chosen will receive a copy of Submit your images
Skylum Luminar AI, worth £79. See www.skylum.com Please see the ‘Pictures’ section on page 3
Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools with for details of how to submit. You could see
remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, while your photos here in a future issue!
over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

Incoming
Beautiful Bill 4 This white-tailed
3 This dalmatian pelican on Lake eagle on Mull was
Kerkini was off from the group so it coming in to take a
allowed me to hang over the edge of fish off the water
the boat with my camera just above which are provided
the water level to get this shot, and by the tour. I am
I managed to get all its bill in! amazed I managed
Sony RX10 IV, 110mm, 1/800sec at this as I don’t like
f/6.3, ISO 400 boats and this was
bobbing up and
down, which made it
difficult to focus.
Sony RX10 IV,
105mm, 1/1250sec
at f/7.1, ISO 800
Peek a Boo
5 In Finland, I was
sitting on the floor
beside the bird hide
and he popped up
right in front of me.
Such an adorable
red squirrel and he
wasn’t fazed by me.
Sony RX10 IV,
220mm, 1/400sec at
f/4, ISO 400
Whatcha
Reflecting Lookin At?
2 We had gone out at 5.00am onto 6 I photographed
Lake Kerkin. The mist was hanging this otter on the Isle
in the air and as the sunrise came of Mull. I spent
up it gave a lovely diffused light nearly an hour
which worked wonders for watching him go in
capturing this dalmatian pelican and out of the water
and achieving this very calm and – an experience
peaceful piece. I won’t forget.
Sony RX10 IV, 40mm, 1/200sec at Sony RX10 IV,
f/8, ISO 400 2200mm, 1/100sec
at f/10, ISO 500

5 6

41
 Testbench IN THE FIELD This stunning London skyline
was shot using Fujifilm’s XF
150-600mm F5.6-8 zoom
Fujifilm X-H2S, XF 150-600mm at 247mm,
1/250sec at f/7.1, ISO 800

At a glance

X
l 26.1MP stacked BSI X-Trans
CMOS 5 HS sensor
l 15fps (mechanical shutter),
40fps (electronic shutter)
l In-body stabilisation rated at
up to 7EV
l 5.76m-dot, 0.8x OLED EVF,

hits
up to 120fps
l 3in, 1.62m-dot vari-angle LCD
touchscreen
l Weather-resistant body
l Fujifilm X mount

the spot
Professional press photographer
Andy Blackmore puts Fujifilm’s 26MP
flagship X-H2S to work

I
t’s a funny old world; one
where perception and
reality are so often worlds
apart. Take press
photography for instance. Imagine
the reader, bingeing such films as
The Bang Bang Club, Blow-Up and
Minamata. By now, they believe
that life in this universe is a
dangerous, exhilarating and
glamorous cocktail, an
intoxicating combination of
dodging bullets, bouncers, and
annoying PR types, while romping
through the Colorama alongside
models juggling Leicas. As, flash,
bang, wallop, one (conveniently)
always seems to be at the right
place, at the right time, to take
‘that’ photograph.
Now, I hate to burst such
laughable bubbles of
misconception, however enviable.
Whilst I’ve had my share of
excitement and some danger, the
nearest I’ve come to Blow-Up is
working alongside the brilliant
Janet Street-Porter (who is in the
film) when she was my Editor at
the Independent on Sunday.
Quite frankly, life as a press
photographer is not nearly as
exciting as you might care to
conceive. Well, that is unless you
have a masochistic imagination
that conjures up thoughts of
jogging to avoid losing the light,
getting soaking wet, and suffering
both backache and boredom.
No, here in the real world,
working as Chief Photographer
and Picture Editor on the
newspaper City A.M. is a complex
personal dichotomy, comprising in
equal measures: love and hate,
passion and apathy, and
monotony and variety. A stressful
mix all of my own making, making
the most out of what can often
feel like a chronic lack of time
and resources; and above all, the
most morale-sapping of creative
evils – the lack of potential for
creativity.
Tools for the job
Imagine being commanded to
bake a splendid cake. However,
to further spice things up, your
vindictive taskmaster restricts
you to the value brand aisle for
ingredients. And believe me, that
is a challenge in itself, so the last
thing you need is more strain
worrying whether your oven is
baking at the proper temperature
and the accuracy of its timer.
Now, that baking analogy is
simply a way of saying that a
camera is just a tool. And
photographers, just like artisan
bakers, rely on those tools doing
exactly what they expect, exactly
when they expect it.
All of which brings us neatly to
the Fujifilm X-H2S. Now, I’ve only
recently moved over to Fujifilm
from what feels like a lifetime of
shooting on Canon. So much so,
that whilst there is a Fuji in the

42 www.amateurphotographer.co.uk
bag, I’ve still got a Canon in the
brain. By that, I mean that so
much of what a photographer
does when using his equipment
becomes instinctive. With Canon,
at times it seemed like actions
were running in the background
of my brain with tasks completed
with little thought, seemingly on
muscle memory alone. We are
not at that stage with Fujifilm
– yet – but with time it will come.
Today, I have to think about my
actions. Think about how to use
the camera, and believe me, with
the X-H2S, there is a lot to think
about. Basically, this is a
computer with a lens. This also
means this is a camera where it
helps to read the instructions.
www.amateurphotographer.co.uk
Now, this is not a technical review
but simply my thoughts on using
it in the real world on real jobs.
So, here any sensible reviewer
would tell you how they took a
few hours out to read and digest
its mammoth manual. Which is
exactly what I don’t do. Instead,
after only using the camera for an
hour or so, and against my better
judgement, I must dash out and
shoot a front page.
Signs and stability
Now, it’s hard to describe the
intense and intoxicating fusion of
emotions on being tasked to
shoot a front page. Fear mixed
with anxiety; a soupçon of
self-doubt; a smidgeon of Andy Blackmore putting his Fujifilm X-H2S to work for City A.M.
43

hysteria and a huge dose of
obsession, as a focused
tunnel vision closes in. I must get
the picture at all costs. In this
case, it’s the iconic symbol of a
City institution, something that
Andy Silvester, the charming
editor at City A.M., had decided
on just a short while previously in
afternoon conference. So, off I
shoot, fuelled by an adrenaline
rush so potent it’s akin to bungee
jumping – and like bungee
jumping all I can do is trust the
kit and myself.
Unfortunately for me, it’s now
getting dark. So as fast as my
quinquagenarian legs will carry
me and my kit, we head off in the
direction of Simpson’s Tavern, a
veritable City institution that had
been forced to close by its
landlord. To you, this may only be
a lowly piece of pub signage, not
worthy of the effort, but to me,
this is a mission. One I have
been tasked to fulfil and like a
photographer in the Mounties,
I must get the shot.
A short while later I arrive at my
destination, out of breath but full
‘The X-H2S feels natural and precise, and given how long I can be
carrying the thing, it’s refreshingly lightweight and balanced’
44
of enthusiasm and hope, only to
have a little of both diminished by
circumstances. Sadly, at the
preferred angle, there is a nasty
highlight on the sign and it’s
darker than I’d imagined. This
means I’m going to have to shoot
on a long lens in low light. Not
the optimum combination, so I’m
going to have to up the ISO to
1000. Yet being of a certain
vintage, with misconceptions
formed using early digital
cameras, at this stage this is
something well outside of my film
sensitivity comfort zone.
Once again, spurred on by the
necessity to get the image and
the irrational desire to put a new
piece of equipment through its
paces, curiosity gets the better of
me, and so out comes the XF
150-600mm F5.6-8 R LM OIS WR
that I also have on loan.
Now, the XF 150-600mm is not
the fastest lens in the bag, but
needs must, and I must get rid of
that nasty highlight on the sign.
Time to run back and frame up.
Instinctively, I know from the
sound of the shutter that I’m
This pub sign made it onto
the front page (left)
Fujifilm X-H2S, XF 150-600mm at 305mm,
1/10sec at f/8, ISO 1000
shooting way too slow to be to work things through. And so
successful. I check the back of the camera performs faultlessly,
the camera and zoom right into as intuitively I get a grip on the
the image, only to be surprised by settings and get the shot.
what I see. Soon I realise I’d If you’ve never shot under such
underestimated just how mind- pressure and to such deadlines,
bogglingly effective Fuji’s image- I don’t expect you to understand.
stabilisation system proves to be.
Quite frankly, when I was at art Andy’s X-H2S survived a
college in the 1980s studying soaking in nailing this shot
photography, had the future me Fujifilm X-H2S, 150-600mm at 600mm,
beamed back from 2023 and 1/1800sec at f/8, ISO 1000
said that in less than 40 years,
not only would we have digital
cameras, but it would be possible
to handhold at 1/10th of a
second on a zoom lens set at
300mm and shoot a usable front
page, I’d have laughed at me.
Mind you, I’d have done the
same if I’d told myself to buy
shares in Apple.
However, all the time I’d been
worrying about the low light and
the low shutter speeds I’d
forgotten that I don’t yet ‘really’
know how to use the Fujifilm
X-H2S. Once again, I needn’t
have been so anxious as I’ve
more than enough background
knowledge with the Fuji universe
www.amateurphotographer.co.uk

So, if to you, this is only a snap
of a dreary pub sign; I get it. To
me, it’s a little more complex; the
gauntlet was thrown, I accepted
the challenge, and I was
victorious. No matter the subject
– and as you see it’s not always
glamorous or exciting – the fear,
the anxiety and the rush after
another successful ride on the
photographic roller-coaster are
always the same.
Size and sealing
Following my hurried, perhaps
foolhardy, introduction to the
Fujifilm X-H2S, I have a little
downtime and decide to get to
know the camera better at a
more sensible pace. Firstly, I was
a little worried over the size of
the body; wagering, for me, that it
was a little on the small size (my
loan unit was not supplied with
the Vertical Battery Grip VBG-XH
that I’d normally use). Equipped
with only one battery, I also
fretted that the camera would not
be up to a full day of shooting.
On both points such
assumptions proved unfounded,
and whilst the body is surprisingly
compact given how much
technology is packed into so little
space, it sits nicely in my hand –
the integral sculpted handgrip is
a nice touch. A nice comfortable
extension to my body, the X-H2S
www.amateurphotographer.co.uk
The X-H2S has the stamina to keep on
shooting all day on one battery
Fujifilm X-H2S, XF 10-24mm at 12mm, 1/400sec at f/4, ISO 800
feels natural and precise, and
given how long I can be carrying
the thing, it’s refreshingly
lightweight and balanced. Again,
considering how much technology
has been crammed into so little
space, I am dumbfounded as to
how long that single battery
lasted. Gone are the days of
IN THE FIELD Testbench
having to cram your pockets with I’ve said, I’m a press
batteries just to shoot half a job, photographer, and as such, I am
and I’m not sure how, but one a creature of habit, tending only
battery lasts the whole day. to use a central core of settings.
That’s a huge tick in the right box.So, as I read on, discovering such
As I’ve now learnt to my bells and whistles as advanced
considerable discomfort shooting filter settings and endless
every news photographer’s hardy custom settings, that 40fps
annual – the weather picture – shooting rate and the multifarious
the X-H2S body is weather-sealed subject-recognition tracking
and capable of shooting in modes, I’m struck by this thought.
temperatures well below zero. As Never in a month of Sundays will
a press photographer this is I ever use them all professionally,
something it’s reassuring to let alone describe them to you.
ascertain, and yet unpleasant to So let us stick to the facts as
experience. When I shot the I’ve established them so far,
image of the seagull over London whilst shooting the images you
Bridge (left) that ended up on see before you. In a nutshell, the
page 2, both the camera and focusing system is simply
I were thoroughly soaked. mind-blowing. No more hunting
However, throughout that for focus, it works and it works
morning and its ceaseless brilliantly in all light levels.
downpour, the X-H2S functioned Consider the image of the
flawlessly despite being Christmas tree (page 46), taken
drenched. This is something when I was tasked at short notice
I wish I could say of many to shoot a front page that
cameras that professed such captured Christmas in the City.
weather-proofing properties but Adrenaline has me searching
then fell at the first fence at the the half-light of the City and
first sign of drizzle. Again, that’slurking in the shadows of
another huge tick in the box. Leadenhall Market like some
demented Sherlock Holmes on
So many features the trail of ‘that’ image. Every
As I scrutinise the gargantuan second counts. No more than
instruction manual for the Fujifilm 60 minutes elapsed from rushing
X-H2S I internalise this; Houston, out of the office to finding
we have a slight problem here. As that shot and it being
45

placed on the page. This
was no time or place for the kit, I realise this. Across the
autofocus to let me down or start board and whatever the challenge
hunting. Confronted by the
Christmas tree in the gloom
(above), the X-H2S functioned
without fail. Locking on and
finding focus in conditions where see, as someone who adored the shoot in raw and use Photoshop
my Fujifilm X-T3 would have
struggled and failed, once again it digital interface of the Fujifilm For reasons that are far too
gets a huge tick in the box.
A professional performer – all command dials and
As I paint a pen portrait of what’s shortcuts. I don’t and after a few to process raw files from the
beginning to strike me as a
46
thoroughly professional piece of
we faced, the camera has yet to
let me down, and I think I’m
falling for its charms. Which in a files created by the stacked
way strikes me as curious. You
old traditional hybrid analogue/
X-T3, I’d convinced myself that I convoluted to explain here, the
was going to hate this new one
days, it seems quite natural and
Low light proved no
obstacle to getting this shot
Fujifilm X-H2S, XF 8-16mm F2.8 at 14mm, where I’ve felt that they’ve been
1/25sec at f/2.8, ISO 1000
it’s the Fujifilm X-T3 that now
seems strange.
Another thing that now seems
quite natural is shooting at higher and successfully shot at a whole
ISOs. That’s because the 26.2MP range of frame rates.
sensor are sublime. Normally, I
to create JPEGs via Alien Skin.
Apple OS I’m locked down to on
work devices means I’m unable
X-H2S. So I’ve been working
directly from the in-camera JPEGs
(Film Simulation Velvia/Vivid),
with corrections in Photoshop.
That issue aside, I’ve consistently
been struck by the quality of the
files at all ISOs, especially in the
higher ranges.
The camera looks and feels
good and the viewfinder is a
dream in providing an outstanding
viewing experience, whilst the
rotating rear screen is simply
brilliant – perfect for those
low-angle shots of commuters on
London Bridge (below right).
The build quality is excellent and
I’m more than confident it will
stand up to all the abuse it would
get if it were one of my working
bodies. As it’s only on loan I try to
treat it with as much respect as
possible. But whilst this is a
noble intention, when you’re
shooting professionally it’s not
always achievable.
Another huge factor in the
professional arena is that as you
flick the power switch it starts up
immediately, and then responds
instantly to all the physical
controls. I can’t tell you how
many shots I have missed
waiting for a body to spring into
life, so whatever the boffins at
Fujifilm have done, they’ve done it
brilliantly. And in the process,
they have created a camera
that has an amazing
professional synergy.
So back to those core settings
previously mentioned. In terms of
performance, white balance etc.
and all the exposure modes, the
responses are boringly
predictable. And that’s just how
you want things. Almost all my
exposures have been bang on the
money, and on the odd occasion
less than perfect, it’s been a
simple job of exposure
compensation.
To explore as many of the
settings as possible, I’ve tried
Nonetheless, as one rarely
encounters businessmen or
women blasting through the City
at speeds approaching that of
light, I’ve been unable to utilise
the 40 frames per second
shooting speed. However, I’m
confident that if I ever did, the
Fujifilm X-H2S would be up to the
job of capturing it.
www.amateurphotographer.co.uk
 IN THE FIELD Testbench
The final word
All reviews and opinions are
subjective, and sometimes from
the reviewers’ perspective, it’s
difficult to put your finger on
exactly what it is that makes you
favour one camera over another
– why you hate one yet indeed fall
madly, truly, deeply for another.
Perhaps in this case it’s
something as simple as
‘The whole is greater than the
sum of the parts’. Whatever,
I like it. No – I love it.
However, photography is how I
make money (perhaps ‘make’ is
too strong a choice of word here,
so let’s just say that, given
today’s economic climate, it at
least slows the rate at which
I lose funds). So whenever
I consider any photographic
purchase, in my head, I need to
build a rational business case Dogs being walked over
justifying its place in my universe. London Bridge sport a
Now, I don’t expect you to hear fetching set of jackets
that tortured internal monologue Fujifilm X-H2S, XF 150-600mm at 600mm,
1/680sec at f/10, ISO 640
where I weigh the pros and cons.
In this case, you don’t have to.
It’s a no-brainer. If you are a for you. I mean that so sincerely Fujifilm X-H2S is a bargain. Who myself trying to justify it, no
press photographer who wants a that just as soon as I can afford needs full frame when you have a coherent business case for
bigger bang for their buck, and it (and admittedly that may be system that punches way above procurement exists, aside from
given the range and quality of the some time), I’m going to put my its weight like this? simply ‘I want one’), the Fujifilm
lenses available – especially the money where my mouth is and Ignoring the anomaly that is the X-H2S is now my favourite digital
amazing XF150-600mm F5.6-8 R buy one. You see, in comparison Leica M11 (for which, sadly, camera, and possibly the
LM OIS WR – this is the system to certain other brands, the despite hours of arguing with best I’ve ever used.

Low-angle shots are made

easier by the camera’s
articulating screen
Fujifilm X-H2S, XF 10-24mm F4 at 11mm,
1/300sec at f/22, ISO 200
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 LENS TEST Testbench
With its ultra-wide view, the
Canon 15-30mm is well suited
to landscape photography
Canon EOS R5, 15mm, 1/80sec at f/16, ISO 400

Canon RF 15-30mm
F4.5-6.3 IS STM
Angela Nicholson takes a look at Canon’s most
affordable full-frame ultra-wideangle zoom lens for its
R-series mirrorless cameras

C
anon announced the RF
15-30mm F4.5-6.3 IS
STM in July 2022 as an
affordable ultra-wide
zoom lens with a focal length
range that makes it of interest for
travel, city and landscape
photography or vlogging. Although
it covers a full-frame sensor, it
can also be used on Canon’s
APS-C format mirrorless cameras,
on which it has a focal length
range equivalent to 24-48mm.
This gives it some potential as a
‘walk-around’ or everyday lens
with a wider view than the firm’s
RF-S kit zooms, both of which
start at an uninspiring 18mm.
The 15-30mm joins Canon’s
RF-mount lens line-up as the first
non-L series ultra-wide zoom. At
£669, it offers a significantly
more affordable alternative to the
RF 14-35mm F4L IS USM
(£1,749) and Canon RF 15-
35mm F2.8L IS USM (£2,389).
This makes it a natural
companion to the firm’s similarly
lightweight and affordable RF
24-105mm F4-7.1 IS STM and RF
100-400mm F5.6-8 IS USM
lenses, which cost £459 and
£699 respectively.
Features
The RF 15-30mm F4.5-6.3 IS
STM is constructed from 13
elements arranged in 11 groups,
including one PMo (plastic-
moulded) aspherical element and
two UD (ultra-low dispersion)
elements. PMo elements are
made by injecting resin into a
mould with an aspherical
surface and they are

www.amateurphotographer.co.uk 49
Architectural photographers
will appreciate the huge 110°
angle of view
Canon EOS R5, 15mm, 1/60sec at f/16, ISO 320
cheaper to produce than
glass-moulded elements.
The special elements are used to
reduce optical aberrations
including chromatic aberration
and distortion. Canon’s Super
Spectra Coating is also applied to
reduce flare and ghosting.
Autofocusing is handled by a
leadscrew-type stepper motor
(STM), which should ensure quiet,
accurate focusing even with
moving subjects. Using AF, the
lens can focus at just 28cm
Extensive depth of field is
readily attained at
moderately small apertures
Canon EOS R5, 30mm, 1/80sec at f/10, IS0 200
from the imaging sensor at all
focal lengths. However, when
the focusing is switched to
manual, the closest focusing
distance drops to just 12.8cm
at the 15mm end of the focal
length range.
The lens is also optically
stabilised, with Canon claiming a
5.5-stop shutter speed
compensation. When used on a
camera with in-body stabilisation,
this extends to give up to 7 stops
of compensation.
Build and handling
While it doesn’t have quite the
same robustness as a Canon
L-series lens, weighs just 390g
and isn’t sealed against dust or
moisture, the RF 15-30mm
F4.5-6.3 IS STM feels well made,
as befits an optic at its price
point. It’s good to see a metal
mount as this is more durable
than the plastic alternative.
Another compromise that’s
made in comparison with Canon’s
L-series ultra-wide zoom lenses is
that the RF 15-30mm F4.5-6.3 IS
STM doesn’t have a dedicated
control ring. Instead, the manual
focus ring doubles as a control
for adjusting a key feature such
as one of the exposure settings
or the white balance. In some
cases, the adjustment is made by
using the ring while a button is
held down. But the most
frequently used options (AF
mode, shutter speed, aperture
value, exposure compensation
and ISO) can be adjusted directly
using the ring alone. There’s a
switch on the side of the lens
barrel to swap between using the
ring for focusing and using it to
adjust a setting.
The focus ring sits at the far
end of the lens barrel and has a
cross-hatched texture, which
makes it easy to distinguish from
the zoom ring. It rotates with a
nice level of friction and has a
high-quality feel. As is pretty
much standard these days, the
focusing is by wire which means
that there are no physical end
points to the ring’s rotation.
There’s also no distance scale,
but you can see one in the
viewfinder or on the screen when
the ring is rotated in manual
focus mode.
www.amateurphotographer.co.uk
 LENS TEST Testbench
Sharpness is very acceptable

Verdict
even at maximum aperture
Canon EOS R5, 15mm, 1/400sec at f/4.5, ISO 100

WITH the RF 15-30mm F4.5-6.3

IS STM being a fraction of the
price of either the RF 14-35mm
F4L IS USM or the RF 15-35mm
F2.8L IS USM, it’s an undeniably
attractive option for enthusiast
photographers with a full-frame
Canon EOS R-series camera.
However, the lack of weather-
sealing means that outdoor
photographers are likely to want
to invest in a rain cover (or be
prepared to press a plastic bag
and elastic band into emergency
service). I’d also recommend
spending the extra £43 on the
optional lens hood to give the
front element some protection as
well as to combat flare.
At 390g, the RF 15-30mm
F4.5-6.3 IS STM is a relatively
light lens that feels great on a
It takes less than a quarter impressive just how good the away from f/29 as well, but camera like the EOS R5 or R6,
turn of the broad, ridged zoom corrections are, but it also given the extensive depth of field and its build quality is in keeping
ring to go through the whole results in noticeable cropping of that is captured even at 30mm with enthusiasts’ expectations.
focal length range. The lens the images shot at the shortest at f/11, there can be few The results are also very good
extends around 1cm longer focal lengths. So it makes sense occasions when a very small when the automatic correction
at 15mm than it is at 30mm, to keep the correction profiles aperture is required. profiles are applied.
but that shouldn’t cause you activated in-camera so their It’s disappointing that Canon The images are so good in
any problems. impact is visible when you hasn’t included a lens hood in fact, that you might occasionally
compose the shot. the box, and instead, the forget you’re using such a wide
Autofocus The vignetting and barrel petal-shaped Canon EW-73E is lens, as you need have little
I tested the RF 15-30mm distortion are far less noticeable sold separately for £43. concern for curvilinear distortion,
F4.5-6.3 IS STM on the Canon in uncorrected images shot at Fortunately, the lens isn’t terribly vignetting or chromatic
EOS R5 and, as expected, it’s the 20mm point of the lens, but prone to flare, but it can be an aberration. The only issue is the
compatible with the subject- it’s still apparent. By 24mm and issue when sunlight skuds reduced sharpness at the very
detection modes. It also focuses for the rest of the focal length across the front element and smallest apertures at the longer
quickly and silently, which is range to 30mm, however, the including the sun in the frame end of the lens. But in reality,
great for anyone shooting video. flaws are much less noticeable is likely to create a few there is little need to use them
Even in dim lighting, the lens and the distortion switches to a colourful hot spots and areas and I wonder why Canon bothered
was decisive in its focusing on hint of pincushioning. of low contrast. to enable apertures beyond f/22.
just about every occasion. I was There’s a good level of Checking high-contrast edges
also unable to see any change in sharpness at the centre of the in my images reveals that
the framing of the image when frame and while the fall-off is chromatic aberration is kept in Data file
focusing, which means focus noticeable towards the corners good check with just a
breathing isn’t a concern. when the shorter focal length suggestion of coloured fringes Price £669 Minimum focus
images are examined at 100% here and there when the Filter Diameter 28cm, 12.8cm in
Image quality on a computer screen, it’s by no corrections are deactivated. 67mm MF at 15mm
If you switch off the automatic means terrible. It’s worst at the Activating in-camera correction Lens Elements 13 Length 88.4mm
correction profiles, you’ll see widest end of the lens, but it reduces them enough to make Groups 11 Diameter 76.6mm
pronounced barrel distortion and wouldn’t stop me from using it. them unnoticeable unless you Diaphragm blades Weight 390g
heavy vignetting in the images The corner sharpness at 28mm really hunt them down. 7 Mount Canon RF
captured by the RF 15-30mm and 30mm is very good. Shooting with a wideangle lens Min aperture Included
F4.5-6.3 IS STM at the 15mm At the other end of the is a recipe for extensive depth of f/22-32 accessories Caps
end. In fact, the corner shading aperture range, the results are field, and the RF 15-30mm
at 15mm is so strong that the good at the wider end of the F4.5-6.3 IS STM doesn’t offer
image circle doesn’t fully cover focal length range at the very large aperture settings, but
the corners of the frame. Turn on smallest apertures, but I would it is still possible to isolate a
the profiles, however, and any avoid using f/32 at the 28mm subject through close focusing.
straight lines in the scene are and 30mm points as the Out-of-focus areas look Recommended
rendered straight and the softening impact of diffraction pleasantly soft while small
vignetting is removed. It’s is clear. I would aim to keep highlights are rounded.

www.amateurphotographer.co.uk 51
 Testbench ACCESSORIES

LomoApparat 21mm lens

This is made from
optical-grade plastic rather
There’s very limited manual control than glass, which all adds
to the lo-fi charm.
but this point-and-click film camera Filter
offers lo-fi charm and creative holder
Tripod mount The camera has a rather
versatility, as Geoff Harris discovers A standard thread in the ingenious ‘ladder’
base of the camera mechanism for housing
● £89 ● shop.lomography.com/uk facilitates shooting long the coloured flash
IT’S easy to get hung up on digital perfection, so
exposures. filter gels.
sometimes it can be nice to have fun with ‘lo-fi’
analogue cameras. The demand for these remains
strong, especially amongst younger photographers,
and it’s against this background that lo-fi stalwart
Lomography has brought out the LomoApparat – a
simple 35mm point-and-shoot film camera that
features a 21mm f/10 lens and a built-in flash. As
well as that unusually wide lens, the big selling
point is the ability to add a range of flash and lens
filters, as well as Bulb mode for long exposures.
The LomoApparat is built from plastic, and
powered by a single AA battery. Although the build
quality seems fairly durable, we doubt the film
winding mechanism would withstand over-eager
manipulation, so care is needed. While this is a
very straightforward camera to use, with no manual
controls it does take some getting used to. For
instance, you need to use two fingers when winding
film so it remains taut. It’s also quite easy to
accidentally set the camera to Bulb mode. It’s vital
to choose a fast-enough film; with a fixed shutter
speed of 1/100sec and a fixed aperture of f/10,
Splitzer Flash filters
This allows slicing and
low-light shooting could be something of a Cyan, green, magenta,
challenge if you use ISO 200 film, for example.
dicing images into Lens filters neutral grey, red, and
wedges (but wasn’t The Close-up and
Flash can obviously be used indoors. yellow coloured gels are
supplied with our Kaleidoscope lenses
Once the above has been taken into account, the supplied.
review sample). simply clip onto the
camera is enjoyable to use. It’s very portable – the
63x109x43mm dimensions mean it can easily fit
front of the camera.
into a jacket pocket or bag, and it’s very light, too.
The 21mm lens is great for soaking up landscapes
and cityscapes, and the viewfinder is reasonably
clear and bright as well. For extra creativity, you get
a set of coloured flash gels, along with three lens
filters: a funky Kaleidoscope lens for adding A decent inbuilt
multiple prism image effects, a close-up lens, which flash and easily Recommended
is okay but no serious alternative to a macro lens, added coloured
and a ‘Splitzer’. For £90 that’s not a bad package. gels make the
camera fun to
Verdict use indoors
While not a camera for purists and pixel-peepers,
CHOICE OF FINISHES
the LomoApparat is a reasonably priced and At a glance
creatively flexible point-and-shoot film camera for As well as the standard black
lo-fi fun. Loading film is fiddlier than it should be, ● 35mm film camera edition, you can pay an extra
ALL PRICES ARE APPROXIMATE STREET PRICES

the frame counter is hard to read in low light and ● 21mm fixed-focal-length lens £10 and get a ‘Neubau’ version
you need to check your film is fast enough on murky ● f/10 fixed aperture of the LomoApparat, featuring
winter days, but these are minor niggles. The ● 1/100sec fixed shutter Italian leather and a natty
versatile lens, funky flash gels and multiple speed turquoise trim. It’s a matter of
exposure/bulb modes make it decent value for ● Bulb and multiple exposure taste, but we’d save money and
money and a neat creative diversion when you get mode stick with the standard trim
tired of your pixel-perfect digital gear. – vegans are likely to agree.

52 www.amateurphotographer.co.uk
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of the Year Competition
© BOTTOM ROW, LEFT TO RIGHT: TOM PONESSA, ANDREW KNIGHT, EDWARD PAYNE. CLOCKWISE FROM TOP LEFT: ADAM NEUBA, TINA BUI, ANGI WALLACE, AZIM KHAN RONNIE

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 A round-up of the AP testing team’s favourite and most highly
rated kit, including both cameras and all kinds of accessories,
across a wide range of price points
Olympus Tough TG-6
l £369 l www.olympus.co.uk
Olympus’s Tough compacts have habitually
won our underwater camera group tests,
and this latest model is still the best of its
type. It’s waterproof to 15m, shockproof
against a 2.4m drop, crushproof and
freezeproof. The 25-100mm equivalent lens
is paired with a 12MP sensor, and viewing is
via a 3in LCD. This is also one of the few
rugged cameras that can record raw files.
Panasonic LX100 II
l £749 l www.panasonic.com/uk
A high-end compact for creative
photography, the LX100 II is based around a
24-75mm equivalent f/1.7-2.8 lens and a
17MP Four Thirds sensor that features a
true multi aspect-ratio design. It also boasts
a full range of traditional analogue control
dials, and the corner-mounted viewfinder is
complemented by touchscreen LCD.
★★★★
Reviewed
1 Sep 2018
www.amateurphotographer.co.uk
Canon PowerShot G1 X Mark III
l £1,139 l www.canon.co.uk
This unique zoom compact offers excellent
image quality by employing the same
24.2MP APS-C sensor as several of Canon’s
DSLRs and mirrorless cameras, along with
a 24-72mm equivalent lens. A central
viewfinder, fully articulated touchscreen and
comprehensive external controls round off a
superb little camera for enthusiast
photographers.
★★★★★
Reviewed
3 Feb
2018
Sony RX100 VII
l £1,049 l www.sony.co.uk
Sony has somehow crammed a 24-200mm
equivalent zoom, pop-up electronic
viewfinder, tilting screen, 20 fps shooting
and 4K video recording into a body that you
can slip into a jacket pocket. With the firm’s
latest AF technology also on board, it’s
without doubt the most accomplished
pocket camera on the market.
★★★★
Reviewed
5 Oct 2019
Fujifilm X100V
l £1,349 l www.fujifilm.eu/uk
Fujifilm’s charismatic rangefinder-styled
compact employs a fixed 23mm f/2 lens,
APS-C sensor, traditional analogue controls
and a unique hybrid optical / electronic
viewfinder. In this latest version the lens
has been redesigned for improved
sharpness, and the back is now adorned
with a tilting screen. It’s a truly gorgeous
little camera.
★★★★★ Reviewed
25 Apr 2020
Sony RX10 IV
l £1,499 l www.sony.co.uk
This sets a new standard for superzoom
cameras, with a 24-600mm equivalent lens,
20MP 1in sensor, and 24 fps continuous
shooting. Its SLR-shaped body hosts a large
electronic viewfinder and a decent set of
physical controls. It’s the best
all-in-one camera for
wildlife or travel
photography that
you can buy
right now.
★★★★★
Reviewed
2 Dec 2017
55
BEST BUYS REVISITING GREAT KIT FROM OUR TEST ARCHIVES

Nikon D3500 Canon EOS M50 Mark II Fujifilm X-S10

l £499 with 18-55mm VR l www.nikon.co.uk l £699 with 15-45mm lens l www.canon.co.uk l £999 with 15-45mm lens l www.fujifilm.eu/uk

Nikon’s entry-level DSLR hits a sweet spot This likeable little camera is simple and Fujifilm’s latest model brings a distinct
of capability versus affordability. It sports a approachable for novices, while offering change in design. It looks much like a
24MP APS-C sensor with a sensitivity range plenty of manual control for enthusiasts. Its conventional DSLR, with electronic dials for
up to ISO 25,600, and can shoot at 5 central electronic viewfinder is joined by a changing exposure settings. But you still get
frames per second. Its Guide Mode makes fully articulated touchscreen, autofocus is Fujifilm’s signature fine image quality, along
the camera easy to use for beginners, while fast and accurate, and it’s capable of with in-body image stabilisation. The result
full manual control producing consistently fine is a camera that’s
is also available. images. The updated perfect for
★★★★★ Mark II version APS-C DSLR
Reviewed adds a few users looking
9 Feb 2019 minor extra to upgrade to
features. mirrorless.
★★★★★ ★★★★★
Reviewed Reviewed
22 May 2021 23 Jan 2021

Olympus OM-D E-M5 Mark III

Olympus OM-D E-M10 Mark IV Fujifilm X-T30 II l £1,049 body only l www.olympus.co.uk
l £749 with 14-42mm lens l www.olympus.co.uk l £849 with 15-45mm lens l www.fujifilm.eu/uk
This small, fully featured and weather-
With a charismatic retro design, fine This lovely little camera provides excellent sealed mirrorless camera is both a
handling, highly effective in-body performance, while preserving the charm pleasure to use, and capable of great
stabilisation and attractive JPEG output, and charisma of the X-series. It’s a great results. Its petite body finds space for an
Olympus has made a camera that’s more all-rounder, and handles exceptionally well extensive complement of controls, along
pleasant to use than its entry-level thanks to an intuitive interface based with class-leading 5-axis in-body image
competitors. Its 20MP sensor delivers good around traditional analogue dials. Image stabilisation, yet weighs in at
results up to ISO 3200 at least, and its quality is superb in both raw and JPEG, just 414g. On-chip
tilting screen can be set to face forwards aided by phase detection
beneath the camera. Fujifilm’s enables fast,
The 16MP peerless Film decisive
Mark III is Simulation autofocus.
also still a modes. ★★★★★
great buy. ★★★★★ Reviewed
★★★★ Reviewed 11 Jan 2020
Reviewed 8 Feb 2022
26 Sep 2020

Panasonic Lumix GH6 Fujifilm X-T4

l £1,549 body only l www.fujifilm.eu/uk
l £1,999 body only l www.panasonic.com/uk
Canon EOS 250D Fujifilm has built on its outstanding X-T3 by
l £699 with 18-55mm IS lens l www.canon.co.uk
Panasonic’s flagship Micro Four Thirds
adding in-body image stabilisation and a
camera is distinctly aimed at videographers,
One of the smallest DSLRs around, the EOS vari-angle screen. With high speed,
but holds its own when capturing stills as
250D strikes a great balance between impressive resolution and sophisticated
well. Its 25MP sensor delivers plenty of
portability and usability. It’s equipped with a autofocus, the X-T4 is the finest APS-C
detail, while enabling 5.7K recording at
novice-friendly Guided Mode, while Canon’s mirrorless camera yet, and a great choice
60fps, or 4K at 120fps. Pro-spec video
Dual Pixel CMOS sensor provides excellent for both demanding
functionality and highly effective in-body
autofocus in live view. Image professionals
stabilisation round off
quality is very good, and keen
a fine package
delivering vibrant enthusiasts
for content
colours and who would like
creators.
plenty of fine to build a
★★★★ smaller, lighter
detail. Reviewed
★★★★★ system.
26 Apr 2022
Reviewed ★★★★★
7 Sep 2019 Reviewed
11 Jul 2020

Subscribe and save money!

56 www.amateurphotographer.co.uk
Nikon Z 6II Nikon Z 7II Sony Alpha 7R IV
l £2,099 body only l www.nikon.co.uk l £3,099 body only l www.nikon.co.uk l £3,199 body only l www.sony.co.uk

This upgraded full-frame mirrorless Nikon has delivered a sensible update to its With its 61MP sensor, the A7R IV takes
all-rounder boasts a 24.5MP sensor, flagship high-res model, with an additional full-frame image quality to new heights,
273-point autofocus and rapid 14fps burst SD card slot and slightly faster shooting. As without compromising on speed or dynamic
shooting. It also gains an SD card slot, before, its 45.7MP sensor gives stunning range. It’s as accomplished when shooting
alongside XQD/CFexpress. Its excellent image quality, backed up by 5-axis in-body sports or wildlife as it is for landscapes or
viewfinder is complemented by a tilting image stabilisation and fast, accurate portraits. With an excellent
screen, and both image quality and handling autofocus. The viewfinder is superb, and viewfinder and effective
are superb. The older F-mount SLR lenses can be in-body stabilisation,
Z 6 remains used via the it’s the most capable
a good buy FTZ adapter. all-rounder you can
for £350 ★★★★ currently buy.
less. Reviewed ★★★★★
★★★★ 6 Feb 2021 Reviewed
Reviewed 12 Oct 2019
9 Jan 2021

Sony Alpha 7 IV Nikon D850 Leica M10 Monochrom

l £2,399 body only l www.sony.co.uk l £2,799 body only l www.nikon.co.uk l £7,200 body only l uk.leica-camera.com

Sony’s latest enthusiast-focused full-frame This brilliant professional all-rounder Within its own specialist niche, this
mirrorless model sets a new standard in its provides a winning combination of high monochrome-only manual-focus
class. Its 33MP full-frame sensor delivers resolution and speed. Its 45.7MP sensor rangefinder is almost perfect. Its build
excellent image quality, and it can shoot at produces fine results at high ISOs, and the quality is stunning, and the pared-back
up to 10fps. Its practically foolproof autofocus is incredibly responsive and design allows you to immerse yourself
subject-detection AF can now recognise accurate. Build quality and handling should completely in the process of taking
birds as well as humans and satisfy the most demanding of pictures. Most importantly, the 40.9MP
animals. A large, users. It’s an sensor produces fantastic results,
clear viewfinder and absolutely reaching a new
fully articulated sensational camera pinnacle in
touchscreen round capable of tackling black & white
off the package. any type of image quality.
★★★★★ subject. ★★★★★
Reviewed ★★★★★ Reviewed
11 Dec 2021 Reviewed 22 Feb 2020
21 Oct 2017

Nikon D780
l £2,299 body only l www.nikon.co.uk Canon EOS R6 Fujifilm GFX100S
l £2,399 body only l www.canon.co.uk l £5,499 body only l www.fujifilm.eu/uk
This highly accomplished 24MP full-frame
model shows that there’s life in the DSLR With this powerhouse all-rounder, Canon has Fujifilm’s second-generation super-high
yet. It’s superbly built with extensive finally got full-frame mirrorless absolutely resolution camera places a 102MP
weather sealing, handles brilliantly, and right for stills photographers. It handles medium-format sensor in a body the size of
gives excellent results in any conditions. It’ll brilliantly, its subject-tracking autofocus is a full-frame DSLR. On-chip phase detection
provide top-level service to photographers incredible, image quality is superb in both provides rapid autofocus; in-body image
who want to keep using their raw and JPEG, and the addition of in-body IS stabilisation allows the camera
F-mount lenses is transformative. It also works brilliantly to be used handheld
and still prefer with adapted EF-mount DSLR with confidence. It’s
an optical lenses. perfect if you need
viewfinder. ★★★★★ to shoot in the
★★★★★ Reviewed field without
Reviewed 10 Oct 2020 compromising on
4 Apr 2020 image quality.
★★★★★
Reviewed May 2021

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to your door every week. See page 34 for details of our latest offer

www.amateurphotographer.co.uk 57
BEST BUYS REVISITING GREAT KIT FROM OUR TEST ARCHIVES

Billingham Hadley Pro 2020 Essential Film Holder Kit Manfrotto 190 Go!
l £260 l www.billingham.co.uk l £90 l www.clifforth.co.uk MT190GOC4
The latest model in this iconic line of Many photographers either still enjoy l £279 l www.manfrotto.com/uk-en
British-made satchel-style bags includes shooting film, or have old negatives and With 4-section carbon fibre legs that can
some well-considered updates, such as a slides that they’d like to digitise. Probably each be set to four angles, this
detachable shoulder strap. It’s impeccably the best way to do this is to copy them sturdy, versatile tripod
constructed from premium materials to using a DSLR or mirrorless camera. This achieves a maximum height
keep your kit protected, including easy-to-use device holds film flat over a of 147cm while folding
Billingham’s signature triple-layer canvas lightbox for copying. It gives excellent down to 45cm, and
that’s impermeable to water. It’s pricey, but results and is much quicker than using a weighs 1.35kg. But its
will last for decades. scanner. ★★★★★ party trick is a centre
★★★★★ Reviewed 5 Oct 2019 Reviewed column that can be
29 Aug set horizontally for
2020 overhead or
low-level
shooting.
★★★★★
Reviewed
1 Jun 2019

NiSi Bluetooth Remote Control Benro GD3WH

l £165 l www.benroeu.com
Vanguard Veo Select 49 l £29.90 l www.nisioptics.co.uk
l £119 l www.vanguardworld.co.uk If you use strong This relatively
neutral density lightweight and
This cleverly designed bag comes with both portable geared
a backpack harness and a shoulder strap, filters, this device
makes it much head employs an
and can be switched Arca Swiss type
between the two carrying easier to work
with the long quick release. Three
modes quickly and large control knobs,
easily. There’s space exposures
required. It one for each axis
for one or two of movement,
cameras and 3-5 extra connects to your
smartphone by Bluetooth drive the camera directly
lenses, along with a in the corresponding direction, allowing
separate compartment and is controlled by NiSi’s free ND
Calculator app. Camera connection cables highly accurate setting of composition. With
for a 15in laptop and its sturdy magnesium alloy construction, it’s
a tablet. cost £5.90 each.
★★★★ Reviewed 11 Jan 2022 rated to support a 6kg load.
★★★★★ ★★★★★ Reviewed 26 May 2018
Reviewed 6 Jul 2019

Novo Mantis T3 Vanguard VEO 2S

Gitzo Adventury 30L Mini Travel Tripod AM-264TR
l £219 l www.gitzo.com/uk-en l £70 l www.ukdigital.co.uk l £99 l www.vanguardworld.co.uk
This sizeable backpack will hold a pro-spec This neat 27cm-tall mini tripod This unusual monopod boasts
DSLR with a 70-200mm lens attached and has two-section carbon-fibre an extended height of
a second body plus up to 4 lenses. An legs that can be set to three 1630mm, a folded height of
expandable roll top provides plenty different angles, and chunky 565mm and a maximum load
of space for personal rubber feet that unscrew to capacity of 6kg. Three foldable
items, and the bag reveal ground spikes. The legs at the base provide a tri-stand
also boasts tablet and matched MBH-25 ball platform, and are linked to the
laptop compartments. head (£60) provides four-section carbon fibre leg via a
It’s comfortable to carry impressive strength, ball joint that allows smooth
fully loaded and offers and an optional panning and tilting motions.
first-class protection. centre column is ★★★★★
★★★★★ available for £30. Reviewed 30 May 2015
Reviewed 8 Sep 2018 ★★★★★
Reviewed 6 Feb 2021

Subscribe and save money!

58 www.amateurphotographer.co.uk
Adaptalux Studio Macro
Photography LED Combo Pack
l £372 l www.adaptalux.com
This clever modular LED system is perfect
for lighting small subjects creatively. The
pack includes a control pod with a built-in
rechargeable battery, four flexible
lighting arms (two white, one
blue and one green), plus
three diffusers and two colour
filters. Always-on LED lighting
makes it easy to visualise the
results in
real time.
★★★★★
Reviewed
20 Sep 2022
RØDE VideoMicro
l £45 l en.rode.com
RØDE has a strong reputation for its
high-end microphones. Its VideoMicro is a
directional unit that primarily picks up
sounds from in front of the camera, and is
designed to match small mirrorless
cameras. It uses ‘plug-in power’ that’s
supplied by many cameras, and as there’s
no battery it’s short and
light. It comes complete
with a Rycote
shock mount
and a large
furry windshield.
★★★★★
Reviewed
21 May 2016
Tenba Tools Cable Duo 4
l £20 l uk.tenba.com
Not all handy accessories have to cost a
fortune. This well-designed tech organiser
pouch features a dual-compartment layout,
with a shallow space on one side for
cables, and a deeper one on the other for
such things as battery chargers or computer
mice. The simple rectangular design fits
easily into a bag and the tough transparent
covers make it easy
to see what’s
inside.
★★★★★
Reviewed
20 Sep 2022
Stay inspired all year, never miss an issue and get AP delivered straight
to your door every week. See page 34 for details of our latest offer
www.amateurphotographer.co.uk
Formatt Hitech Onyx
85mm Seascape Kit
l £345 l www.formatt-hitech.com
This 85mm filter kit is ideal for APS-C or
Micro Four Thirds users. It includes a
polariser, 6-stop neutral density, and 3-stop
soft-edge and hard-edge ND grads. It’ll fit
filter threads up to 77mm, with step rings
for 72mm,
67mm and
58mm
supplied in
the box.
★★★★
Reviewed
6 Feb 2021
Calibrite ColorChecker Studio
l £520 l www.colourconfidence.com
Previously known as X-Rite i1 Studio, this kit
enables users to adopt a completely
colour-managed workflow, from capture
through display to print. It allows profiling of
cameras, scanners, monitors, projectors
and printers, and works with both Mac and
Windows computers. It’s a great tool for any
photographer who likes to print at home.
★★★★★ Reviewed 19 Jan 2019
Kase Wolverine Magnetic
Circular Filter Entry Kit
l £210-£285 l www.kasefilters.com
These clever kits include circular polarising,
3-stop and 6-stop neutral density filters that
snap magnetically onto adapters that screw
into your lens. This considerably speeds up
the process of using filters and encourages
you to use them
creatively. Kits are
available in 77mm
82mm, and 95mm
sizes, with adapter
rings from
49mm up.
★★★★★
Reviewed
8 Aug 2020
Epson Expression
Photo XP970
l £219 l www.epson.co.uk
An update to the XP960, which won our
coveted gold award, this impressive
multifunctional unit provides A3 printing
ability while retaining a compact footprint.
Along with a conventional USB connection, it
can print over Wi-Fi, or directly from an SD
card or USB stick, controlled using the
excellent colour LCD touchscreen. Other
useful features include an A4 scanner and
double-sided document printing.
★★★★★
Biolite Charge 80 PD
l £70 l uk.bioliteenergy.com
Powerbanks can
be invaluable
when you
want to keep
shooting for
longer. This device
houses a 20,000mAh
Li-ion battery, which is
capable of replenishing the
average camera battery up to ten
times. It can also be used to power
certain cameras directly.
★★★★★ Reviewed 10 Jul 2021
Fujifilm Instax Mini Link 2
l £115 l www.instax.co.uk
Powered by a built-in rechargeable battery,
this smart little printer
connects to your smartphone
via Bluetooth and is controlled
using an attractively designed
and intuitive app. It’s small
enough to slip into a coat
pocket or bag, and
delivers gorgeous little
prints with fine detail and
vivid colour.
★★★★★
Reviewed
30 Aug 2022
59
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See website to learn more. See website to learn more. battery for only £114.00 See website to learn more. UV Filter for £79 NANO II UV Filter for £140

CLAIM UP TO Canon RF 24-70mm

N TO
f/2.8L IS USM
£300 CASHBACK

O C
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WITH LENS REWARD

IN !
Available when you purchase
selected RF lenses with Our Price
any Canon EOS R System £2,389.00 45.7
camera. £200 cashback available as MEGA
PIXELS 20 fps
3.2” 8K
See www.parkcameras.com/canon-lens-reward to learn more. part of lens reward! See web.
The Z 9 will take you as close to perfect as
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that bag that always has what you need or 24.3 45.7
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that friend that helps you see the world in a PIXELS PIXELS 10 FPS

beautifully different way. Body only +24-50mm Body only See website Our Price See website
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OM System Olympus 40-150mm Olympus 300mm WANDRD WANDRD PRVKE WANDRD

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teleconverter! Ends 26.02.23 teleconverter! Ends 26.02.23

SPECIAL SHOW OFFERS Epson SureColor SC-P900

THE LATEST NEW PRODUCTS The SC-P900 manages to combine form with
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 Photo Critique

Final Analysis
Tim Clinch considers...
‘Senator Kennedy Goes a Courting’
by Hy Peskin, 1953

© HY PESKIN / GETTY IMAES

t’s a strange one this…
Photographically it’s
sort of nothing. A snap.
A young couple with
nothing to connect them to
anything. No background. No
context. The lighting is harsh
and the face of the man can
scarcely even be seen. A young
couple on the beach. Nothing
more, nothing less.
And yet…
Knowing the history it is so
moving, so poignant.
Knowing as we do now that
JFK was profoundly affected by
the wounds he received during
his service in the US Navy
during WW2, that he was a
rampant womaniser, and of
course his assassination.
I’m old enough to remember
that day. My mum, who had
always had a soft spot for him,
broke down in floods of tears in
the kitchen. The first time the
eight-year-old me had seen her
cry. The endless television
coverage and the discussions,
tutting and all the ‘isn’t it
awful’s in every place we went
into accompanying my Mum
on the weekly shop.
The picture itself was part of a
story for the wonderful and
much-missed Life magazine
about the young, handsome US
Senator from a wealthy and
influential political dynasty
who was being touted as a
strong contender for the White nature of the image. I googled yet this picture sums up, for me, have, like most of us, seen
House. Even in the grey and the other images in the Life the power of photography. thousands of pictures of JFK
dreary England of my youth he story and there are some much In one, simple, seemingly over the years and yet it is this
was something special. And better pictures. The two of them inconsequential image the one that gets to me every
when he married the beautiful on the beach at sunset. Inside whole story comes flooding time. It is, for me, the
Jacqueline Bouvier, that the luxurious family home in back. They look so young. So photographic equivalent of the
specialness seemed to increase. Hyannis Port, Massachusetts, carefree…The power that wonderful quote in Noël
To see them like this in such them dressed for dinner (I had photography has to reduce Coward’s play Private Lives:
an innocuous photograph only never been aware of ‘dressing us to a damp hankie-full of tears ‘Extraordinary how potent
seems to increase the poignant for dinner’ when I was eight!), never ceases to amaze me. I cheap music is.’

Tim Clinch is an award-winning professional photographer with over 40 years’ experience. Over the years Tim has worked in most areas of the profession, has had his work published in
magazines worldwide, and has had more than 30 books published featuring subjects as varied as interiors, travel, food and portraits. To see his work, visit www.timclinchphotography.com.

66 www.amateurphotographer.co.uk
 COMPACT, LIGHTWEIGHT STANDARD ZOOM

SONY FE 20-70MM F/4 G

The new Sony FE 20-70mm f/4 G offers evolved image quality and is simple and
comfortable to use both when shooting stills and movies with fast, precise, quiet autofocus.
If you’re familiar with other E-Mount lenses from Sony, you’ll be at home straight away,
with the build and feel similar to other lenses that exist with in the line-up.

Outstanding G Lens High-level operability and

image quality reliability for any environment

Peak AF performance
for stills and movies

Bright in all weathers

£1,399
NEW! Stock expected
February 2023

Watch our hands-on review at

youtube.com/@parkcameras

Sony a7R V
Body Only

£3,999
SAVE 5% ON SELECTED SONY FE LENSES 12 MONTHS 0% FINANCE AVAILABLE ON THE
WHEN PUCHASING THE A7 IV. SEE WEBSITE. A7R V. MINIMUM DEPOSIT, 10%. SEE WEBSITE.
Register your camera with Sony and benefit from £100 off your next lens purchase, inclusing the
NEW FE 20-70mm lens! Learn more at www.www.parkcameras.com/sony-lens-reward

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 Create your masterpiece on
PermaJet s new Heritage Range
The exquisite new inkjet papers are 100% cotton and OBA-free.
Choose from 4 new surfaces, each one designed with a specialist
finish to honour your photography.

www.permajet.com
sales@permajet.com
@permajet 01789 739200