Amateur Photographer - 29 August 2023

b e w on!
On sale Tuesday 29 August 2023
£ 11 ,0 0 0 of pri ze s to
best wildlife photos into
Don’t forget to enter your
the Year 2023
Amateur Photographer of
PREMIUM
SEPTEMBER 2023
EDITION Passionate about photography since 1884
INSIDE
32-page
pull-out
Wildlife
guide
TECHNIQUE AND ADVICE
special
British wildlife Bumper guide packed with expert
The benefit of staying local tips and advice for better photos
The best of Africa
Where to go to shoot what
GEAR
Full frame vs MFT

The pros and cons compared
16 accessories for
wildlife shooters
From backpacks to clothing
INSPIRATIONAL STORIES
TEST
DIVING WITH SHARKS
Mike Coots’ stunning book Pentax K-3 III
POLAR BEAR ODYSSEY Monochrome
£5.49
The quest for a perfect shot KELSEYmedia

DSLR that shoots B&W only
7days
Inside this issue
Welcome
© WILL CHEUNG
3 7 days
We live in a
10 It’s good to share beautiful world
14 Micro Four teeming with
Thirds vs full magnificent
frame for nature creatures – though
photography sadly less teeming
than it once was. It’s no wonder
22 APOY Round 6 that wildlife is among the most
results popular genres of photography
28 Top used cameras both to do and to consume (Sir
and lenses for David Attenborough has made a
wildlife career out of it). Unfortunately it
isn’t easy. Most wildlife is elusive,
31 Inbox
36 Local guardians:
14 and you need to keep your
distance. Some subjects only come
British wildlife out at night, or in challenging
environments. So becoming
46 Photo insight proficient at wildlife photography
48 A deeper takes dedication and perseverance.
understanding: In this bumper edition we present
Tips for African a whole issue’s worth of invaluable
locations
74
advice and tips from those who
have put in the time and become
56 Diving for sharks experts at photographing wildlife
58 16 essential both in the UK and around the
accessories world. Nigel Atherton, Editor
for wildlife
© JONATHAN AND ANGELA SCOTT
photographers s to be won!
On sale Tuesday 29 August 2023
£11,000 of prize
best wildlife photos into
Don’t forget to enter your
the Year 2023
Amateur Photographer of
62 EISA Maestro UK
runners-up 2023
48 58
COVER PICTURE © GURCHARAN ROOPRA / PULL-OUT COVER PICTURE © MARK HAMBLIN

PREMIUM EDITION Passionate about photography since 1884
68 Object removal
SEPTEMBER 2023
and retouching in
INSIDE
32-page
pull-out
Wildlife
Affinity Photo 2 guide
TECHNIQUE AND ADVICE
special
Bumper guide packed with expert
70 APOY launch R8 British wildlife
The benefit of staying local tips and advice for better photos
The best of Africa
Where to go to shoot what
74 Pentax K-3 Mark GEAR
III Monochrome
80 Accessories Full frame vs MFT
The pros and cons compared
16 accessories for
83 Tech talk wildlife shooters
From backpacks to clothing
INSPIRATIONAL STORIES
85 Buying Guide:
TEST
DIVING WITH SHARKS
Mike Coots’ stunning book Pentax K-3 III
Mirrorless Monochrome
© RICHARD SHUCKSMITH
POLAR BEAR ODYSSEY

£5.49
The quest for a perfect shot KELSEYmedia

DSLR that shoots B&W only
cameras
98 Final analysis 36 Our cover image is by Gurcharan Roopra.
See p48. Our Pull-out cover picture is by
Mark Hamblin, inset pic top, by Robert
Canis, inset pic of leopards, by Jonathan
THIS ISSUE’S CONTRIBUTORS and Angela Scott, shark pic by Mike Coots
Connect with us
@ EMAIL US at ap.ed@kelsey.co.uk with your
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KEITH WILSON GRAEME GREEN WILL CHEUNG AMY DAVIES ANDY WESTLAKE ROD LAWTON FACEBOOK: amateur.photographer.magazine
The top photo tutor
Features Editor Technical Editor TWITTER: @AP_Magazine
The editor of The photographer In the fourth article
several acclaimed and travel writer discusses which Amy brings us the AP’s camera expert in his series, Rod INSTAGRAM: @AP_Magazine
photo books talks to pros from you should pick for gorgeous runner-up reveals his explains how to FLICKR: flickr.com/groups/amateurphotographer
interviews pros African countries nature and wildlife portfolios of the in-depth test of the use the retouching
who share tips on who share their photography: MFT UK EISA Maestro Pentax K-3 Mark III tools in Affinity
British wildlife wildlife insights or full frame? competition Monochrome Photo 2
Canon’s EOS 5D The 2023 winner of
Mark IV is one of the International Portrait
inductees Photographer of
the Year
© MPB
MPB Hall of Fame

inductees announced
FOUR cameras and a drone have Canon EOS 5D Mark IV (Classic category);
been inducted into the 2023 MPB Photo the DJI Mavic 3 Pro drone (Game Changer);
and Video Kit Hall of Fame which was the Sony Alpha A7 IV (Road Tested); the
announced by the major used camera-gear Fujifilm X100V (Trendsetter); and the Leica
retailer on World Photography Day, the 19th M6 (Iconic). All the public votes were entered
of August. into a draw to win a Sony Alpha A7 III, and
A team of industry pundits put together a the winner will be announced shortly.
shortlist of the across five categories, and Full details of this year’s MPB Photo and
more than 146,000 votes were cast Video Kit Hall of Fame, Class of 2023, are at
worldwide. This year’s inductees are the kithalloffame.com
Buy a calendar, help the homeless

© FOROUGH YAVAORI
THE MYLONDON calendar, produced by

photographers who have recent
experience of homelessness, is pre-selling
online in order to help fund a bigger project
to get participants off the streets. The project
Group effort
has been running since 2013, and was THIS powerful group portrait by
championed by AP’s sadly missed news Australian photographer Forough
editor, Chris Cheesman. Yavari has won the 2023 International
‘MyLondon is a social enterprise mostly Portrait Photographer of the Year
funded by sales of the calendars to the competition. As well as citing the
public, both online and face-to-face,’ influence of Rembrandt, Goya, Delacroix
explained Paul Ryan from organisers Café and other old masters, Yavari’s biggest
Art. He added that they have been launching influences are ‘women photographers like
the calendars on World Homeless Day since Shirin Neshat and Lalla Essaydi, and
day one. ‘World Homeless Day coincides with Annie Leibovitz for her techniques and
World Mental Health Day, and we see that as stories behind her images.’ Yavari collects
a good coincidence, as so many people who the grand prize of $3,000. See
are homeless have mental health issues.’ internationalportraitphotographer.com
An exhibition featuring the 100
photographers who took part is online now
and will be opening in the Minet Library,
Brixton, on 9 October. For full details, and to The MyLondon calendar contributors have all
buy a calendar, see bit.ly/cafeart2023 experienced homelessness
4 www.amateurphotographer.co.uk
Third-party RF-mount lenses? Maybe… Say hello The tripod comes with a roll-up carrying case
IN A recent interview with the

to Cyanbird
Chinese social media giant, weibo.
com, Canon revealed it’s in discussion BENRO has
with third-party makers about announced a
licensing the RF mount for AF lenses new lightweight,
– at the moment you can only get travel-friendly tripod
Canon-branded glass. called the Cyanbird.
© JIM COSSEY / BENRO
‘Now if we receive a request from a Where the firm’s

third-party lens company to open the other travel tripods
mount, we will study whether to use reverse-folding
license it according to Canon’s own legs for a compact
business planning and strategy,’ said folded length, the
the company’s Kazuka Yonei. ‘We are Cyanbird adopts flattened leg sections and a trigonal centre column,
now communicating with several which allows it to pack tightly to a cylinder just 6cm in diameter, with
third-party lens companies in this a 46cm length. The Cyanbird’s five-section legs employ clip locks
regard.’ Nothing else was and hybrid construction, with a carbon fibre top section and
forthcoming, but you can read the full aluminium elsewhere. This natty-looking tripod is on sale from
interview at bit.ly/yonei Kazuka Yonei of Canon September for £235.
www.amateurphotographer.co.uk 5
Major portrait prize Improve
shortlist revealed your
THE FIVE shortlisted photographers in the Taylor Wessing Photo Portrait Prize
2023 have been announced by organisers the National Portrait Gallery (NPG). photography
And the overall winner of this prestigious contest will be revealed on 6 November.
The first prize winner will receive £15,000, second prize gets £3,000 and both with a subscription to
third-prize winners will bag £2,000. A commission from the NPG will also be given to Amateur Photographer
one of the five shortlisted photographers, and a big exhibition is in the offing – a
total of 58 portraits from 51 photographers will go on show at the recently
magazine!
renovated NPG for the first time since 2020. This year’s judging panel was chaired
by NPG director Dr Nicholas Cullinan, who was joined by senior curator at The
Photographers’ Gallery,
Karen McQuaid; writer and
photographer, Caleb
Azumah Nelson; artist,
Campbell Addy; and the
National Portrait Gallery’s
senior curator of
photography, Sabina
Jaskot-Gill.
‘We are delighted to be
welcoming the exhibition
back to the newly
renovated gallery,’ said the
NPG’s Nicholas Cullinan.
‘With a new Commission
Prize, I also look forward to
working with one of these
photographers to create a
piece for the National
Portrait Gallery’s collection
after the winner is
revealed.’ The Taylor
Wessing Photo Portrait
SAVE
Prize 2023 exhibition runs
at the NPG in London from
© JAKE GREEN
9 November 2023 to 25
February 2024. UP TO
Tickets are available to
purchase at npg.org.uk
Jake Green’s portrait of Shaun Ryder, frontman of the
Happy Mondays, is one of the five shortlisted images
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R O T O L I G H T. C O M / T R A D E U P
ALL IMAGES © 2023 RODNEY SMITH LTD., COURTESY OF THE ESTATE OF RODNEY SMITH
Rodney Smith:
From its cover, you might think this is
the work of another mid-century black
& white photographer. And while
there’s just something about the era
A Leap of Faith
that makes it seemingly endlessly
captivating and interesting – this
spans so much more than that.
Starting in the early 1970s, prominent
fashion photographer Rodney Smith
went on to have a 45-year career, and
£55, Getty Publications, hardback, 256 pages, ISBN: 9781606068465 although much of it is of the usual classy
monochrome persuasion, there are also
You may think you know the work of Rodney lots of superb examples in colour too
– many of which have gone on to become
Smith, says Amy Davies, but this new book well-known classic images found on
posters in the bedrooms of arty-types
showcases a lot more than just the classics for quite some time now.
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
Hong Kong After Hong Kong

by Wong Chung-Wai
£40, GOST, hardcover, 128 pages,
ISBN: 9781910401965
Prior to starting a new life in the UK,
photographer Wong Chung-Wai
wandered Hong Kong alone to create
memories and imprints of the things
he’d be able to take with him.
This book is designed to show the city’s many
contradictions, such as the co-existence of urban
infrastructure and nature, the old and the new, and
artificial and natural light.
Hong Kong may be one of the most densely
populated cities in the world, but the photographs
on display here are devoid of crowds, or show
solitary figures against highly stylised cinematic
Clockwise from far left: Edythe and
style backgrounds.
Andrew Kissing on Top of Taxis, New York,
New York, 2008 The book is set against the backdrop of the BN(O)
(British Nationals Overseas) visa scheme for Hong
Skyline, Hudson River, New York, 1995
Kong residents, which saw over 150,000 visas
Saori & Mossimo Holding Hands, Amalfi, granted by December 2022 – with estimates
Italy, 2007 suggesting that up to 320,000 Hong Kong residents
AJ Chasing Airplane, Orange County will immigrate to the UK in a five-year period.
Airport, New York, 1998
In the beginning, Smith worked as a The book includes an extensive essay Various Displays
photo essayist in New York City, before that maps how Smith’s career unfolded, Until 24 September, Centre for British
eventually turning to portraiture and then going over his early introduction to Photography, 49 Jermyn Street, London, Free
later fashion. The rollcall of magazines photography, personal projects, an
on his CV include the New York Times, W insight into his personal life and There are still a few weeks left to see the range of
Magazine and Vanity Fair, while he also character and more besides. Another exhibits currently on show at the Centre for British
shot campaigns for various luxury essay looks at his technical prowess. He Photography. This diverse mix includes Landscape
retailers including Neiman Marcus, was inspired by the noted magazine Trauma, with various big-name photographers such
Bergdorf Goodman and Ralph Lauren. photo-essayist W Eugene Smith, taught as Fay Godwin, Paul Hill, Ingrid Pollard and more
On the pages of this beautifully by Walker Evans and an exponent of the responding to the different ways in which we impact
designed book you’ll find nods to techniques of Ansel Adams. the landscape.
surrealism, with his work sometimes This is a real celebration of the beauty There’s also A Storied Ground by Jermaine Francis,
being compared to the artist, René of Rodney Smith’s work; much of the Mandy Barker’s Plastic Soup, Seduced by Light by
Magritte. It’s perhaps for this reason why imagery found in the book has never John Blakemore, The Last Hurrah by Dafydd Jones
his fashion work was in such demand, been published before, so even if you and work by Helen Sear.
as it was just that little bit different – but know some of the big hitters, there will As a free space that continues to impress with its
no less beautiful – than the rest. be lots more to discover besides. collections, the centre is always worth a visit.
Our favourite photos posted by readers
on our social media channels this week
AP picture
of the week
Dancing Grass
by Julie Spokes
Fujifilm X-T5, Fujifilm XF 18-135mm at 135mm,
1/150sec at f/5.6, ISO 400
‘This feather grass was growing in a pot in the back
garden, and I was drawn to its flowing lines, highlighted
in the sunshine. The whiteness of the wisps reminded
me of a cyanotype so I converted the image to a blue
monochromatic colour in camera to emphasise its
gracefulness.’
Instagram: @julie_spokes
#appicoftheweek
Win!
The AP Pic of the Week winner currently wins a 3 Legged
Thing Alan 2.0 monopod kit worth £169.99. This robust
carbon fibre monopod can support camera gear up to
60kg, and thanks to its 5-sections folds small enough
for travel. Ideal for sports and wildlife photography, it
features a dual spring-loaded
1/4in-20 and 3/8in-16 thread
at the top for a choice of
mounts. It comes in a kit with
the Docz foot stabiliser, which
also doubles as a mini tripod.
www.3leggedthing.com
Curious Chipmunk Walking the Log
by Shaun Antle
Canon EOS R7, Canon RF 100-500mm at 500mm, 1/2000sec at
f/7.1, ISO 6400
‘I captured this little guy, while out in our local park known as
Canatara. He followed me for a bit so I figured he deserved to have
his time to shine in the spotlight!’
www.ohmenervesphotography.ca
Instagram: @oh.me.nerves_photography
Facebook: facebook.com/oh.me.nerves.photography
Berwick Blues
by Heather Williams
DJI Mini Pro 3 with a ND 32 filter lens
‘This little sailboat was captured 1 mile off the

Northumberland coast sailing towards the Scottish
border on a beautiful summer morning.’
Instagram: salty_hairandsandytoes
Facebook: facebook.com/saltyhairandsandytoes
Prints: ourimagenation.com/vendor/heather-williams
We also
liked...
Cosmos by Sophia Spurgin
Canon EOS R5, Lensbaby 56 Velvet, 1/6sec at
f/2.8 and f/14, ISO 100
‘I took this cosmos flower into my conservatory to
get it out of the wind. I took one exposure at f/2.8
to get softness in the petals and one at f/14 to get
the stamens sharp. The bokeh is made by some
plastic held in front of the lens.’
Instagram: @daughteruptree
Facebook: facebook.com/sophiaspurginphotography
Want to see your pictures here? Share them with our Flickr, Instagram, Twitter,
or Facebook communities using the hashtag #appicoftheweek. Or email your
best shot to us at ap.ed@kelsey.co.uk. See page 3 for how to find us.
Technique MICRO FOUR THIRDS VS FULL FRAME
Is bigger
better,
or is small truly
beautiful?
‘Which format should I use?’ is a perennial question and it’s as relevant now
in the digital world as it was back in the days of sheet film. Will Cheung
looks at whether Micro Four Thirds or full frame is best for nature
W
henever the question of expectations and what we want from our discussion points will apply to other
which format to use arises, photography. subject genres too, so if you only shoot
there’s never a definitive So here we’ll be looking at the pros and landscapes or portraits, it’ll be worth
answer and that’s simply cons of the Micro Four Thirds (MFT) and sticking with us.
because we are all different, be that full-frame formats for wildlife and nature We’ve broken down the discussion into
physically, financially or in terms of stills photography; of course, many of the bite-size chunks.
The MFT format

OM System OM-1
body sells for
£1979/$2000
while the
full-frame
Canon EOS R5 is
£3999/$3399
© WILL CHEUNG
1 MFT vs full frame: the cameras shoot does not define you as a photographer. But the fact
Micro Four Thirds is supported by two camera brands: OM remains that if you want lots of megapixels full-frame is the
Digital (formerly Olympus) and Panasonic. In full frame, the place to be, with the Sony A7R V at £3,999/$3,898
list is longer so there’s more choice: Canon, Leica, Nikon, boasting a massive 61MP.
Pentax, Sony and, interestingly, Panasonic. Slide down the money ladder and pixel count drops too. A
In MFT, the highest resolution is found in the nicely priced full-frame mirrorless is the Canon EOS R, a
£1,799/$2,198 body-only Panasonic Lumix GH6 which has 30MP camera that can be had with a 24-105mm f/4-7.1
25.2MP under its bonnet, while the top OM model is the lens for £1,919/$2,499. Go DSLR and the 36.4MP Pentax
£1,979/ $2,000 OM-1 with 20.4MP. Both brands offer K-1 Mark II sells at £1,699/$1,797 and the 26.2MP
alternative cheaper and mid-priced models. Canon EOS 6D Mark II is even cheaper at £1,299/$1,199
Life is not just about resolution, and how many pixels you body only.
2 MFT vs full frame: the lenses
©WILL CHEUNG
While there are just two MFT camera brands with the same lens mount, the
picture is very different in the lens market where third-party providers include
Laowa, Samyang, 7Artisans and Sigma.
Understandably, the full-frame market enjoys massive support, but there are
many more lens mounts out there and some systems are better provided for
than others. A key comparison here is the very limited third-party lens support
with just a few manual-focus lenses available for Canon EOS R mirrorless
compared with the widespread support for the Sony E mount.
In terms of lens choice, there is plenty to attract users of both formats but
availability aside, the advantage of the smaller format is that lenses are
generally more compact.
The MFT format might be much smaller than the full-frame format but that
doesn’t always translate to the kit itself. Here the OM 100-400mm f/5-6.3 IS
lens (left) towers over the Canon RF 100-400mm f/5.6-8 IS USM. However, the
OM lens and MFT format with its 2x crop factor does give an equivalent 200-
800mm. If a Canon 200-800mm lens of comparable maximum aperture did exist,
it would very likely dwarf the OM optic.
©WILL CHEUNG
©WILL CHEUNG
With the lens off
you can see how
small the MFT
sensor is, while
the full-frame
sensor seems
huge
3 MFT vs full frame: the crop factor ‘equivalent’ field of view of an 100mm lens on the 35mm format.
The Micro Four Thirds format is based on a sensor size measuring This 2x crop applies to all focal lengths but the real practical benefit
17.3x13mm while the full-frame format is nominally 36x24mm. Do kicks in with longer-focal-length optics, which is a plus point for fans
some sums and the diagonal of MFT measures 21.6mm against of nature photography.
43.2mm for full frame, so almost precisely double, which gives us the A 400mm lens used on MFT gives the equivalent of an 800mm
2x crop factor that is always mentioned in format comparisons. view on the 35mm format. See our examples below. With both lenses
The 2x crop factor is important when we chat about lenses. A lens’s a distant subject will be the same size, but on the smaller MFT
focal length is a fixed parameter so a 50mm lens is a 50mm lens format it will be more frame-filling compared with the 35mm shot
regardless of the camera format in use. In practice, though, use a which will need cropping (nothing to do with the crop factor) to give
50mm focal-length lens on an MFT camera and you get the the same composition.
©WILL CHEUNG
©WILL CHEUNG
Taken on a Canon EOS R5 with RF 100-400mm zoom at 400mm. These shots

were taken at the same focal length and from the same spot, so the size of the
Taken on an OM System OM-1 with 100-400mm zoom at subject is rendered the same size on each sensor, but the 2x crop factor of the
400mm smaller format means the subject fills the frame more
Technique MFT VS FULL FRAME FOR NATURE
The OM 300mm f/4 IS PRO
is half the length of the
5 MFT vs full frame: handling
Canon RF 600mm L and half You’ve seen how much larger full-frame telephoto lenses are compared with
the weight, but thanks to MFT optics, and this has an impact on many aspects of camera handling.
the MFT’s crop factor you Clearly, there are challenges to carrying and using heavier kit and that’s a
get the same field of view major factor why many photographers are downsizing to the MFT format.
on both formats Lugging heavy kit around is one thing but it’s quite another to successfully
handhold a hefty telephoto lens for any extended length of time, so a support
of some sort is advised. And of course, then we have to consider shutter
speeds to ensure sharp shots. The physically longer and heavier lenses
demand a solid tripod, and that in turn adds to your burden. To protect and
carry larger kit means you need a bigger and heaver backpack and that again
increases the overall weight of your kit.
Many cameras have in-body image stabilisation and that is a great benefit,
but that still means you can’t drop your shutter speed down too slow. As a
handholding guide, the reciprocal rule still applies – i.e., a 300mm lens needs
a shutter speed of at least 1/300sec – and while having in-body image
stabilisation (IBIS) means you can drop one or two stops slower, you still must
be careful. How slow you can go depends on your handholding skills, the lens
and even whether it’s breezy or not.
©WILL CHEUNG
4 MFT vs full frame: weight and bulk

Let’s look at some actual products to illustrate possible
weight savings. The OM System 300mm f/4 IS PRO lens
sells for £2,399/$2,800, weighs 1.47kg and measures
22.7cm long. Canon’s RF 600mm f/4 L IS USM weighs
twice as much at 3.1kg, is more than double the length at
47.2m and its price is £14,179/$12,999.
We are comparing apples with pears, but it is the closest
we can get, and the fact remains that the MFT 300mm
lens, which gives a 600mm equivalent in 35mm format, is
a very much more compact package, not to mention a great
deal cheaper.
The weight savings with cameras are less dramatic and it
depends on the models being compared. The full-frame
Nikon Z 7II body weighs 615g while the MFT Panasonic
Lumix GH6 body-only is actually heavier at 833g although
the OM-1 is lighter at 599g body-only.
Spread weight savings across a camera or two plus It’s not always practical to use a monopod or tripod in nature photography, so
several lenses and that is potentially a huge practical you need to make sure your handholding skills are fit for purpose. Supporting
benefit for nature workers, especially those who travel, but the lens with the left hand while keeping the left elbow tucked into the body is
it is just one factor, albeit an important one. important, and squeeze the shutter release smoothly while breathing gently
7 MFT vs full frame: depth of field

©WILL CHEUNG
Our focus here is on nature photography and However, if you like shallow depth of field,
depth of field, and bokeh can be as important that is a minor issue. Portraitists often shoot
here as it is with portrait and landscape work. with an 85mm f/1.8 wide open for selective
With macro, depth of field lessens as you move focus and lovely blurry backgrounds so with MFT
in closer to the subject so having as much as you need to use a 43mm at f/0.9. A 85mm
possible is a good thing. With long lenses, that f/1.8 is a modest telephoto and 85mm f/1.4
are often used at wider aperture values in nature and 85mm f/1.2 are very popular portrait
shooting, depth of field is shallow and again lenses, so you would struggle to get a
there are times when you might need more. comparable effect on MFT if those lenses were
Whatever the scenario, focusing, as ever, is used at maximum aperture.
crucial, and MFT has its benefits. To check out the theory, I took a pair of shots
The MFT format gives more depth of field and featuring a four-spotted chaser with an OM
less background blur by a factor of two – the 2x Digital OM-1 and Canon EOS R5 using the
crop factor – when you compare like with like. equivalent focal length and aperture, i.e. 210mm
Shooting the same scenario with a 50mm at f/2 at f/4 and 420mm and f/8 respectively. The
lens on MFT gives twice as much depth of field out-of-focus grasses in the background look
as a 100mm at f/2 on full frame. This is similar and a close look at the insect shows the Shot with the OM-1 partnered by the
incredibly handy with macro because if you same zone of sharp focus, so the depth of field 40-150mm zoom and 1.4x
shoot at f/8 on MFT the 2x crop factor means is more or less identical. teleconverter, giving the equivalent of
420mm. The exposure was
you get the equivalent depth of field of using
1/1500sec at f/4
f/16 on full frame.
6 MFT vs full frame: image quality
It wouldn’t be fair to make definitive image quality comparisons
across different formats because the sensors and lenses are
different, but we can look at stats and some shots taken at the same
time using the Canon EOS R5 and OM Systems OM-1.
The OM-1 is a 20MP MFT camera and its raw files open up to give
an image size of 5184x3888pixels. Assuming 300ppi, and no
software interpolation, that gives a print size of 17.2x12.9in/
43.6x32.7cm. The full-frame 45MP EOS R5’s raw files open up to
8192x5464pixel files which translates to a print size of 27.3x18.2in/
69.3x46.2cm. Clearly, the larger format has more possibilities when it
comes to making big prints and has many more pixels to play with
when you have a small subject that you want to magnify into.
Cropping a MFT picture to make a small subject a decent size can
mean a less crisp, more fuzzy image especially if a high ISO is used.
However, with good editing such issues are easily resolved. This illustrates the relative size difference in the Micro Four Thirds and
full-frame formats. The diagonal of the MFT 17.3x13mm format is
almost exactly half that of 36x24mm full frame
© ANN HEALEY
This meadow pipit was taken with a 300mm f/4 lens on the 20MP OM System OM-1 and the full, unedited image (on the right) measures
5184x3888 pixels so there is plenty of potential to crop into the file. The cropped image measures 1888x1416pixels so it’ll print out to
6.2x4.6in/16x12cm at 300ppi. Of course, that is without any software interpolation (resizing) with Photoshop or a dedicated resizing software
such as Topaz Gigapixel AI, so you can get a much larger print with no problem.
©WILL CHEUNG
Shot with the Canon EOS R5

partnered by the 100-500mm zoom
at 420mm. The exposure was
1/500sec at f/8
Technique MFT VS FULL FRAME FOR NATURE
8 MFT vs full frame: ISO matters
The general premise is that the smaller the image sensor
the greater the amount of digital noise produced as you
progress up the ISO ladder. Digital noise looks like tiny
coloured or neutral specks in your photographs and it’s
more noticeable when shooting in very low light,
especially in the shadows area. As sensor technology
has advanced, the negative impact of digital noise spoiling
our pictures has lessened and the recent cameras with
back-side illuminated (BSI) or stacked sensors are
impressive even at ISO 6400.
Long lenses and less-than-perfect lighting are part and
parcel of nature photography and being able to use higher
ISO settings with confidence is important. You can see in
our example how good it can be with images on an OM
©WILL CHEUNG
System OM-1 and Canon EOS R5.
The great news is that the latest noise-reduction
software is very capable at dealing with grainy pictures.
A lime swallowtail at the Stratford Butterfly Farm was the subject for this ISO
Adobe Lightroom has recently gained Denoise AI to comparison using an MFT OM System OM-1 with a 60mm macro and a Canon
embellish its all-round workflow skills while Topaz Denoise EOS R5 full-frame camera with a 100mm macro lens. The raw files were
AI and DxO PureRaw 3 are also staggeringly good at processed in Lightroom with default noise reduction. The sectional blow-ups show
cleaning up high ISO files. the image at roughly 100%.
OM System: ISO 800 OM System: ISO 1600 Canon: ISO 800 Canon: ISO 1600
OM System: ISO 6400 OM System: ISO 12,800 Canon: ISO 6400 Canon: ISO 12,800
The full-frame images show less noise and are

crisper but the MFT raw files are not far
behind, and are improved hugely when
processed with software noise reduction.
In our example (see right), we used
Lightroom’s Denoise AI on the ISO 12,800 OM Canon
raw files and the results are amazingly good.
9 MFT or full frame: Summary online and check the weight and dimensions of your prospective
Nature photography is enjoyed by many and as with any discussion outfit just to make sure that any savings are actually worth the
about camera format, there are pros and cons to both MFT and full upheaval and cost.
frame, and much depends on your budget, expectations and your The other key consideration is ultimate image quality. MFT sensors
needs, be that physical, pictorial or logistical. are less capable quality-wise when it comes to high ISO performance
So, if you currently own an extensive full-frame system and it’s – and nature photography needs high ISOs – and if you did a
becoming too much of a burden to lug around (and we’re all getting side-by-side test you’d see full frame is superior. But being superior
older by the day!), going MFT is worth considering. It’d make life means nothing if you only enjoy your work on-screen and don’t need
easier for travelling too. files for super-big prints. And MFT is very capable especially when
If you are looking at this option, we recommend you should get treated with the latest software.
Amateur
Photographer
of the Year
In association with MPB
Here are the top ten images uploaded to Photocrowd

from Round Six, Architecture, with comments by the
AP team and our guest judge 2
Round Six 1
Architecture
Around 84 per cent of the UK’s population lives in urban
environments. As such, the vast majority of us are
surrounded by architecture in all its myriad forms – be
that a view of a 1930s suburban street or the sight of
an ultra-modern city skyline, all glass and steel. Despite
architecture being for human use or habitation, it’s rare
to see an architectural image that features the presence
of humans. That presence is, however, very much
implied, and gives many of the images an eerie, almost
cinematic feel. Laura Allegri’s winning image in this
round is an exception to this norm, as is Hugo Salvador
Garcia’s first-placed shot in Young APOY – and perhaps
that’s what made those photographs stand out.
1 Laura Allegri
Italy 100pts
Canon EOS M50 Mark II, 15-45mm at 15mm, 1/200sec at f/6.3, ISO 200
Guest judge Sharon Tenenbaum

says:
‘This image epitomises a remarkable
architectural shot, encompassing
multiple crucial aspects. The captivating
circular forms, artfully layered with
varying tones and light, immediately
draw my gaze. The photographer’s choice of black &
white amplifies the emphasis on these shapes and their
intricate structure. Noteworthy are the three individuals,
skilfully captured in the lower two-thirds of the frame, that
spectacularly exemplify Cartier-Bresson’s ‘Decisive
Moment’. Additionally, beyond their photogenic quality,
they provide a focal point, impart a sense of scale to the
structure, and effectively convey the structure’s purpose
as a pedestrian ramp. In totality, the image harmonises
numerous elements that define an outstanding
architectural photograph.’
2 Roberto Crucitti
Cambodia 90pts
Canon EOS 7D Mark II, 10-22mm at 22mm, 1/30sec at f/5, ISO 100
Not a curve to be seen in this super-
precise composition. There isn’t a line
out of place, and it’s been perfectly
framed from left to right and top to
bottom. The transition from darkness to
light is a hugely important part of this
image, too. There’s just enough detail in
the deeper tones on the left, while the
paler ones are delicately rendered. The
more time you spend allowing your eye to
be drawn into this frame, the more you
feel as if you’re part of an Escher
drawing. Clever, subtle and complex.
3 CAMERA
CLUB
HIGHEST
SCORE
3 David Boam UK 80pts

Fujifilm X-T5, 10-24mm at 13mm, blended image of 2mins (sky) and 1/30sec (foreground)
at f/8, ISO 125
David has cleverly managed to give Liverpool’s
Metropolitan Cathedral an extra-terrestrial appearance. It
would have been easy enough to photograph this edifice
in dramatic light, but David’s more creative approach and
vision has ensured a far more memorable, stylish result,
in which the viewer’s gaze is drawn straight to the
entrance and then up via the spires into the sky. The
slick processing – where he did all the processing in
B&W then laid the original colour version over the top
– adds to the hyper-real effect. A memorable and
confident image that deserves its third place.
4
4 Alan Edwards UK 70pts

Fujifilm X100F, 23mm, 1/2400sec at f/5.6, ISO 400 5
With an image that works extremely
well thanks to its B&W conversion,
Alan has composed so that the
model flamingos are in exactly the
right spot, silhouetted against the
completely plain sky. Our eye goes
straight to them, and then around
the image that is made up of little
more than multiple triangles and
rectangles. The stripe of light down
the edge of the glass balconies to
the left adds depth. Altogether very
well executed indeed.
5 Carol Hoffecker
USA 60pts
Sony A7 Mark III, 24-105mm at 29mm, 1/3sec at f/11,
ISO 200
Carol’s ultra-processed approach
leaves the viewer feeling as if they’ve
accidentally wandered into Gotham
City. She has cleverly combined
numerous different elements of
a university building in Ohio and
brought them together in a complex
but coherent whole. An intelligent
and imaginative composite.
24
IN ASSOCIATION WITH
Winning kit
from MPB
6 The gear our winners used
can be found at MPB
6 Cliff Spooner UK 50pts aren’t just looking at a one-dimensional scene. Coming in at first place in this month’s
Canon EOS 5D Mark III, 24-105mm, 1/500sec at f/11, ISO 100 He was absolutely right to leave the darker Young APOY category, Hugo Salvador
A rare colour entry! We loved the simplicity of beige patches – presumably where water from Garcia used a Fujifilm X-T30 II for his
Cliff’s shot, with just two opposing hues and its the pool has splashed onto the surrounding quirky black & white shot. This camera
combination of curves and rectangles. It’s full of tiles. To have removed them in post-production features the same 26.1MP APS-C
texture, too, and the water means we know we would have rendered the image too pristine. X-Trans 4 CMOS sensor as in the X-T4,
and the same image processor, plus
it’s capable of shooting up to 30fps
ROUND SIX WINNER, YOUNG APOY with the electronic shutter. It was
described in AP as having ‘exceptional
image quality’, and can be found at
MPB for £809 in like-new condition.
Taking fifth place, Carol Hoffecker
used a Sony FE 24-105mm F4 G OSS.
Receiving five stars when reviewed in
AP, it is constructed of 17 elements in
14 groups, is dust- and moisture-
resistant, has nine aperture blades
that ensure out-of-focus backgrounds
are rendered attractively, and delivers
superb corner-to-corner sharpness
throughout the focal range. It’s
described in AP as ‘the best-judged
general-purpose zoom Sony has yet
made’. This lens can be bought at
MPB for £769 in like-new condition.
In seventh place, Neville Morgan
captured his colourful scene using
the top-of-the-line Olympus M.Zuiko
Digital ED 12-40mm f/2.8 Pro, the
manufacturer’s top-of-the-line standard
zoom. The 24-80mm-equivalent lens
is described on AP’s website as ‘a
solidly built and precisely engineered
Hugo Salvador Garcia Spain 100pts workhorse’ that delivers ‘impressive
Fujifilm X-T30 II, 18-55mm at 18mm, 1/125sec at f/5, ISO 160 levels of sharpness at f/2.8’. This
The judges were immediately grabbed by the human element in Hugo’s cleverly excellent lens can be found at MPB
composed shot, which plays with our sense of perspective and scale, and gives for between £359 and £464.
the image a sense of the surreal. Without the view of the trainer sole, the
picture would have been somewhat unmemorable. With it, it’s a clear winner. To browse the extensive range of
stock at MPB, visit www.mpb.com
7 Neville Morgan UK 45pts
Olympus OM-D E-M5 Mark II, 12-40mm at 40mm, 1/2000sec at f/5.6, ISO 200
Like a still from Yellow Submarine, this shot is all about colour
in the same way as others have been all about black & white. A
building such as this (the Towner – an art gallery in Eastbourne)
is clearly designed to be photographed, but Neville has
composed with care and control. Every element is immaculately
placed within the frame – right up to the rainbow of colours
converging at a point in the top right of the rectangle. The
triangle of black, also top right, is a small but crucial part of the
image, as is the placement of the rectangular windows, which
give context and mean we know we are looking at a building
7 rather than something that’s purely abstract.
8 Boris Bekelman Israel 40pts

Camera details unknown 8
Night is a great time to venture out in
search of architectural photographs.
Very often, the artificial light they’re
bathed in bring them to life in a way
that daylight alone can’t always
achieve. In the case of Boris’s image
here, the balance of the blue of these
structures in Singapore’s Garden by
the Bay against the orange of the city’s
lights is well achieved, with a hint of
green giving another dimension. He’s
composed thoughtfully, with the curve
taking the viewer’s eye in a sweep
from top left to bottom right. The
‘Supertree’ in the top right of the
frame anchors the scene and ensures
our eye doesn’t wander out.
9 Iakovos Draculis Greece

35pts
Nikon Z 7II, 24-70mm at 70mm, 1/200sec at f/9, ISO 250
Here we have an excellent
juxtaposition, with New York’s power
station in the foregound set against
the Manhattan skyline – including the
Freedom Tower – in the background.
The black & white processing gives it a
vintage feel, even though we know
we’re looking at a 21st-century scene.
The short telephoto has compressed
the scene to just the right level, with
the shapes and sharpness receding in
a very pleasing way.
To see more images from APOY Round Six and Young APOY, visit www.amateurphotographer.com/APOY
IN ASSOCIATION WITH
The 2023
leaderboards
Out of nowhere, regular APOY entrant
Laura Allegri has leapfrogged the
entire leaderboard into first place,
thanks to her winning shot that
captured the eye of all our judges. This
demonstrates just how open this
year’s competition is, with plenty of
scope for change over the next four
rounds to come.
In Young APOY, there’s a little more
spread between first and tenth spots,
but not by much. With rounds as
varied as Street, Wildlife, Action and
10 Low Light still to come, almost anyone

could make their way to the top.
In camera clubs, Launceston appear
to – once again – have an unassailable
10 Alfons Olle Coderch Spain 30pts lead, but who knows? It’s never over
Nikon D5300, 155mm, 1/1000sec at f/8, ISO 200
until it’s over.
A viewer could spend a very long time indeed with this frame, creating a vignette
or a story for every window in it. It’s almost like a modern remake of Hitchcock’s APOY
Rear Window. The image works beautifully in black & white, making it more than
simply a shot of an apartment block. We suspect that colour would have been 1 Laura Allegri 180
too busy and confusing. Precise and fascinating – we love it. 2= Boris Bekelman 160
2= John Seager 160
CAMERA CLUB COMPETITION 4= Kirsty Dolphin 140
4= Peyman Naderi 140
6 Lynn Fraser 135
7= Charlies Ashton 130
7= Nguyen Tan Tuan 130
9 Mark Letheren 120
10 Helen Trust 115
YOUNG APOY
1 Yousef Naser Mohamed 235
2= Maddison Foreman 180
2= Shadab Ishtyak 180
4 Ahmed Ashraf Fareed 170
5 Andrei Megan 145
6= Finn Hanley 135
6= Jamie Spensley 135
8= Emily-May Stephenson 130
8= Hugo Salvador Garcia 130
10= Matteo Botta 110
10= Moataz Mahmoud Soliman 110
CAMERA CLUBS
1 Launceston Camera Club 655
Kim Benson UK 10pts
OM System OM-1, 40-150mm at 62mm, 1/100sec at f/8, ISO 8000 2 Plymouth Camera Club 310
Kim has captured a glorious range of contrasting tones in this frame. Although 3 Kempsey Camera Club 190
it’s an abstract, many viewers will be able to tell it was shot in Barcelona’s 4= Stafford PS 110
Sagrada Familia, giving a sense of place despite it being all about shape and
colour. Kim earns ten points for Kidlington Photo Group with this shot. 4= Visions 110
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Honesty exists are some good shots in
In response to the the resultant images, RX100 praise
unfortunate episode Mick though not so many I’m wondering why your
Bidewell experienced formal poses. recent compact camera
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which I sympathise film was the norm, I did probably the most
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UP TO
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Luckily the group of photography (including my The RX100 VII is indeed *
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Wildlife
Mini Guide photography
32 pages of advice, tips and
inspiration to pull out and keep
PLUS
Shoot local Polar
How to get great wildlife
photos close to home journey
Paul Souders’
quest for the
perfect polar
bear photo
Accessories
for wildlife
16 items no well-equipped
tog should be without
Out of Africa
Photographers based across
the continent share their tips
Shark man
Photographing one of the
most-feared creatures
BRITISH WILDLIFE
Want to take great wildlife photos without spending a fortune and going
halfway around the world? Keith Wilson spoke to five photographers
who have won awards and acclaim for the pictures they take closer to
where they live – right here, in Britain
W
ildlife photo holidays and safaris continue to enjoy experiment and try, try again, the chances of getting a technically
growing popularity among Britain’s photographers, better picture are often greater at home than abroad.
and there’s no denying the excitement and From the Jurassic Coast to Shetland, Kent to the Cairngorms,
memories that such experiences provide. But many there is an extraordinary array of habitats in Britain, supporting
of the professionals who lead these trips also stress the importance a wide variety of wildlife. Sure, some common species such as
of honing your skills and abilities by shooting local wildlife before robins, squirrels and bumblebees are seen by most of us, but the
you board that flight for Africa, India or South America. A badger challenges of knowing where and when to find them, and how
isn’t as grand as an elephant; a squirrel pales before the tiger; the to use the right lens in the right light also apply for photographing
grey city pigeon will always be outshone by a scarlet macaw; but more elusive and warier animals such as hares, otters and foxes.
the disciplines, knowledge and techniques required for creating In short, as our five local heroes reveal, there is no shortage of
great pictures of these subjects are usually the same. Indeed, in the wildlife subjects to discover if you simply begin by taking the
right light and conditions, and with more opportunities to return, time to observe your own surroundings.
Robert Canis and 2000s, it was only ever frequented by a

A professional wildlife and landscape photographer, Robert Canis has spent over handful of hardened birdwatchers willing
40 years photographing the fauna, flora and scenery of the north Kent marshes, to endure long walks to the hides and
specifically Elmley National Nature Reserve on the Isle of Sheppey, close to where he content with basic facilities.’
lives. Robert is the recipient of numerous awards for his photography, including the Four decades is a long time to keep
Royal Photographic Society Gold Medal in 2014. www.robertcanis.com returning to a location that he knows
so well, so why does Robert keep going
back? ‘It’s hard for me to express in
When he was ten, Robert Canis made his and dozens of bird species including marsh words,’ he answers. ‘I guess you could
first visit with a family friend to Elmley harrier, egrets, lapwings and redshank. say it’s become a huge part of who I am.
National Nature Reserve. Situated on the ‘Over the years, I’ve spent thousands of I can’t imagine for one moment not ever
Thames Estuary, just 40 miles from the hours in all seasons and weather, capturing visiting Elmley again. It’s where I’ve
centre of London, the 3,300 acres of its many moods and wildlife,’ he says. ‘It’s experienced the most incredible sunrises
grazing marshland are home to roaming now quite well known, but when I carried and sunsets and soul-stirring sights
cattle, winding waterways, hares, badgers out much of my work there in the 1990s of winter skies filled with waders and
waterfowl, hunting raptors and boxing
hares. I’ve spent whole days in tiny,
wooden hides surrounded by wigeon and
egrets and enjoyed the simple pleasure of
just sitting and observing butterflies
flitting from one thistle head to another.’
Local knowledge
For Robert, frequent and repeated access
to the same location has allowed him to
observe the seasonal changes in the
landscape and to gain extensive knowledge
about the animal and plant species to be
found in the marshes, something that
would be impossible, he says, if his
favourite place was on the other side of the
A ruddy darter dragonfly country. ‘I know where to find certain
photographed on the north butterflies and flowers, badger setts and
Kent marshes at sunrise, raptors, where the sun rises and sets in
using a 15mm fisheye lens relation to the location and, for example,
www.amateurphotographer.co.uk
ROBERT’S KIT
‘When I’m working on
the marshes, I bring two
camera bags with me;
one for landscape and
macro and the other for
animals. The first bag
contains a Nikon D850,
Sigma 15mm fisheye,
Nikon 18-35mm, Laowa
100mm and Nikon
70-200mm lenses plus
filters, extension tubes,
macro flash bracket and
diffuser, and the
all-important angle-
finder attachment.
‘My wildlife bag
includes another D850
attached to an old Nikon
200-400mm, and a 1.4x
teleconverter. I take
Favourite local photo: He selected aperture priority and ISO 1600, but realised binoculars and, while on
Badger beauties that the resulting shutter speed and mirror slap would foot, a small monocular.
A Manfrotto tripod with
This is the picture taken locally that Robert says he is most likely create a soft image. Consequently, he pinned
most proud of – two inquisitive badgers standing on a his hopes for a sharp result on the badger momentarily ball and gimbal head
fallen branch framed by elder. ‘I’m proud of it as it’s pausing on the branch, while he activated mirror-lock, and beanbag
not just a photo of badgers – which could have been which also required waiting a couple of seconds for the permanently reside in
taken anywhere – but it also shows the woodland camera to settle before tripping the shutter. Fortunately, the boot of my car, as
environment in which they live; a place since my teens luck was on Robert’s side on just the second time of do additional clothing,
I have been photographing.’ asking when attempting this shot. ‘At first, I could see insect repellent and bite
Robert envisaged the potential for this photo while two milling around on the other side, so anticipating the cream. I always have
making close-up portraits of the animals, but he knew moment, I locked up the mirror and waited,’ he recalls. snacks and a drink – you
that timing and chance meant he would have to pre-focus ‘To my surprise, both badgers posed simultaneously and never know how long you
manually on the branch using his camera’s live view, beautifully for just long enough to capture the photo. It might be out. My partner
assuming the badgers even bothered to turn up. was truly a once-in-a-lifetime opportunity.’ has given up asking me
what time I’ll be home!’
where I’m most likely to locate roosting ‘I need to experience the sights, sounds and smells of the
dragonflies. All this is invaluable and over
many years has saved precious time and marsh and woodland to get my creative juices flowing’
energy.’ Having such a rich habitat so close
to where he lives also means impromptu item of equipment like a fisheye lens which has become part of the South of England
visits become more feasible: ‘If conditions offers a unique perspective. Lately, I’ve Curlew Project, part of a national strategy
look favourable, at a drop of a hat I can been using camera traps, the idea of which attempting to reverse the endangered bird’s
pick up my camera bag and arrive on came about after noticing a particularly decline. But if he had to choose one absent
location within 15 minutes – especially attractive setting that a badger would pass animal that he would like to eventually
useful for those summer dawn shoots!’ through but it seemed impossible to photograph in the Kentish countryside, it
Frequent access and local knowledge is photograph conventionally.’ would be the red squirrel. ‘They’ve been
also key to Robert’s creativity. He is drawn extinct here for more than 50 years and
more, he says, to the quality of light and Depth and soul through introduction, alongside pine
strong aesthetics than the subject itself, Being a keen observer, Robert has seen martens, and the grey’s eventual
preferring to photograph common, many changes in his local area over the eradication, our woodlands would be
everyday species in special conditions such years, not all of them positive. ‘I’ve lived much healthier ecosystems,’ he says.
as backlight, frost, fog, or even rain, than in the same town in north Kent my whole As well as developing a greater
capturing a distant rarity on a gloomy, life and like so many other places in the knowledge of the wildlife and ecosystems
overcast day. ‘For this reason, I favour first southeast, the changes have been of his local area, Robert also believes that
and last light, often working with high overwhelmingly negative, with ancient focusing on his home area has enabled
ISOs and fast lenses,’ he says. ‘Sitting in orchards, woodlands and grassland making him to build a portfolio of images with
front of a computer rarely sparks creativity way for roads and housing. With a growing ‘depth and soul’. He explains: ‘Ultimately,
for me. I need to experience the sights, population, such changes are inevitable, my goal is for my images to resonate with
sounds and smells of the marsh and but it deeply saddens me that it is always viewers, to evoke an emotional response,
woodland to get my creative juices flowing. at the expense of nature.’ But there have and, perhaps, to make the viewer
If I feel as though my photography needs been some positive changes, too, not least appreciate and care for the natural world
“freshening up” I might invest in a new at Elmley National Nature Reserve, which on their doorstep just a little more.’
Two mountain hares
tenderly touch noses on a
snowy day in the Cairngorm
Mountains
Andy Parkinson An infant fox cub (left) and

One of Britain’s most published and awarded wildlife photographers, Andy Parkinson a sub-adult from the
began his photography in Wales before moving to the Peak District over 20 years ago, previous year’s litter
where he finds daily inspiration from the local wildlife. He only photographs animals play-fighting in a Derbyshire
that are wild and free and is renowned for his uncompromisingly ethical approach. He woodland
is an ardent supporter of extending rights to all animals, not just the ones with which
we share our homes. www.andrewparkinson.com
The reasons for Andy Parkinson choosing Andy doesn’t tire of the more familiar
to concentrate on photographing the surroundings of his rural home where
wildlife near his home in the Derbyshire he happily spends many a day in quiet,
village of Crich are far more prosaic and local and secluded locations. ‘I always
pragmatic than most of us could imagine. photograph alone and so that way I’m
He explains: ‘It started 23 years ago when, always able to produce a unique and
having moved to Derbyshire, I couldn’t credible body of work,’ he says. He
afford any petrol for the car, so I explored keeps going back because no two days
everywhere on foot!’ Fortunately, Andy are the same: ‘The light, the species, the
soon discovered that he lived within opportunities, differ every single day
walking distance of foxes, badgers, coots, and it’s fascinating to watch the
grebes, brown hares and mute swans – changes unfold.’
animals he continues to photograph on As with many other photographers, he
a regular basis today. believes that one of the chief benefits of
Although he regularly leads wildlife shooting closer to home is the unrivalled
photography workshops and safaris opportunity it provides to build what he
overseas, especially to see India’s tigers, calls, ‘an encyclopedic knowledge’ of local
38
BRITISH WILDLIFE
‘I couldn’t afford any petrol for the car so I explored

everywhere on foot!’
wildlife, their lifecycles and behaviours, as are as numerous as they are enlightening,
well as the nuances of the weather and he reveals: ‘It’s everything to me. I can be
lighting conditions. ‘For me, it’s about more reactive to the weather, I know the
investing time spent watching and learning, subjects better, I have learned about the
so that when I do start photographing I light and when to shoot, it’s cheaper and
always hit the ground running,’ he says. better for the planet. Plus, local stories are
But how does Andy keep coming up with where we should try to effect positive
new ideas for different photographs of the change first.’
same subject matter? Is it a new lens or On that point, Andy becomes quite
a different viewpoint? ‘Nature does it for vocal when describing the ‘devastating
me,’ he says. ‘Her uniqueness is ever- decline, or total loss of species’ in some
changing, ephemeral, and no two of the locations that are no longer as
encounters will ever be the same.’ productive for him photographically.
This comment is backed up by Andy’s ‘Water voles on the Cromford Canal
reference to a set of images of fox cubs have all but gone, my brown hare site
playing in the woods near his home as has been shot to oblivion, there are no
examples of his local work that he is rabbits locally any more and badgers have
especially proud of. These pictures were been devastated by the morally despicable
taken only last summer in a location that government’s insane badger cull.’
he has photographed exhaustively for That said, in recent years the UK has seen
many years and in all weathers, yet he still the successful reintroduction of wildlife
manages to find inspiration in the present. that once frequented these shores in
abundance: sea eagles, beavers, storks and
Camera kit more recently European bison in Kent,
When it comes to the gear and technique to name a few. Such reintroductions can
behind images like this, Andy prefers an provide wildlife photographers with
uncomplicated approach. ‘I always keep new subjects to shoot without having
it simple, with just one camera and one to travel abroad. So, which other species
lens between myself and the subject,’ he would he like to see reintroduced? His
explains. ‘Comfort is important for long reply is unequivocal: ‘Bears, wolves and
waits, so where possible I have a padded, lynx, because they all belong here, our
waterproof cushion to sit on, and insect environment needs them, and they would
repellent for the midges when I’m in my give a staggering financial benefit to the
badger wood!’ local economies. And our burgeoning and
The benefits of shooting wildlife locally devastating overpopulation of deer would
and what he has learned as a photographer see significant reductions in size!’
Hundreds of hours of watching

Andy is one of three photographers (along with Neil Aldridge and Matt
Maran) whose new book, FOX: Neighbour Villain Icon, was recently
named 2023 Photography Book of the Year by the Independent
Publisher Book Awards in the United States. The following is an
extract from his essay in the book, which gives important insight
into the amount of dedication that was required to build an award-
winning portfolio of images of the ubiquitous British red fox.
‘I have had the privilege of having spent many hundreds of hours
in their wily presence. I have watched attentive and loving parents
raise countless litters of cubs… For several months of each year
over the past 15 years, I have sat spellbound, invisible in my various
camouflaged hides, an unseen observer developing an informed
impression of what, and who, these animals really are. Take it from
me, foxes are incredible mammals, they are essential environmental
icons and should be revered, loved and respected.’
FOX: Neighbour Villain Icon, by

Neil Aldridge, Matt Maran and
Andy Parkinson (Hemisphere
Publishing), is available from
Amazon and all good book
shops, £35 hardback.
39
BRITISH WILDLIFE
Naomi Stolow wildflowers, bees and other insects, paying

After studying fine art in sculpture, painting and printmaking, Naomi Stowlow particular attention to the background of
began her working life as a Montessori nursery teacher. Today, she is a freelance her subject. ‘My initial attraction is usually
photographer based at her milking shed home in Devon. Her images have been to the position of the insect against the
awarded in the British Bird Photographer of the Year and British Wildlife flower, how the light falls on the colours
Photography Awards. www.naomistolow.com and shapes, and any suitable background,’
she reveals. ‘When I look at the photos
later on the big screen, I see so much more
Seven years ago, Naomi Stowlow packed particular photo or subject in mind, than my naked eye did. I notice how
up her London life and moved to a small preferring to photograph what I see at the flowers are exquisitely designed in shape
village on the Jurassic Coast in south time, and only if I feel there are photos and pattern to guide insects to their
Devon. From outside her home, she there to be made,’ she says. ‘Dawn and stamens, ensuring their pollination. This is
frequently takes camera walks along dusk are my favourite times but anything my biggest joy of close-up nature
country lanes, ‘wandering about and that falls in front of my lens in the right photography – noticing surprising details
watching the birds flit in and out of the place at the right time with the right light that are impossible to see at the time.’
hedgerows’. There is so much to is a bonus.’ Unsurprisingly, a 180mm telephoto
photograph, she says, that her walks often This spontaneous approach is reflected macro lens is part of Naomi’s essential kit,
don’t get very far. Such is her proximity to in the technique she deploys. ‘I shoot which also comprises a Canon EOS R5
nature in this largely rural environment mostly in aperture control, handheld. I and EF 100-400mm zoom lens. Other
that she also admits to doing a lot of her love the freedom of moving the camera than spare batteries and memory cards,
photography from her front porch. ‘I use about with ease, composing quickly on the she likes to travel light and nearly always
it as a kind of sheltered hide,’ she says. hoof. I rarely carry a tripod, and if I do, it takes a bottle of water, the exception
‘There is a beautiful fir tree right in front inevitably ends up annoying me and I find being when she’s at home shooting
and a variety of birds come in from the myself wishing I’d left it at home!’ from her patio, ‘when the absolute
fields, landing on the branches en route non-negotiable item to have with me is
to my well-stocked feeders. The soft seaside Surprising details a cup of hot, strong and milky coffee!’
light outside is just beautiful, even when Living on the Devon coast means Naomi
it’s drizzly and cold.’ has a wide range of potential subjects for Dedicated field practice
Her approach to photographing the local her camera, from marine mammals Naomi believes that having bags of
wildlife is less considered than many of her including Atlantic grey seals and dolphins, patience has helped her get the
peers, as she admits to usually stepping to more familiar countryside birds such as photographs that she wants. ‘I love to
outside without any specific objective. reed buntings, robins and kingfishers. She just sit quietly with my camera in hand
‘I often take my camera out without a also enjoys shooting close-ups of and see what comes,’ she says. Like Andy
Who’s watching who?

Perched above a river in
south Devon, a kingfisher
looks straight down the
photographer’s lens
40
A 100mm macro lens was
used to focus on the wings
of a bumblebee as it
plunged into these flowers
‘The luxury of familiarity has enabled me to

become far more critical of my own images’
Parkinson, she also believes that nature
itself is the best provider of new ideas
for different types of pictures. ‘Nature
provides all the subject matter a
photographer could ever need,’ she states.
‘Anything I encounter when out and
about is going to be by nature different,
so what I see in front of me, and what part
of it, and how I choose to photograph it
will therefore be unique. The combination
of many years of learning technical skills,
the dedication to practice in the field and
the use of my creative eye all come
together to give me confidence to take
the photographs I want.’
Of course, that dedication to practice and
spending hours in the field are made much
easier by being able to shoot regularly close
to home. It’s a fact that Naomi is quick to
endorse. ‘The main benefit of shooting
locally is that I have a good knowledge of
the area,’ she confirms. ‘If I was visiting the
area for just a few days, everything would
be new and exciting and I would be trying
to capture everything at once with the Favourite local photo: Leaping dolphin
“spray ‘n’ pray” approach! Sometimes there Dolphins are often seen off the south Devon coast, close to where Naomi lives, but only
is a kingfisher or two that fish along the occasionally does she get the chance to go out onto the open sea with her camera. ‘And
small river just a mile or so away from when I can get out, the dolphins are not always there!’ she exclaims. ‘Also, photography is
home. If I go looking for them and don’t a nightmare when one is bobbing about at sea on a small boat, trying to focus with a long
find them, I can just go back another day.’ lens.’ With waves and wind and sea spray, as well as trying to anticipate where the dolphins
By shooting locally, Naomi says she has will next break the surface, getting a well-framed photo at the peak of the action is far from
become more attuned to the details and easy. ‘When they finally do leap into view they are so incredibly fast,’ she explains. ‘I was
subtle changes in her surroundings, which particularly pleased with this image. Not only had I got the camera settings right for that
have made her more discerning about the precise moment, but I also had the lens pointed at the right bit of sea, getting the important
photos she takes. ‘The luxury of familiarity parts in focus. I captured the dolphin just as it was leaping out of the sea towards me. It was
has enabled me to become far more critical perfectly lit by the sun, and the boat was in the exact right spot to make it all work (thank you,
of my own images, helping me understand Devon Sea Safari!). There is an energy to the image that I hope shows the power and might of
my own approach a little bit more.’ the dolphin as it leaps towards the viewer with the curious way that dolphins look at people.’
Fish supper. A diving northern
gannet captured a split second
before it swallows a mackerel
in the waters off Shetland
Richard Shucksmith An otter emerges from

Born and raised in Lincolnshire, Richard Shucksmith began his working life as a Shetland’s cold February
bricklayer before studying marine biology at the University of Wales, Bangor. He moved seas with its next meal
to Shetland nearly 20 years ago, and in 2011 was named the overall winner in the – a shore crab. Taken
with a 600mm lens
British Wildlife Photography Awards. His images have also been awarded in the Scottish
Nature Photography Awards and the Underwater Photographer of the Year competitions.
www.shetlandphototours.co.uk
The sea is central to Richard Shucksmith’s tracking down the pods of orcas as they
photography. Living in the Shetland roamed the Shetland coast hunting for
Islands, the northernmost region of the seals. ‘With orcas, I love to use a drone to
United Kingdom, he is surrounded by the capture their behaviour or a long lens from
Atlantic Ocean and spends much of his the shore,’ he says. A 600mm f/4 is also his
time shooting underwater as well as preference when shooting otters on shore,
documenting the huge variety of marine but he also uses a camera trap to gain a
animals that inhabit the archipelago’s different, wider-angle perspective of the
1,700 miles of coastline. ‘There are four animals in their natural surroundings.
subjects I love to photograph where I live,’
he says. ‘Underwater marine life, otters, A wild feeling
orcas and gannets. I am a coastal Hearing Richard speak about his passion
photographer, both underwater and above. for Shetland’s wildlife, it is difficult to
I love all things marine, and living on imagine him wanting to travel anywhere
Shetland gives me some great opportunities else to gain the same sense of excitement
to work and observe some of the UK’s and adventure. ‘I find it hard to leave
richest seas that support internationally Shetland as it offers so many opportunities
important seabird colonies, coastal otters below and above the sea,’ he says. Shetland
and the sea’s top predator, the orca.’ may be remote and wild, but as with any
Earlier this year, his work on orcas region of the UK, there are favourite
reached an international audience of locations for shooting different species that
millions while filming with the crew from Richard has identified through years of
Silverback Films for the first episode of the local knowledge. ‘Photographing seabirds,
BBC’s Wild Isles nature documentary series, it has to be Hermaness and Noss National
narrated by Sir David Attenborough. Nature Reserves,’ he claims. ‘Both these
Richard’s local knowledge proved vital for places offer you countless opportunities to
BRITISH WILDLIFE
photograph gannets and puffins in various edge gives me such a sense of well-being
conditions. For orca, one of my favourite that it’s hard to explain in words.’
places is when they are moving along the
east coast of mainland Shetland – there are Ability to experiment
a lot of good shorelines you can access, and Whatever the weather, Richard is a firm
it is relatively easy to follow them. Otters, believer in spending as much time as
some shorelines are consistently good, possible in the field to watch the wildlife.
they’re wild and beautiful and it feels Time spent observing, he says, provides the
amazing to be down at sea level amongst inspiration for creativity. ‘If you shoot a
the seaweed, wind in your face, waves subject long enough, then I find more ideas
crashing around you, otter cubs squeaking, come,’ he explains. ‘You shoot the more
mum out fishing, watching the cubs learn standard shots and then if you want to Cuckoo wrasse (above) and Ballan wrasse
life skills and grow up over next ten to 15 move it on you need to change the way
months to become an independent otter.’ you shoot. However, when going for
Doesn’t he ever get bored, or dream specific images, it can take time and a lot
of a drier and warmer climate for his of experimenting with a lot of failing, but
photography? The answer is an emphatic when you succeed the feeling is great.’
no. ‘I never get bored,’ he declares. ‘I have The main benefit of shooting locally, he
never had enough, and I never want to give says, is that he can either work on images
up. I am just as keen now if not keener when conditions are at their best; use the
than I was 20 years ago. It’s the wild feeling time to return repeatedly to a location to
of these places. Watching animal behaviour keep experimenting, or to simply observe
and trying to capture that on camera keeps animal behaviour. ‘It’s the ability to repeat,
me going back time and time again. There modify an idea or method, and go back
is always something new to see, or a and try again. I would advise anyone to
different way of capturing the behaviour. work on their local wildlife, no matter what
Being out in the wild along the coastal species, and be creative and experiment.’ An inquisitive grey seal pup
‘Watching animal behaviour and trying to capture that on

camera keeps me going back time and time again’
A swarm of moon jellyfish in Loch Eriboll
RICHARD’S KIT
‘Essential gear for me is anything that keeps me
warm! Shetland can be wild, and I do a lot of
shooting in the winter. My motto is: “If you are warm
and comfortable you will stay out longer and more
likely see and get the images you want.” Good
gloves, balaclava, good woolly hats, waterproofs
and muck boots. Muck boots are the best boots
I have ever had for keeping warm and dry feet.
‘When following otters, I keep it to a minimum:
long lens, camera and tripod, spare batteries
and teleconverter in my pocket. Your fieldcraft
has to be perfect to follow an otter family, so
I try to minimise what I have with me, just the
essentials to do the shoot. For orca, it’s drone,
long lens and warm clothes.
‘In the sea, I use three-fingered mitts, which really
keep my hands warm, a 10mm neoprene hood and
a drysuit with a very good undersuit. I use Nikon
cameras in Nauticam underwater housings. I
recently bought a Nikon Z 8 and a Nauticam housing
for it, and I am really enjoying using this set-up.’
BRITISH WILDLIFE
Mark Hamblin wooden hide and use bait – hazelnuts

Mark Hamblin has been working as a freelance wildlife and nature photographer since and peanuts – to draw the squirrels into
1995. Raised in Warwickshire, where he developed an early interest in birdwatching position,’ he explains. ‘Regular baiting over
and photography, he moved to his current home in the heart of Scotland’s Cairngorms 20 years means that the squirrels have
National Park in 2002. His work is represented by international photographic agencies become very accustomed to the routine
including Getty Images, Nature Picture Library, Nature in Stock and RSPB Images. and are quite relaxed in front of the hide.’
www.markhamblin.com Brown hare and roe deer aren’t quite so
tolerant of lurking photographers handing
Mark Hamblin is the first to admit that squirrels. Adjacent to the wood are open out treats, so Mark adopts a ‘wait and see’
living within the UK’s largest national park fields, which are favoured feeding areas approach, which usually means picking a
means that he is never short of wildlife for brown hares and roe deer. It’s not likely spot either close to a feeding area or
subjects to photograph within walking somewhere that anyone else comes to, on a regular trail, and waiting patiently for
distance of his home. ‘I have also been a which makes it ideal for long-term the animals to turn up. ‘Early morning is
great advocate for photographing on your photography projects.’ often best for this,’ he says. ‘Sometimes
doorstep and I’m lucky enough to have red Mark first started putting food out for deer can be stalked but this is a lot more
squirrels, brown hares and roe deer within the squirrels when he moved to the area hit and miss, and usually I’m spotted
walking distance of home,’ he says. ‘There 20 years ago and he’s continued feeding before I get close enough!’
is a small Scots pine woodland close by them ever since. ‘When photographing
which has a good population of red red squirrels, I work from a permanent Long hours and dawn light
However, no time is ever wasted as Mark
Peanut prize. A red squirrel believes ideas for images often stem from
perfectly reflected in a spending long hours in his red squirrel
woodland pool, near the hide or quietly watching hares in the
photographer’s hide dawn light. ‘Learning about animal
behaviour gives an insight into their
movements and seasonal activities, and
this provides the inspiration for new
images,’ he says. ‘But a different image
may be as simple as shooting in different
light, or backlighting the subject rather
than front-lighting, as well as varying
shooting positions – by lying prone on
the ground, for example.’ Ultimately, he
says, it’s rare if not impossible to capture
all the pictures a wildlife photographer
wants over a short period of time, so
repeated visits are vital to building up
an extensive portfolio of images.
A longtime Canon user, Mark’s main
body is an EOS 5D Mark IV which he uses
primarily with a Canon EF 100-400mm
zoom. ‘I do also use camera traps when
trying to capture something different,
especially a wideangle view when it’s
impossible to be behind the camera.’
For these situations, the 16-35mm
wideangle zoom comes into use. A Sony
A7S III with a 200-600mm zoom is also
part of Mark’s kit, primarily for video work,
while his other kit essentials for the
Highland climate include thick thermal
mittens for winter shoots and a midge net
and repellent during the summer.
An unscathed environment
Unlike many other wildlife habitats in the
UK, Mark says his part of the Cairngorms
has remained relatively unscathed in the
20 years he has been living there. ‘We are
lucky that our local areas haven’t changed
that much over the years,’ he says. ‘The
woodland has certainly improved since
the removal of about 60 per cent of trees
15 years ago, which has allowed more
light into the wood and an improved
understorey, which is better for wildlife.
www.amateurphotographer.co.uk
‘A different image may
be as simple as shooting
in different light, or
backlighting the subject
rather than front-lighting’
The fields that support a good population
of hares have remained relatively
undisturbed by machinery for long periods.
The red squirrel population has decreased
slightly in recent years and this may be due
to an increase in predation from goshawks,
but this is a natural situation and predator/ A 600mm lens was used
prey interactions constantly change and to capture this brown
hare dashing across a
evolve over time.’
snow-covered field
But he would love to see the return of an
animal that used to live in these mountain
forests in the centuries past – the Eurasian
lynx. ‘We are one of the few European
countries that hasn’t seen a natural return
of lynx,’ he explains. ‘Of course, it would
be impossible here without human
intervention. We need to restore fully
functioning ecosystems complete with
apex predators – lynx and wolf – and to
make space for these animals and learn to
live alongside them once again.’ Such an
outcome would also give Britain’s wildlife
photographers another subject to focus on
without having to leave the country. A brown hare yawns in a grassy field Leaping red squirrel at 1/5000sec
10 MAIN BENEFITS OF
PHOTOGRAPHING LOCAL
WILDLIFE
We asked Mark Hamblin to give a list of the
main advantages of working closer to home
when photographing wildlife…
1 It’s the best way of getting to know your

subjects in depth.
2 Gain knowledge of the location and the

light – where to be and when.
3 Able to make more repeat visits over

extended periods of time.
4 Shoot early and late in the day more

easily.
5 Easier to fit in shoots around work or

other commitments.
6 Less travel – means less expense,

less fuel and reduced carbon footprint.
Favourite local photo: The water hare

Sometimes, it’s not the latest technology that gets the picture you’ve always wanted, but
7 Regular return trips mean subjects
become more used to your presence.
a good old-fashioned readiness to get down and dirty, or in Mark’s case, very wet! ‘It’s always
satisfying to capture a picture that I’ve been after for a while,’ he says. ‘But most pictures
lose their uniqueness after a while as they get superseded. I’m still happy with this shot of
8 More chances to take a greater variety
of images.
a hare that I captured shaking its paws, showing all the water droplets flying off. This has
particular appeal for me as it involved a long, slow crawl through a wet field to get into
9 More possibilities for experimenting
and trying different techniques.
position close enough to the hare to capture the shot without being spotted. One of the
few times I’ve been successful with this technique!’ 10 Time and opportunity to re-shoot
and improve on previous shots.
Photo Insight
The quest for

the perfect bear
By Paul Souders
Photographer and author Paul Souders recalls
the voyage he made in a small boat to get this
image of a polar bear in the Canadian Arctic. But,
as he tells Keith Wilson, it wasn’t all plain sailing…
A
lthough Paul Souders lives years following in the doomed footsteps
in the big American city of of “Grizzly Man” Timothy Treadwell,
Seattle on the Pacific northwest photographing bears along Alaska’s Katmai
coast, that doesn’t mean you Coast,’ he answers. ‘I was casting about for
can expect to find him there most days, a new project, but knew in my heart that
or even assume that he’s easy to track polar bears were the next step.’
down. When I contact him to find out
the back story to his beautiful portrait of The end of the road
a resting polar bear, there is a gap of a few So, in 2012, Paul made a ‘test run’, hauling
days before he gets back to say that he’s an inflatable Zodiac with outboard motor
on his motorboat heading north along and camping gear up to Churchill,
Greenland’s iceberg-ridden west coast. Manitoba, the self-proclaimed polar bear
Wi-Fi and comms are sporadic, but the capital of the world. ‘I inflated the boat,
situation is suitably apt because it was gassed up the motor, and set off each day
while sailing on another boat some years searching the ice for polar bears. In three
earlier that he took this photo, which weeks, I saw two bears.’
eventually became the cover image of his He returned the following summer with
first book, Arctic Solitaire: A Boat, A Bay, the newly purchased C-Sick on a trailer,
and the Quest for the Perfect Bear. drove to the end of the road in Manitoba,
The boat in question was a 22ft backed the small boat into the Nelson River
cabin cruiser named C-Sick, the bay the and set off 70 miles downstream to Hudson
northernmost waters of Canada’s Hudson Bay. ‘I hung a left and started motoring up summer expeditions. ‘I carried as much
Bay, and the bear this curious chap looking the coastline, arriving weeks later near the fuel, food and gear as I could cram onto
straight down Paul’s camera lens. But Arctic Circle, in Repulse Bay. Lots of sea ice that small boat. I felt like I was living in a
what made him want to embark upon there, and lots of bears!’ grey area between being on a very long
this quest in the first place, while all the All told, Paul covered approximately camping trip and officially joining the
time travelling alone? ‘I’d spent several 5,000 miles over the course of three ranks of the homeless.’
The final trip was a six-week voyage in
2015, but he had no plans for writing a
Described as ‘a hilarious and evocative book: ‘I just wanted to go make some cool
misadventure’, Arctic Solitaire was the pictures and have some adventures.’
winner of the 2019 Washington State
Book Award for biography and memoir. Playing hide and seek
Arctic Solitaire: A Boat, A Bay, and the Paul describes this image as a sleeper for
Quest for the Perfect Bear, by Paul him. He explains: ‘I was photographing
Souders, hardback, 304 pages, is this bear, playing hide and seek with me in
available from www.arcticsolitaire.com, the sea ice. I’d been able to get some nice
Amazon, Barnes & Noble, and wideangle shots of the bear swimming
independent book retailers. nearby, with an iceberg in the background.
Those intimate, wideangle shots were what plenty of memories that still give him
I was looking for. But this image of the bear a chill. ‘There were days when I had to
peeking over the edge of a berg really wonder if it was all worth it. I spent four
resonated with other viewers. And I’ve days hunkered down behind a low, rocky
warmed to it over the years.’ point as gales lashed the Hudson Bay
Remarkably, the photo wasn’t taken with coastline. Me and my little boat hanging
a long telephoto lens as I’d expected, but a on for dear life at the end of that
modest 24-70mm f/2.8 standard zoom. under-sized anchor.’
Being reminded of this fact proved Without hesitation, he says it was the For over 30 years, Paul Souders has photographed
something of a surprise also to Paul when hardest trip he’s ever done. He continues: across all seven continents, contributing to
he emailed me back from Upernavik in ‘I risked my life more times than I care to international titles including National Geographic,
northwest Greenland. ‘I just looked up the remember, and it’s not something I’d ever Time and Geo. He has received first place awards
metadata on that polar bear image,’ he dream of doing again. I made a deal with in Wildlife Photographer of the Year, and the Grand
wrote. ‘It was indeed with a venerable old God and my wife that if I made it out of Prizes in the 2013 National Geographic Photo
Canon 5D III, but shot with a 24-70mm the Arctic wilderness alive, I’d never go Contest. He has been kissed by dolphins, slapped
f/2.8. I guess I was closer than I remember!’ back again. With fingers crossed behind by penguins, headbutted by a walrus, and once
Close calls are to be expected in such my back, I whispered to myself: “In spent 27 hours digging a bogged safari truck out
extreme environments and Paul has that boat, anyway…!”’ of the Serengeti mud, using only a saucepan.
AL PICTURES ON THIS PAGE, FACING PAGE AND PAGE 50 © JONATHAN AND ANGELA SCOTT
AFRICAN LOCATION TIPS Technique
Getting to know a wildlife location or country in depth can help you achieve
better images. Jonathan Scott tells Graeme Green how local knowledge has
benefitted his and Angela Scott’s work in Kenya’s Maasai Mara, while five
other photographers from African countries share their tips
‘T
he longer you spend
in an area, the more
that it reveals its
rhythms and its
essence,’ says photographer and TV
presenter Jonathan Scott.
He’s talking about the Maasai Mara
in Kenya. But the same lesson
applies to any wildlife location.
‘Over time, we’ve learned about
seasonal changes that affect the
movement and behaviour of the Far left: Panthera
animals and birds we wish to leo. Young cub
photograph,’ he continues. ‘And greeting its
when it comes to big cats, there’s mother. It wanted
nothing like really investing time in to suckle but the
understanding their behaviour – lioness was sleepy
after returning
learning where are their favourite from an
places to rest up, their favoured unsuccessful
places to den their cubs, or favourite night hunting.
ambush sites.’ Maasai Mara
Jonathan and Angela Scott are on National Reserve,
first-name terms with many of the Kenya
Maasai Mara’s lions. Famous for
Left: Loxodonta
several books and TV shows,
africana. Bull
including the BBC documentary elephant dust
series Big Cat Diary, Jonathan is bathing after
originally from England, while crossing the Mara
Angela was born in Egypt and grew River. Maasai
up in Tanzania. They’ve lived in Mara National
Kenya since the 1970s and got Reserve, Kenya
married in the Maasai Mara
Next page:
National Game Reserve in 1992. Panthera leo. Lion
They live in Nairobi but base and lioness
themselves at Governor’s Camp in courting, early
the Maasai Mara. morning, Maasai
Both photographers have Mara National
won the Natural History Reserve, Kenya
Photos on this
spread and
Graeme Green is a wildlife photographer and writer following page:
for a number of international publications. © Jonathan and
See www.graeme-green.com Angela Scott
Technique AFRICAN LOCATION TIPS
Museum’s Wildlife community – the Maasai – and the angle or technique. If they see an
Photographer of the Year drivers and guides and camp animal one day but don’t get the
competition, Jonathan in 1987 and managers is so important,’ says photo they wanted, they can go back
Angela in 2002, the only couple to Jonathan. ‘If you gain people’s trust and try again.
do so. ‘In the early days, it was more and they see you’re not in it for the Being based locally also means a
about taking pictures that could help short term, but that you’re deeper understanding of animals
earn us a living through picture committed, life is much more and their habitat. ‘Over the years,
agencies,’ says Jonathan. But the rewarding. People will want to help we’ve spent months at a time with
couple now focus much of their you with information and the Marsh lions, the pride we named
photography on raising awareness knowledge. Be generous with your
Jonathan and Angela and have followed since 1977,’ he
about wildlife and environmental time and expertise, and it will always
Scott are currently explains. ‘That’s one of the things
issues, including the Sacred Nature pay dividends.’
producing a series of that’s defined our work – telling an
Initiative that they founded in 2021. Time itself is also a gift to
ebooks on wildlife in-depth story in words and images,
photographers. Whereas many
photography, including based on personal observations of
Making connections visiting photographers will have to
Wildlife Photography: big cats, each one an individual, that
There are many advantages to work within a short period of time,
The Basics For we’ve come to know as well as we
spending so much time in a local photographers have the
Beginners, available at know some of our human friends.
location, including making opportunity to go back to a location
bigcatpeople.com/shop We’ve done that with lions, leopards,
connections. ‘Building up a network in different light or weather cheetahs and wild dogs.
of contacts with the local conditions, or to try a different ‘That’s not so easy to do these
days, when so much has been done
‘If you gain people’s trust and they see you’re not already,’ he adds. ‘But finding a
project and making it your own
in it for the short term, but that you’re committed, is still possible. You just have to
life is much more rewarding. People will want to find the right story, and then
dedicate all your time and love and
help you with information and knowledge’ passion to telling it.’
Above: African black leopards in Laikipia are also
Elephant, Kimana bringing everyone to the area.
Sanctuary,
Amboseli, Kenya Tips for photographers…
Left: Greater It’s useful to explain to your guide
Flamingos, Lake what you’re looking for, but don’t
Magadi, Kenya limit yourself to fixed targets – keep
the energy positive and let nature
give you what it wants.
It’s worth exploring front, back
and side light in most situations;
don’t just wait for one type of light.
The best times to be out are early
in the morning, before sunrise, and
late evening. I don’t like to shoot in
the middle of the hot day.
I always carry a dust blower and
PICTURES ON THIS PAGE © GURCHARAN ROOPRA
towels to wipe dust or rain.
When to visit?
I shoot all year in Kenya – every
season has positives and negatives.
The Great Migration takes place
mainly from June to October. I really
enjoy visiting the Mara in the low
season, though, when the
Best for birds? migration has passed, because it’s
Gurcharan Roopra I’m fascinated by flamingos. I usually more chilled, the animals are relaxed
travel to Lake Elementaita – during and fat from eating so much, and
A Local Pro Photographer’s the mating season, their dancing the grass is short.
Insider Guide to… and gatherings are fantastic. Gurcharan Roopra is
KENYA When I want to see a variety of famed for his wildlife Beyond Kenya…
birds, Buffalo Springs Reserve is the images often shot from I see so much wildlife in Kenya that
Best wildlife location? place – the abundance of bird life unique angles. See it’s hard to justify a trip to another
The Maasai Mara National Reserve around the banks of the Ewaso Nyiro gurcharanroopra.com country for wildlife. But I’ve
has amazing soft-flowing landscapes. River is amazing. and Instagram travelled to Cape Town in South
It’s incredible for big cats (lions, @gurcharan Africa for the dramatic landscapes.
leopards, cheetah….), elephants, Favourite animal – and how to
rhinos, zebras, giraffes, and photograph them?
wildebeest. It’s also home to the I’m a glutton for low-level
world-famous Great Migration. photography. When you go into
conservancies, you can request
Hidden gem? permission to lie down on the
Solio Game Reserve has the ground when it’s safe. When the
highest concentration of conditions are good, with dramatic
rhinoceros in the world. Every time skies and animals on the horizon,
I visit, I capture more crazy shots. you can get phenomenal pics.
You have gorgeous forests and Recently, I’ve been photographing
plains with uninterrupted views of rhinos a lot and taken some
Mount Kenya. beautiful shots at low level.
I also like Kenya’s conservancies,
like Olare Motorogi, Naibosho and Keep an eye out for…
Lemek – less tourism, but great The northern part of Kenya has
wildlife, with local people, such as Somali giraffe, ostriches, gerenuks,
the Maasai, benefiting from tourism. and Grevy’s zebras. The gorgeous White Rhino, Solio Game Reserve, Laikipia, Kenya
Technique AFRICAN LOCATION TIPS
Gaël R Vande weghe

A Local Pro Photographer’s
Insider Guide to…
RWANDA
Best wildlife location?
We have four national parks in
Rwanda. Akagera National Park
provides the best general wildlife
opportunities, except for mountain
gorillas, who are in Volcanoes
National Park. But my personal
favourite location is Nyungwe
National Park for landscapes, forests
and birds.
PICTURES ON THIS PAGE © GAËL R VANDE WEGHE
Hidden gem?
Nyungwe NP is one of the largest
protected mountain forests in East
Africa. The landscapes are unique
and varied, with waterfalls, gigantic
trees, and mountain swamp. The
birdlife is exceptional and there are
13 primate species here.
Mountain Gorilla, Volcanoes National Park, Rwanda
Best for birds?
Nyungwe has fewer bird species than Keep an eye out for…
Akagera – around 340 versus more I have a strong interest in
than 500. However, Nyungwe’s photographing smaller things, such
forests have more specialised and as butterflies, insects, and flowers.
localised bird species, with at least We also have some stunning animals
30 Albertine Rift endemics, that can be rewarding for
including a few rarities. photographers, such as chimpanzees,
and also endemic bird species that
Favourite animal – and how to are some of the most colourful
photograph them? species on the continent, such as
Mountain gorillas are our most the purple-breasted sunbird or the
unique species in Rwanda. Found in regal sunbird.
three countries (Rwanda, Uganda
and DRC), endemic to the Virunga Tips for photographers…
Mountains and the Bwindi Don’t just come for the country’s
Impenetrable Forest, they’re famous mountain gorillas. Visit
spectacular and full of life. My advice some of the country’s other national Regal Sunbird, Nyungwe National Park, Rwanda
for photographing them would be to parks, too. There are now plenty of
visit multiple times and go for accommodation options, from the two big rainy seasons – in
groups that are more difficult to camping to luxury lodges. December and in May for the forests,
reach, higher in the mountains. The or in September for Akagera when
landscapes there help to make When to visit? the grass is short and there’s
images unique. Visiting Rwanda is best at the end of maximum visibility. But every
season is rewarding. The heavy rainy
season provides dramatic skies and
lush vegetation.
Gaël’s book This Is Beyond Rwanda…
Rwanda is available at I have some incredible memories
komezart.com/ from Odzala-Kokoua National
collections/ Park in the Republic of Congo,
gael-r-vande-weghe which has western lowland gorillas,
Also, visit forest elephants and more than 400
www.gael.world and bird species. Together with Loango
Instagram National Park in Gabon, Odzala-
@gael.world Kokoua NP is the best forest
Great Blue Turaco,
Nyungwe National destination on the continent that
Park, Rwanda I’ve been to.
Anja is currently working
on a book about Etosha.
She also offers
occasional photography
PICTURES ON THIS PAGE © ANJA DENKER
tours specialising in
Etosha. See
www.anjadenker.com
and Instagram
@wild.anjadenker
and pelicans to breed. Raptors are Above: African Keep an eye out for…
Anja Denker prolific, and the park has a special elephants Namibia hosts a number of endemic
population of Critically Endangered approaching a species. For birders, there’s the dune
A Local Pro Photographer’s blue cranes. The Zambezi region is waterhole, Etosha lark, Hartlaub’s spurfowl, and the
National Park,
Insider Guide to… also excellent for birders, with over Namibia blue cranes in Etosha. Desert-
NAMIBIA 450 species. adapted wildlife, such as the iconic
desert-adapted lions, elephants and
Best wildlife location? Favourite animal – and how to rhino, are incredibly special to see
Etosha is Namibia’s largest and most photograph them? and photograph. ‘Small’ stuff, such
famous national park. It’s unique, I’m partial to big cats. Etosha has a as the endemic Grant’s golden mole
with the salt pan covering around healthy population of lions and a and Welwitschia mirabilis (the oldest
4,760km2 – an area so large it’s few leopards. The golden glow of the living fossil plant), shouldn’t be
visible from space. The pan’s a early morning and late afternoon overlooked.
breeding ground for hundreds of light is essential, as is patience. It Below: Anja on
thousands of flamingoes. Together helps to know their territories so you location in Etosha, Tips for photographers…
photographing
with the incredible diversity and have a better chance of finding them. three old elephant Namibia is very safe, and many
large numbers of wildlife, Stick with a subject – you might be bulls in Etosha people hire cars and do a self-drive.
contrasting landscapes and vast able to photograph unusual National Park, But if you’re a keen photographer or
open spaces, it’s captured my heart. behaviour or something special. Namibia looking for special subjects, it’s best
In southern Namibia, Sossusvlei is to hire a knowledgeable, reputable
known for its scenic beauty. The guide. Light conditions are tricky,
attraction for me is photographing especially in Etosha. Dust is a major
wildlife in such an unusual desert factor so always stow your camera
setting, including oryx, springboks, gear away to avoid dust getting into
black-backed jackals and wildebeest. every crevice.
Hidden gem? When to visit?

The northern part of Namibia, March-April until around October-
especially the Zambezi region, holds November. From November onward,
a few surprises, like Mahango Game the rainy season can start. Those who
Park, part of the Bwabwata NP. It can’t cope with high temperatures
hosts wetland antelope species, like should avoid November to March.
bushbuck, reedbuck and red lechwe, But it depends where you want to go
as well as wild dogs, buffalo, and and what you’d like to experience.
wetland bird species. The rainy season offers spectacular
Khaudum NP, in north-east Young female thunderstorms and cloud
Namibia, offers true wilderness and leopard looking for formations, with great opportunities
seclusion, with large herds of prey opportunities for landscape photographers.
elephants, lions, leopards and wild in Etosha National
dogs amongst epic landscapes. Park, Namibia Beyond Namibia…
I love Botswana and the Kgalagadi
Best for birds? Transfrontier Park. Kgalagadi has a
Etosha NP is a haven for over 400 high predator and raptor density,
reported bird species. With the onset with an unusual red dune landscape,
of the rainy season, the main pan two major rivers and beautiful
holds water, enough for flamingoes camelthorn trees.
Tips for photographers…
Book a photo safari or take a
photographic guide with you. That
takes away the guesswork and makes
sure you get in the best positions for
taking amazing images. When your
guide isn’t a photographer, they
don’t understand what you’re trying
to get out of a sighting.
If you do decide to go it alone,
always make sure that you get up
very early and head back late too.
The best light is always around
sunrise and sunset.
When to visit?
South Africa is most popular in
winter (May to October), when the
them. The best place in South Africa Above: Wild Dog, bush dies back and the vegetation
Lance van de Vyver to photograph painted wolves is Tswalu Kalahari, is thinner, which makes finding
Tswalu Game Reserve in the South Africa and photographing animals much
A Local Pro Photographer’s Kalahari. With leopards and painted easier. I love October-November
Insider Guide to… wolves, the lower you can get to when the first rains have hit and
SOUTH AFRICA their eye level, the more magical short green grass is emerging – the
your images will become. scenery is beautiful.
Sabi Sands Game Reserve has been Keep an eye out for… Beyond South Africa…
put aside for conservation for more One of the most beautiful endemic In Kenya and Tanzania, the amount
than 40 years, so animals are species in South Africa is the of wildlife is mind-blowing,
habituated. Having habituated Knysna loerie – a bird that’s green- especially big cat sightings. Tanzania
animals is important for on-green, with white eyeliner and a Below: Lion Cub, also has fantastic rocky outcrops in
photography, because scared and shy red beak. When it flies, it has the Mara North the Central Serengeti, which the
animals will move away from most incredible pink colour under Conservancy, lions love sleeping on. These make
people. You can see rhinoceros, the wings. Kenya for incredible images.
elephants, lions, giraffes, and so
much more here.
Hidden gem?
Mapungubwe is a small national
park on the border with Botswana
and Zimbabwe. Not only is it one of
the prettier nature areas, with
beautiful rocks and yellow flower
fields in the rainy season, but it’s also Lance runs Panthera
rich in cultural history. This is the Photo Safaris who offers
perfect place to stay for a few nights specialised photo safaris
if you’re on the way to Mashatu and family safaris. See
Game Reserve in Botswana. pantheraphotosafaris.com
and Instagram
Best for birds? @panthera_photo_safaris
Kruger National Park is one of the plus you can visit
best places for birds because of its patreon.com/
sheer size and different habitats. The SaveOurWildlife
Greater Kruger area is 20 million
hectares, a similar size to Israel. It’s
PICTURES ON THIS PAGE © LANCE VAN DE VYVER
home to over 500 recorded bird Lion on rock

species. Central Serengeti, Tanzania
Favourite animal – and how to

photograph them?
I love leopards and painted wolves
(wild dogs). Leopards are easy to find
in Sabi Sands, but painted wolves are
harder, as they move huge distances.
Sabi Sands and Timbavati are where
you have good chances of seeing
54
Tshepo Phokoje
A Local Pro Photographer’s
Insider Guide to…
BOTSWANA
The Okavango Delta is full of
wildlife, including elephants and big
cats. But Mashatu Game Reserve in
PICTURES ON THIS PAGE © TSHEPO PHOKOJE

the Northern Tuli Game Reserve of
Botswana is my favourite. This is the
place where I saw my first leopard.
The diversity of animals and birds
one gets to see here is remarkable,
including elephants, lions, giraffes,
cheetahs and ostriches. I also love
the diverse vegetation. African Leopard, Mashatu Game Reserve, Botswana
Hidden gem?
Central Kalahari Game Reserve is
great for photographers. The terrain
to get there is very sandy and,
during the rainy season, one can
get stuck. It’s ideal for those who
don’t mind camping, as there aren’t
many reasonably priced lodges or
camps, but sightings are great, Tshepo runs her own
including black-maned lions, wildlife guiding and
cheetahs and leopards. safari business, Vixen
Excursions. See
Best for birds? Instagram
I’ve photographed aquatic birds on @vixen_wildlife_
boat cruises in the Okavango Delta. photography and
But Nata Bird Sanctuary is the best also search
place I’ve been for birds, specifically @PhokojePhotography
for flamingos during their migration. on Facebook
I was also able to photograph
pelicans and Kori bustards here, too. Hippopotamus, Okavango Delta, Botswana
Favourite animal – and how to advice to photographers is to always Book your trip through a company
photograph them? have your settings ready in advance. that provides photographic safaris,
My favourite animal to Below: Giraffes, As leopards are very shy, once you as guides will be able to position
photograph is the leopard. Leopards Mashatu Game see one, take as many pictures as you vehicles for great angles. When
are known for their elusiveness – Reserve, can before it disappears. You could working with guides, clear
finding one is always a treat. My Botswana be lucky and find one climbing a communication and listening to
tree or stalking prey. If you do, have each other is key.
your shutter speed set to around
1/1600sec to capture fast action. When to visit?
The peak season, which falls within
Keep an eye out for… winter, means vegetation has dried
Botswana has so many interesting up and water is scarce, so it’s much
species, such as aardwolves, bat- easier to spot animals or find them
eared fox, civets, caracals, and rare closer to waterholes or rivers. The
ground pangolins. The Tsodilo gecko best time to visit is between April
is a lovely little endemic lizard. and October. But I’ve also found
September to March presents great
Tips for photographers… photographic opportunities, when
Visit different parts of the country it’s lush and green.
for a range of experiences.
The preferred times to photograph Beyond Botswana…
is the golden hours, either in the I’ve mostly taken photographs in
morning or afternoon, when the sun Botswana. I’d love to visit Tanzania
is warm and soft. I’ve also found for the wildebeest migration and the
twilight perfect for silhouettes. vastness of Serengeti National Park.
ALL PICTURES © MIKE COOTS
SHARK PHOTOGRAPHY
Diving with
At Tiger Beach, What portrait techniques do
the Bahamas. This you apply to sharks?
great hammerhead When I’m underwater, I’m mainly
shark is a large trying to nail the focus and
female named
sharks
Pocahontas. composition. It’s more in the
Surviving a shark post-production. I gravitate towards
attack prompted images where I can see the shark sort
Mike to learn about of having a human characteristic: a
the importance of smirk, a smile maybe, a highlight in
sharks the eyes. I look for the same things
as if you were going through a
portrait session with a person.
Surfer Mike Coots talks to Graeme Green I’m trying to get people to love
sharks. Hollywood has done a good
about survival, his love of the oceans, and job of showing their scary side. It’s
refreshing to show the other side.
taking sharks’ portraits…
B
What is it you find fascinating
eing attacked by a shark Your new book is called Shark: about sharks?
would put many people Portraits. Are sharks open to After I was attacked, I was more
off going back into the having their portraits taken? curious about shark attacks than the
ocean. But for Hawaiian Some sharks like the camera. They’ll sharks themselves. I was curious why
surfer Mike Coots, 44, the near-death come close and seem really Shark: Portraits by Mike I got attacked. I had a lot of
experience led to a new life as an interested in you and your camera. questions and read a lot of books.
Coots (Rizzoli, £42.50)
underwater photographer working But some are skittish. With tiger The first time I went diving with
is out 19 Sept. For more
to understand and to help protect sharks, a lot of people jump in the sharks, I saw a whole other world. I’d
the majestic but threatened apex water and start chasing after them.
on Mike’s work, see spent a lot of time, as a surfer, above
predator. I asked him about his You need to give them time and let sharksbymikecoots.com the water. But when you’ve got eye
astonishing shark images… the animals come towards you. and Instagram contact and you’re below the water
That’s when you get the best photos. @mikecoots with a shark, it’s mesmerising.
They’re beautiful creatures. You’re What’s the best location for
looking at a living dinosaur. photographing sharks?
For great whites, it’s Guadalupe
Can you talk through what Island in Mexico. For tiger sharks, it’s
happened in the attack? either Fuvahmulah in the Maldives
It was in Kaua‘i, in 1997. I was 18 at or Tiger Beach in the Bahamas.
the time. I’d been in the water less
than five minutes and was paddling How difficult are sharks
for a wave. I didn’t see a fin breach to photograph?
or have any forewarning – I was just Sometimes you can get so locked on
blindsided. It grabbed onto me – a to what’s in your viewfinder, the
big tiger shark, around 12-14ft. I space around you disappears. It
stuck my right hand into its mouth won’t be the shark you’re
to try to get my legs out. That didn’t photographing that’s the problem –
work, and I felt a huge amount of it’s going to be the shark you don’t
pressure – zero pain, but a lot of see. It’s good to look away from the
pressure. The shark lifted me out of camera regularly to get a good visual
the water and ragged on me back sense of what’s around you.
and forth. It felt like I was watching
myself in a movie. I punched the Since the first attack, have you
shark in the nose. It let go as soon as had any other close calls?
I hit it a few times. I was in an underwater
submersible in Mexico, a cage that
Did a survival instinct kick in? while. Sitting on the beach, I fell in Fish are Friends. moves with propellers. You have
Yes, it was a primal instinct – ‘A large love with shooting photos of my Tiger shark at a guy driving, and you can hang
animal is attacking me and I need to friends surfing. That transformed Tiger Beach, the half your body out the front. I had
fight back.’ I got back on my board into going to art school to study Bahamas. Mike a great white shark, who was
says Hollywood
and started paddling in. My right leg photography, and then that has done a good irritated by those propellers, come
did a weird shake. I thought the transformed into learning about the job of showing the straight at me – it was within
shark was finishing me off, but I importance of sharks on YouTube. scary side of millimetres of my face. I thought
looked behind me and my leg had Later, I got into the policy-making sharks and it’s that it was going to bite my head
severed right off, big squirts of blood side of things. I’ve talked to Congress refreshing to show off. I couldn’t talk for a while
coming out every time my heart about shark legislation. I’ve been the other side after that.
beat. Fortunately, a wave came and able to speak out as a shark attack The ocean is unpredictable and
I rode it all the way to the sand. My survivor and use the irony of my wild, but I control everything that’s
friend Kyle used my board’s leash shark attack, along with science, to in my power. If you know the sharks
as a tourniquet and saved my life. say why we need to protect sharks. are getting agitated or the water is
I went in and out of shock as we getting murky, you get out. You
drove to the hospital. I woke up a Why are sharks so endangered? never want to push yourself, or say,
day later as an amputee, and spent a One of the biggest threats is ‘Five more minutes, I’m getting the
week in hospital and a few weeks shark-fin soup, a delicacy in Asia, best shots.’ Safety is number
bedridden at home. I was back in the which has no nutritional value. It’s one – photography is second.
water in a little over a month. barbaric. People go out to sea, catch
the sharks, and then cut off the fins,
Was there a chance you’d never which are used in the soup – the rest
go back in the ocean? of the body is thrown overboard.
No. I knew it was a statistical Another big issue is bycatch from
anomaly that I got attacked. The fear the commercial fishing industry.
of losing out on good surf and being Sharks are inadvertently caught in
with my friends in the ocean was longlines for tuna and swordfish.
much greater than feeling I’d be For shark-fin soup, there are
attacked by a shark again. upwards of 70 million sharks being
killed each year. For the commercial
Do you have any idea why the fishing industry, I don’t know the
attack happened? number because the industry’s
When we turned up at the beach shrouded in secrecy.
that morning, there was a foul smell
in the air. I think there were dead How vital are sharks to
fish in the water. The shark probably healthy oceans?
thought I was a turtle or something. As a keystone species and apex
predator, they get rid of the sick, Mike taking
What made you channel your diseased, dying and weak, and they another of his
stunning pictures,
experience into protecting keep the food chains below them in of a tiger shark.
sharks? balance, so other populations don’t Photographed at
One thing led to another. After the get out of control. Without them, we Tiger Beach, in
attack, I was out of the water for a won’t have healthy oceans. the Bahamas
Technique ACCESSORIES
accessories
for wildlife
photographers
Camera bodies and lenses aside, the right gear can help you take better photos
– and make your life more pleasant, comfortable, and safe while you’re doing
so. Here, wildlife photographer Graeme Green talks through some of the best
gear for wildlife photographers, from camera backpacks to clothing
Camelbak stainless
steel bottle
l £35 l www.camelbak.co.uk/bottles-c2
A little warmth goes a long way in the great

outdoors, providing a bit of fuel for long
days in the rain or cold, and it’s important
to stay hydrated. I usually
carry the same 1-litre
double wall insulated
stainless-steel bottle,
which is leakproof,
strong enough to
withstand plenty
of knocks and
scratches, and
means not having
to buy plastic
bottles from shops.
Camelbak’s carry
cap vacuum-
insulated bottle
Arc’teryx Acrux TR GTX Boot (M&F) keeps water cool
for 24 hours and
l £220 l www.arcteryx.com
hot drinks warm
Not everyone’s happy to wear leather or animal products these days, for plenty of good for ten hours.
reasons. Arc’teryx Acrux GTX Boot is a heavy-duty trekking boot but it’s surprisingly
lightweight, suitable for being out all day in challenging and changeable terrain. It’s
stylish, flexible, comfortable, with breathable Gore-Tex, a good solid grip and dependable
waterproofing. And with all that, it’s also made without leather or other animal products
in any materials or adhesives.
Snugpak Snugnut Hat WWS camera and lens cover Helinox Chair Zero
l £43 l From £34.20 l £134.95 l helinox.eu/products
l snugpak.com/products/snugnut-hat l wildlifewatchingsupplies.co.uk
Inside a hide or out in the open, if you’re in
The vast majority of the time I’m out taking Though many weather-sealed cameras can front of a tripod for long periods, a chair
photos, I’m wearing a cap to keep the sun handle a bit of rain, it pays to look after your makes life more comfortable. Helinox’s
out of my eyes and off my head. On colder camera. A C80R camera and lens cover is Chair Zero is ridiculously light, just 490g,
days, a simple beanie does the job. For a bit a useful item to keep in your kit bag to with a frame made from a DAC aluminium
of extra warmth, Snugnut hats are made prevent rain damaging your gear. They’re light alloy. At that weight, it’s an obvious choice
from the same cosy high-performance fabric to carry and can be easily fitted over your for photographers heading into the
as Snugpak’s sleeping bags, and have flaps camera when the rain comes on suddenly, wilderness, carrying everything on their
on either side to keep ears and face warm with the added bonus of camouflage for back, and it packs down to a remarkably
and protected from the elements. It packs wildlife photography. They come in a range small pack, most likely smaller than your
down into a light, small travel bag. of sizes to fit different lenses. water bottle.
Silva Terra Scout Helly Hansen All Mountain SanDisk Extreme PRO SDXC
H head torch gloves (unisex) UHS-II Card
l £59.99 l silvasweden.uk l £65 l www.hellyhansen.com l £64.99 (32GB) to £489.99 (512GB)
l www.westerndigital.com/en-gb
Whether setting out before dawn or moving Keeping that all-important trigger finger warm
around in a tent at night, it’s useful to carry and functional is vital. Some gloves can be Wildlife photography eats up memory like
a bit of light and keep your hands free. The used with camera screens, but I prefer to no other genre. It’s recommended to carry
Silva Terra Scout H is a rugged, water- keep my hands toasty when I’m not taking more than enough memory cards to cover
resistant head torch, made from recycled pictures and to go glove-free while taking your needs. SanDisk’s Extreme PRO UHS-II
plastic materials, with a hemp headband. photos, to give me as much control as cards have write speeds of up to 260MB/s,
It’s lightweight and compact but gives off possible over camera settings. Helly which allows you to fire lots of shots in
plenty of light, with settings to adapt it from Hansen’s unisex All Mountain gloves keep quick succession, and they can store
close-in floodlight to a long-reach spotlight. hands very warm. They’re durable, waterproof thousands of images. Read speeds up to
Battery times go up to 70 hours. and windproof, with elasticated wrists. 300MB/s allow rapid copying for editing.
Technique ACCESSORIES
Vanguard VEO Active 53 Tenba Axis v2 4L Top Loader

l £249.99 l www.vanguardworld.co.uk l £70 l uk.tenba.com
Vanguard’s VEO Active 53 is a tough, dependable 45-litre backpack I take a full bag of gear on professional assignments and most
with plenty of padding, so it can take a few knocks and still keep wildlife adventures, but there are times when I want to travel lightly
gear safe inside. Available in green and grey, it’s made from on my feet, if the subject allows, with just a single camera body
water-resistant material and has waterproof zips, and comes with a and lens. Tenba’s 4L Top Loader will fit a mirrorless or DSLR camera
waterproof cover. It’s designed to carry a DSLR and 6-7 lenses, and with an attached lens up to 6in, but it can also be expanded to fit
can also hold a 16in laptop or a tablet. The bag has padded straps a longer lens – I can easily carry a Canon EOS 5D Mark III body with
and cushioned back, so you can carry it comfortably, while the bright a 100-400mm lens in it. It’s a sturdy, hard-wearing, weather-resistant
orange interior can be personalised, so you can organise it to fit your bag that can be carried on a shoulder strap or attached to a waist
needs. The camera cube also lifts out. Inside and outside, the bag belt, with a lid that opens away from the body, so you can take the
has additional storage pockets to hold everything from batteries to camera out quickly when it’s needed. It also comes with a ‘weather
a rainjacket. Tripods can also be attached to the back or side. wrap’ for when the rain is full-on.
Paramo Halkon Jacket (M/F) Arctic Patrol Down Parka Jacket (M/F)
l £380 l www.paramo-clothing.com l £470 l www.hellyhansen.com
Keeping dry and warm in the great outdoors matters – you’re unlikely Fittingly for wildlife photography, this Helly Hansen jacket is a bit of
to take your best photos if you’re shivering, hypothermic or dead. a beast. Is the Arctic Patrol Down Parka Jacket warm? The clue is
Available for both men and women, Paramo’s Halkon Jacket is great in the word ‘Arctic’. With responsibly sourced duck down and a
for being outside for long periods. The Nikwax Analogy waterproof heat-conductive graphene lining, wearing the extremely light, flexible
fabric provides effective protection from wind and rain. The jacket jacket is like being tucked inside an extremely comfortable sleeping
has good ventilation, but for a light, relatively thin jacket, it’s also bag. It’s durable, waterproof, and windproof, with a hefty hood that’s
surprisingly warm and windproof when bad weather hits. It has a also insulated to keep the head super-warm, and large pockets with
wired hood that keeps your vision clear and zips up at the front to Velcro covers to keep contents dry. The jacket’s made with Arctic
help keep your neck and face warm. Lower pockets on the front are pros in mind, which means it’s spot-on for being out for long periods
big enough to keep a lens or compact binoculars handy. It’s available in cold weather. Just be sure to get it in green, not bright red, which
in muted green, too, which is advised for many wildlife situations. will send animals packing.
The North Face
Antora Rain
Trousers (M&F)
l £90 l www.thenorthface.co.uk
A decent pair of waterproof

trousers is another essential,
especially for British weather.
If you’re spending a lot of
time in wet conditions, you
might want to invest in a
serious pair of waterproof
trekking mountaineering
trousers, for extra comfort
and high performance. But for
many situations, a light pair Benro Mach3 TMA38CL tripod and GH5C
of waterproof trousers that
go over your normal clothes
Mini Gimbal Head
l Tripod £485, Gimbal £465 l uk.benroeu.com
does the trick. The North
Face’s Antora Rain Trousers Personally, I don’t use tripods much with wildlife photography –
will keep you dry and warm I prefer to be able to move around, camera in hand, as wildlife
when the downpours hit, with situations rapidly change. But a camera with a big lens attached
waterproof, sealed seams. can be heavy, and when a beanbag isn’t possible, a tripod is useful
They’re breathable, so you if you’re stationary and focusing on a subject for longer periods.
won’t get too sweaty when Benro’s Mach3 TMA38CL is a strong, stable, but relatively
moving around the hills, with lightweight (2.05kg) carbon-fibre tripod that will support up to 16kg.
lower-leg zips to make it easy It can operate from right down at almost ground level up to a
to take them on and off over maximum height of 177cm. The GH5C Mini carbon gimbal is
hiking boots. Available for lightweight (1kg) and compact, suitable for wildlife photographers
men and women (men’s who spend hours looking for wildlife or locations. It has a weight
shown here). capacity of 30kg, with ultra-smooth panning and tilting.
Wildlife Watching Supplies Double Bean Bag Hide Tragopan V6

l £25.74 l wildlifewatchingsupplies.co.uk l £250 l tragopan-shop.com
Such a simple piece of kit, but a beanbag is incredibly useful for From deer to birds, there’s plenty of wildlife around the UK that gets
supporting heavy lenses, especially in situations such as the backs nervous and tends to move away if it sees people. It can be helpful
of safari vehicles, when a tripod isn’t possible and when you want if it doesn’t even know you’re there, which is where hides or blinds
the flexibility to shift quickly to different positions as the animals come in. Tragopan’s Photo Hide Tragopan V6 is light to carry (3.3kg),
move. They’re also useful for setting up your camera close to the and quick and simple to put up. It’s made from a waterproof material
ground for low-level shots. When filled, they can be quite a weight, designed to keep photographers cool inside on warm, sunny days,
not ideal for carrying on overseas assignments or in a camera and to keep the interior dark, so movement or shadows won’t notify
backpack. I prefer to carry them unfilled, and often use local the local wildlife of your presence. The hide has several windows for
materials, such as sand or soil, to fill mine, which can be emptied poking your camera through; it’s also adaptable to be used with
before travelling home. Code C14 Double Bean Bag works well with accessories, including extra ‘tent’ space, connecting tunnels, or
a wide variety of lenses, from wideangle to a 600mm. a roof canopy to keep long lenses dry in rainy weather.
EISA MAESTRO UK WINNERS 2023
Take a look at the runners-up for the UK round of EISA’s Maestro

competition, the theme of which was ‘The Animal Kingdom’
E
arlier this year, we featured Honey Buzzard Nikon Z fc, 50-250mm
the work of the UK winner f/4.5-6.3 VR, 1/250sec at f/6.3, ISO 320
of the EISA Maestro
competition. Angi Wallace
is in contention to take home the
overall prize at a ceremony taking
place in September.
In the meantime, there were also
some excellent portfolios which
made it into the top three of the
UK entrants. Although these two
brilliant portfolios don’t progress
to the next round of the
competition, they certainly deserve
a space in the magazine.
On this spread, you’ll see 2nd
placed Hayleigh Callaghan, who
impressed with her monochrome
headshots of various predatory birds,
and overleaf see Michelle Jackson,
who came in 3rd with her beautiful
set of kingfisher shots.
Little Owl Nikon Z fc, 50-250mm

f/4.5-6.3 VR, 1/125sec at f/6.3, ISO 320
Kestrel Nikon Z fc, 50-250mm f/4.5-6.3 Gyrfalcon
VR, 1/250sec at f/6.3, ISO 320 Nikon Z fc, Nikkor
Z 50-250mm
f/4.5-6.3 VR,
1/200sec at
f/6.3, ISO 250
Golden Eagle
Nikon Z fc, 50-250mm
f/4.5-6.3 VR, 1/125sec
at f/6.3, ISO 250
Goshawk Nikon Z fc, 50-250mm

f/4.5-6.3 VR, 1/100sec at f/8, ISO 320
Long Eared Owl Nikon

Z fc, 50-250mm f/4.5-6.3 VR,
1/250sec at f/6.3, ISO 320
Hayleigh Callaghan
Hayleigh Callaghan is an amateur photographer with a
Red Kite Nikon Z fc, particular interest in landscape and wildlife photography.
50-250mm f/4.5-6.3 VR, She also works with her husband, Max, who is also a
1/250sec at f/8, ISO 320
photographer. Visit hayleighmaxphotography.co.uk
EISA MAESTRO UK WINNERS 2023
Kingfisher Portrait Kingfisher Magic

Canon EOS 5D Mark IV, Canon Canon EOS 5D Mark IV, Canon
EF 200-400mm f/4L IS USM + EF 200-400mm f/4L IS USM +
extender 1.4x, 1/4000sec at extender 1.4x, 1/4000sec at
f/5.6, ISO 1600 f/5.6, ISO 1600
Michelle Jackson
FRPS, QGP Uhm Next!
Canon EOS 5D Mark IV, Canon
Michelle is a passionate amateur EF 200-400mm f/4L IS USM +
photographer who holds qualifications extender 1.4x, 1/4000sec at
with both the Royal Photographic Society f/5.6, ISO 1600
and the Guild of Photographers. See
more of her beautiful wildlife work on
Instagram @emmabrooke_images
Kingfisher Perched
EF 200-400mm f/4L IS USM +
extender 1.4x, 1/4000sec at
f/5.6, ISO 1600
Kingfisher Blue
f/5.6, ISO 1600
Crowning Glory
f/5.6, ISO 1600
64
In association with ● Quality workshops to top UK and worldwide destinations
● Small groups led by world-leading photographers
● High-quality accommodation, daily activities and lectures
● A tour coordinator from Zoom Photo Tours on every trip
Book
now!
www.amateurphotographer.co.uk/photo-tours
Technique PHOTO-EDITING MASTERCLASS
Object removal and

retouching in Affinity
Rod Lawton explains how to use Affinity Photo 2’s Inpainting Brush, Healing
Brush, Patch and Clone tools to remove unwanted objects from your photos
T
he world isn’t always as tidy as
we’d like it to be. Sometimes
BEFORE
there’s a lot more in the frame
than the subject we’re trying
to photograph, and while a little careful
cropping might help, it’s often not the
answer. That’s certainly true of this photo
of a beautiful Norton Commando Café
Racer, photographed in lovely evening
sunlight, but surrounded by some ordinary
modern bikes and lots of passers-by. So in
this case we just had to frame the shot as
best we could and then worry about how
to get rid of the distractions later.
Happily, in Affinity Photo 2 there are
several tools we can use to do this. One of
the quickest and most spectacular is the
Inpainting brush. You paint over the object
you want to remove and Affinity Photo
uses neighbouring areas of the image to fill
in the space as if the offending object had
never been there at all. The Inpainting
Brush can often get you most of the way to
a great result and can sometimes work like the existing colours and tones. But Separation techniques for portraits.
magic. It’s a great tool to try first. sometimes it’s the classic Clone tool that But for everyday outdoor scenes like this,
The Patch Tool and Healing Brush are will do the job best, especially with trickier the Inpainting Brush, Patch and Heal tools
basically variations on the same tool – they areas. We haven’t even touched on Affinity and Clone tool are all you need to make
are ideal when you want to replace an Photo 2’s other retouching tools in this unwanted distractions simply disappear.
object with nearby textures and patterns walkthrough. These include the Blemish To learn more, and get a free trial, see
but at the same time blend them in with Removal tool and its in-depth Frequency affinity.serif.com/en-gb/
USING THE TOOLS TO REMOVE DISTRACTIONS
Using the Inpainting Brush If Inpainting fails Using the Patch tool
There’s the edge of a person just encroaching This was more ambitious. We removed the The Patch tool is ideal for more controlled
on the top right hand corner of the frame people on the left side of the frame and the repairs over smaller areas, and can do a
here. If we use a smallish brush size and try front part of another motorcycle, and the great job of cleaning up after the Inpainting
not to stray too far from the edges of this result is not perfect. We’ve lost the people brush. You drag a lasso around the area
person while we paint over them, we can see and the motorcycle, but we’ve gained a you want to heal, then move the mouse
a remarkable transformation. That person duplicate of the two motorcycles further away pointer over nearby areas to get a live preview
has vanished as if they had never been there. in the top left of the frame. Even so, it’s still a of how your repair will look with different
step in the right direction... ‘source’ areas.
Using Affinity Photo’s Inpainting, Patch, Heal and
Clone tools, we’ve removed a host of distracting
background elements from the original photo
AFTER
your repairs to blend in more smoothly
Cloning tips with the surroundings.
l Try a lower opacity setting.
You might imagine that in a world of Soetimes subtle disguise is better than
content aware fills and healing tools, the a blatant repair.
Clone tool is a bit dated. But hold on. l Keep varying the clone source for
Cloning can make precisely controlled larger repairs. If you don’t, it’s easy to
repairs that aren’t possible with more create artificial-looking repeating patterns.
‘intelligent’ tools. Here are a few short l Don’t ‘paint’ if you can ‘dab’. For small
tips for successful cloning. repairs a quick dab with the clone tool is
l Use a soft brush setting. This will help all you need.
Healing Brush vs Clone tool Removing the backdrop Using tools in combination
The Healing Brush shares the same flyout as So now what if we get really ambitious and try Retouching is an imperfect science. It relies
the Patch Tool and Inpainting Brush, while the to remove the building and the sky at the top heavily on craft, judgement and a skilled
Clone tool is separate on the toolbar just of the frame so that we’ve got an touch. You might try the same set of repairs
above. With each, you alt-click to select the uninterrupted background? If we start with on an image several times and reach a
source area for your repairs. The difference is the Inpainting tool again we see that it does a different result each time. But even though
that the Clone tool is like a direct copy-and- pretty fair job right away and we can clean up you know where you’ve carried out repairs,
paste, while the Healing Brush attempts to any problem areas afterwards in just a minute someone seeing the result for the first time
match the tones and textures. or so with the Clone tool. would probably be none the wiser.
COMPETITION
Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round eight
Wildlife
This category has featured wildebeest in the Serengeti and tigers in
India. But don’t forget there are lots of wildlife subjects in towns and
£11,000
of MPB prizes
cities, and even our gardens. Try telling the viewer a story about how
a creature lives by showing it in context – be that an urban fox foraging
around bins, or a seagull stealing chips from a tourist. Or go the other
to be won
way, and fill the frame with the head of a majestic lion or the beady
eye of a bird. Please note, this is not the category for domestic pets.
Your guest judge

Your guest judge for Round Eight, Wildlife,
is Keith Wilson, writer, picture editor and
journalist, and former editor of AP. He is
the co-founder (with Britta Jaschinski) of
Photographers Against Wildlife Crime, and
the editor of numerous photo books
including The Evidence Project, HIDDEN:
Animals in the Anthropocene, FOX:
Neighbour Villain Icon and three editions of
Photographers Against Wildlife Crime.
Plan your APOY 2023 year

Below is a list of all this year’s rounds, including when they open,
when they close and the dates the results will be announced in AP
THEME OPENS PHOTOCROWD OPENS AP CLOSES RESULTS
Black & White 08 February AP 14 February 06 March AP 11 Apr
Travel 07 March AP 14 March 03 April AP 9 May
Lewis Newman came
© LEWIS NEWMAN
Macro 04 April AP 11 April 02 May AP 6 Jun second in last year’s wildlife

Landscapes 03 May AP 9 May 30 May AP 4 Jul
round with this charming
portrait of a vixen To enter, just
Portraits 31 May AP 6 June 26 June AP 1 Aug
Architecture 27 June AP 4 July 24 July AP 29 Aug ALL ABOUT APOY 2023
Street 25 July AP 1 August 21 August AP 26 Sep
Wildlife 22 August AP 29 August 18 September AP 24 Oct
The camera club award
Do you belong to a camera club? You can accumulate points for your
Action 19 September AP 26 September 16 October AP 21 Nov society when you enter APOY, and after all ten rounds are complete, the
one with the most points wins a £500 voucher to spend at MPB, and a
Low light 17 October AP 24 October 13 November AP 19-26 Dec Rotolight NEO 3 Pro Imagemaker Kit worth £650.
The kit includes one NEO 3 Pro, a custom NPF-
770 battery, a pouch,
YOUR FREE ENTRY CODE diffuser dome, ballhead
Enter the code below via Photocrowd to get one free and cold shoe. It’s the
entry to Round Eight – Wildlife brightest LED on-camera
APOY81565988
light ever made, and comes
in a compact form factor
you can take anywhere.
her of the Year
petition for amateur photographers
In association with MPB

PRIZES
WORTH
£900
What you win

Take your pick from MPB’s
huge catalogue of used gear
The winner of each round receives a
£500 voucher to spend at MPB, with
vouchers for £100 and £50 going to
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With an ISO range of 100-51,200
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full-frame mirrorless Canon EOS R5 is
able to capture 45MP files at 20fps in
silence with full AE and AF tracking
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visit www.amateurphotographer.co.uk/apoy found at MPB for £2,639 to £3,149.
A premium telephoto prime lens for
sports, wildlife and action photography,
the Nikon Nikkor Z 400mm f/4.5 VR S
is designed for use on the firm’s full-
frame mirrorless models. Compatible
The Young APOY award with Nikon’s Z-mount 1.4x and 2x
For the third year, we are running an APOY Young teleconverters, it is available from MPB
Photographer of the Year competition, in order to in like-new condition for £2,719.
encourage our up-and-coming snappers. When reviewed in AP, the Sony
Entrants should be 21 years old or younger by Cyber-shot RX10 Mark IV was referred
the competition’s final closing date of 13 to as ‘the best all-in-one you can buy’.
November 2023. All the categories are the Featuring a 20MP 1in sensor and a
same as for the main competition – simply 24-600mm-equivalent zoom, it can
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Testbench CAMERA TEST
At a glance
£2,249 body only

l 25.7MP APS-C sensor
l ISO 200-1,600,000
l 12fps continuous shooting
l 0.7x pentaprism viewfinder
l 3.2in, 1.62m-dot touchscreen
l 5-axis in-body image stabilisation
Pentax K-3 Mark

III Monochrome
This unique DSLR might just make Pentax users fall in
This unique DSLR is only capable
love with black & white all over again. Andy Westlake of shooting in black & white
Pentax K-3 Mark III Monochrome, 16-50mm f/2.8
takes a closer look at 16mm, 1/125sec at f/8, ISO 400
T
For and against Data file wo years ago, Ricoh still not quite a camera for the
Imaging released the masses, but it makes the idea of
Creates lovely monochrome Sensor 25.7MP CMOS, 23.3 x 15.5mm Pentax K-3 Mark III, a a dedicated mono-only tool more
image files with low noise and Output size 6192x4128 high-end APS-C DSLR accessible than ever before.
huge dynamic range 1.5x
Focal length mag aimed squarely at enthusiast Of course, you can convert any
Lens mount Pentax KAF2 photographers. It turned out to colour photo to black & white, so
Large, clear viewfinder Shutter speeds 30-1/8000sec; 30-1/16,000sec be a very capable camera indeed, it’s reasonable to ask why you’d
provides detailed information (electronic) combining fine handling, robust use a specialist camera instead.
Robust weather-sealed build Sensitivity ISO 200-1,600,000 build, and impressive image The most obvious reason is
Exposure modes PASM, Sv, TAv, Auto quality. Now the firm has decided technical. With the usual colour
Comprehensive array of Metering Multi, centre-weighted, spot, to produce a version that only filter array eliminated, each
external controls highlight shoots in black & white – the sensor pixel directly measures
Works with a large range of Exposure comp +/-5EV in 0.3 or 0.5EV steps Pentax K-3 Mark III Monochrome. the light intensity at its location.
K-mount lenses Cont shooting 12fps This isn’t the first mono-only This promises greater detail,
Screen 3.2in, 1.62m-dot touchscreen camera we’ve seen, but it’s the smoother tonality, and less noise.
In-body image stabilisation Viewfinder Pentaprism, 0.7x magnification
works with every lens first not to originate from the There’s another, more subtle
AF points 101
hallowed halls of Leica, and the argument too. By eliminating any
Rear screen is fixed and Video 4K up to 30fps, Full HD up to
first DSLR, too. While it costs possibility of producing colour
ALL PRICES ARE APPROXIMATE STREET PRICES
doesn’t tilt 120fps

External mic 3.5mm stereo more than the stock K-3 Mark III, images, the camera forces you to
Poor autofocus speed in live Memory card 2x SD, SDHC, SDXC (1 UHS-II)
at £2,249 rather than £1,899 think purely in terms of light and
view Power D-LI90 Li-ion
body-only, it’s dramatically tone. So by focusing your mindset
Battery life 800 shots per charge
cheaper than either of Leica’s while shooting, it might just help
ISO 200 setting prone to current offerings, the Q2 you to make better black & white
clipping highlights Dimensions 134.5x103.5x73.5mm
Monochrom (£5,200) and the images. But does this unique
Weight 820g inc battery and card
M11 Monochrom (£8,300). It’s DSLR deliver on its promise?
Features reduce noise and improve largest viewfinder ever seen on Files are recorded to dual SD
In most respects, the Pentax K-3 dynamic range. Its sensitivity an APS-C DSLR, with 0.7x slots, one of which supports
Mark III Monochrome is identical stretches all the way up to ISO equivalent magnification. high-speed UHS-II media. They
to its parent camera. However, 1,600,000, and it should give However, this is tempered by the can either be used sequentially,
with the colour filter array much better results than the fact that several high-end APS-C or in backup mode with files
removed, more light is able to colour sensor at such super-high mirrorless cameras boast stored to both. Alternatively, it’s
reach the sensor. As a result, the settings. The continuous shooting electronic viewfinders that are possible to send raw files to one
lowest available sensitivity has speed of 12 frames per second even larger. On the back you get card and JPEGs to the other.
increased from ISO 100 to 200. comes with a 32-frame buffer. a 3.2in touchscreen that is fixed, Both Bluetooth and Wi-Fi are
A close look at the menus and Autofocus utilises a SAFOX 13 rather than articulated. included for smartphone
settings reveals that everything sensor, which includes no fewer Five-axis in-body image connectivity, which utilises the
relating to white balance or colour than 101 focus points. The stabilisation (IBIS) is built in and free Image Sync app. This
output has also been removed. camera is claimed to be capable works with almost any lens you provides a conventional set of
Externally, all the buttons and of focusing in light as low as can use, promising up to 5.5 features, allowing remote control
dials are marked in grey, rather -4EV, while a 307,000-pixel stops shake reduction. The of the camera from your phone
than white, while the onscreen metering sensor aids with subject system also offers some useful either with or without a live view
user interface is almost entirely identification for focus-tracking features that are exclusive to feed, and facilitating image
monochrome. But that’s about purposes. Switch to live view, Pentax. It can simulate the effect sharing on social media. It’s also
the full extent of the differences. though, and the camera falls of an optical low-pass filter in possible to geotag your images
In other respects, we get all the back onto a contrast-detection AF suppressing sampling artefacts, using your phone’s GPS. A nicely
same features as the standard system, which feels outdated automatically correct angled implemented in-camera raw
K-3 Mark III. This means the compared to the on-sensor phase horizons (which is really useful for converter allows you to
camera is built around a 26MP detection now found on almost handheld shooting), and be used experiment with different
APS-C sensor that employs a all mirrorless cameras. to fine-tune your composition processing effects before
backside-illuminated design to For composition, you get the when using a tripod. sharing your photos.
The Pentax K mount gives access
to a huge range of lenses. This was
shot using a vintage Tamron
Adaptall-2 90mm F2.5 Macro
Pentax K-3 Mark III Monochrome, Tamron 90mm f/2.5,
1/640sec at f/2.5, ISO 400
The camera is capable of within reach of your left thumb. the S.Fn button alongside. Using manual lenses
recording 4K video, with Existing K-3 Mark III owners will I generally used it for ISO control, One of the big attractions of
microphone and headphone find an identical control layout, but other options include Pentax DSLRs is the huge range
sockets built in. However, the with dual control dials at the front exposure compensation, drive of K-mount lenses available,
fixed screen, contrast-detect and back used to change shutter mode, or quickly switching dating back to 1975. While you’ll
autofocus, and lack of advanced speed and aperture respectively, between AF set-ups optimised for get full functionality with modern
video features limit the camera’s and a pair of buttons behind the static and moving subjects. AF designs, the camera still
capabilities in this regard. shutter release for ISO and A joystick on the back is used works nicely with manual-focus
exposure compensation. The for positioning the focus point. lenses. You need to enter the
Build and handling power switch encircles the However, it isn’t fully integrated focal length for the IBIS system
Pentax DSLRs have traditionally shutter button; pulling it to a into the rest of the interface. For to work correctly, and the camera
been extremely well-built, and the sprung position beyond the On example, it can’t be used to scroll can be set to request this when
K-3 Mark III Monochrome is no mark stops down the aperture for through images in playback, or to it’s switched on. The AF system
different. Its robust magnesium depth-of-field preview. A dial navigate menus and change will indicate when the subject is
alloy body is dust-proof and beside the viewfinder selects settings. Instead, it will push you in focus, but for the most reliable
weather-resistant, and certainly between viewfinder, live view and back into shooting mode.
feels like it should withstand
plenty of abuse. The dials all
movie shooting.
A conventional exposure mode
Meanwhile, the d-pad buttons
are dedicated to changing drive
Coloured lens filters
can be used to
No filter
have textured rubber grips, while dial is positioned on the camera’s mode, LCD brightness, and image manipulate tonality
the buttons are large and have left shoulder. In addition to the processing settings. Pressing the Pentax K-3 Mark III Monochrome,
decent travel, which makes the usual set of choices, this Info button on the back gives 16-50mm at 31mm, f/8, ISO 400
camera reasonably easy to use includes Pentax’s TAv and Sv quick access to even more
while wearing gloves. It’s a hefty options. The former allows you to features, via a neatly laid-out
beast though, measuring 134.5 x specify both the shutter speed onscreen control panel. As a
103.5 x 73.5mm and weighing in and aperture, with the camera result, almost every shooting
at 820g. This means it’s adjusting the ISO to compensate, setting can be changed without
considerably larger and heavier while the latter does precisely the having to use the menus.
than any APS-C mirrorless model. opposite. In Program mode, Nearly every button and dial
It fits nicely in your hand, spinning the front or rear dial can be customised, and it’s also
though, thanks to the large, allows you to temporarily select a possible to store five different
rubberised grip and well-defined specific shutter speed or aperture set-ups for quick recall via the U
resting space on the back for respectively for a sequence of positions on the mode dial. As a
your thumb. The most important shots, which is more useful than result, it should be possible for
controls are well placed for the usual program shift function. users to configure the camera to
operation by your right forefinger There’s also a Smart Function operate exactly as they’d like. So
and thumb, while a further (S.Fn) dial on the top, which can while the sheer array of controls
column of buttons on the side of be used to change five user- can look daunting at first, it’s
the lens throat is positioned defined functions, selected using quick and intuitive to use.
76
CAMERA TEST Testbench
results you’ll need to use indication of how your images will
magnified live view. turn out in terms of exposure,
With the oldest fully manual
lenses, you need to shoot in M
mode and enable use of the
and nor can it preview the
camera’s black & white output.
I often found myself wishing that
Focal points
lens’s aperture ring in the menu. the camera had an electronic The Pentax K-3 Mark III Monochrome uses the
Then to check the metering, you viewfinder instead. same body as its conventional colour-sensitive
activate the depth-of-field preview. Help is at hand here, to a sibling, but with the controls labelled in grey
Alternatively, if you press the degree, by switching to live view
‘green button’ on the back, the using the 3.2in rear screen. It’s
camera will select the correct sharp and clear and previews Markings Power Remote
shutter speed and/or ISO setting your processing and exposure All the buttons are now The D-LI90 battery A 2.5mm electronic
itself. I used a 1980s-vintage settings, which means you can marked in grey instead promises an impressive release socket is found
Tamron 90mm F2.5 macro with get a good idea of whether your of white. This fits the 800 shots per charge. on the side of the
good results. shots are likely to work in black & monochrome concept It’s charged internally handgrip, while infrared
white. It also gives a much better nicely, but they’re less using the USB-C port. receivers are placed on
Viewfinder and screen representation of what’s going on easy to read at a quick both the front and back.
One standout feature of the K-3 when you engage depth-of-field glance or in low light.
Mark III design is the viewfinder, preview. But it’s a real shame
which is probably the finest of any that the screen is fixed rather
APS-C DSLR. Given its size, it’s than articulated.
still impressively bright and clear.
An information panel beneath the Autofocus
focusing screen displays detailed As DSLRs go, the AF system is
settings, including metering and pretty impressive. It employs 101
drive modes. Thanks to a focus points covering about
73.5mm
transparent LCD overlay, you also two-thirds of the frame width, but
get a choice of gridlines and a only a third of its height, with 25
dual-axis electronic level. It’s as being of the more accurate
close as you could realistically cross-type. Only 41 points are
expect to get to the levels of user-selectable, with the rest
information provided by an being used to keep track of
electronic viewfinder. moving subjects.
This is still an optical viewfinder, In addition to being able to
though, with all the usual specify a single focus point
drawbacks. It gets dark when you manually, several area modes are
engage depth-of-field preview, available that use different
making the effect difficult to numbers of focus points. These Lock button Green button Flash
judge. The focusing ‘snap’ with are useful with erratically moving Pressing this This has an array of handy There’s no built-in flash,
manual lenses is pretty good, but subjects that might be difficult to
button and functions, ranging from engaging but a hot shoe allows
spinning the rear auto ISO to activating stop-down use of external units
for truly accurate results you’ll follow using a single focus point; dial allows the metering with manual-focus such as the AF 540 FGZ
need to switch to live view. indeed some of them are exposure settings lenses. It’s still called the ‘green II (£449), while a PC
Obviously, it can’t show any only available in AF-C. to be locked button’, despite now being sync connector
for a sequence coloured grey. facilitates use with
Orange filter Red filter of shots. studio strobes.
103.5mm
134.5mm
77
You can also allow the as most mirrorless models. compensation. This is especially
camera to choose the focus If you do need to shoot silently, important with the monochrome
area itself, and in this case, it then it’s possible to enable the sensor, as there’s no way of
uses subject recognition to help electronic shutter option in live retrieving clipped highlight detail
identify the optimum point. Most view. However, this comes with – once it’s gone, it’s gone.
obviously, the system will attempt significant rolling shutter effects, In this regard, I was surprised
to focus on faces even if another so it’s best used with static or to find that highlights clip a stop
object is closer to the camera, slowly moving subjects only. The earlier at ISO 200 compared to
which older, less-sophisticated electronic shutter setting also ISO 400, in both JPEG and raw
systems wouldn’t do. applies to viewfinder shooting: files (the camera doesn’t indicate
I used the HD-Pentax DA* first the mirror flips up, then the this in any way). This means that
16-50mm F2.8 ED PLM AW zoom picture is taken after a short but counter-intuitively, there’s a strong
lens for this review. As a result, I noticeable delay. This has the case for using ISO 400 as your
wasn’t really able to push the AF benefit of extending the fastest base setting in bright light.
system to its limits. However, I shutter speed to 1/16,000sec, Alternatively, you could use the
found that the camera generally but means you get both the noise highlight spot metering mode in
did a good job of focusing quickly of the mirror and shutter concert with the AE-L button to
and accurately. mechanisms, and the risk of avoid blowing out crucial detail.
Switch to live view, though, rolling shutter distortion. However, as the reading is taken
and the AF is slower with a While the spec sheet promises in the centre of the frame, this
tendency to hunt for focus, the ability to shoot at 12fps, will usually require recomposing
especially when light levels drop. I was never able to coax this each shot.
The saving grace, though, is that speed from the camera in my Thankfully, the flip side of the
contrast-detection AF is inherently testing. Instead, I measured sensor’s intolerance of over-
very accurate, and the focus 10fps for normal viewfinder exposure is a truly phenomenal
point can be positioned across a shooting, and 11fps in live view, dynamic range in raw files. At low
larger area of the frame. It’s with a respectable 37-frame ISOs, you can delve practically as
perfect for shooting static raw+JPEG buffer. Mind you, this deep as you like into the
subjects on a tripod. should still be quick enough for shadows and bring up remarkable
almost any purpose. levels of detail. Even when some
Performance Metering is generally reliable, noise does start to appear, the
Overall, the Pentax K-3 Mark III but by no means foolproof. The fact that it has a granular,
Monochrome is quick and standard multi-segment mode pixel-level pattern means that it’s
responsive, and won’t get in the can be prone to underexposure in not at all objectionable.
way of your shooting. By DSLR dull, grey conditions, while The monochrome sensor example, an orange or red filter
standards, it’s reasonably sometimes blowing out highlights responds to colour filters in front will darken blue skies relative to
unobtrusive too, with both the in high-contrast situations. So of the lens in much the same way clouds, giving a more dramatic
mirror and the shutter you need to get used to as black & white film, which look. The big advantage
mechanisms being soft and anticipating this and pre- allows you to manipulate the compared to shooting film,
well-damped. But it’s not as quiet emptively applying exposure tonality of your image files. For though, is that you don’t need to
worry in the same way about the
The monochrome sensor impact of the filter on your
gives impressive results shutter speed – you can either
at very high ISO settings increase the ISO to compensate
Pentax K-3 Mark III Monochrome, or rely on stabilisation to give
16-50mm f/2.8 at 31mm, sharp images.
1/60sec at f/8, ISO 80,000
On this note, I found that the
in-body stabilisation worked pretty
well. Using the 16-50mm zoom
towards its wide end, I was able
to get usable images handheld at
shutter speeds as slow as
0.5sec. The only catch is that
IBIS is never as effective with
telephoto lenses, where many
users will feel they need it most,
and the viewfinder image isn’t
stabilised either, so you get no
feel for how well it’s working. You
also need to ensure stabilisation
is disabled when shooting on a
tripod, or you’ll risk getting blurred
images. The camera will do this
automatically if you either engage
the self-timer or use the
infrared remote control.
CAMERA TEST Testbench
Here I exposed for the
Verdict
brightest detail, then pulled
up the rest of the image by
5 stops in raw processing
Pentax K-3 Mark III Monochrome, 16-50mm
f/2.8 at 36mm, 1/8sec at f/2.8, ISO 200
Recommended
IN A way, the Pentax K-3 Mark III

Monochrome is exactly what I expected it
to be. It combines the robust, enthusiast-
friendly design of the K-3 Mark III with all
the established advantages of a
monochrome sensor: high pixel-level
sharpness, low noise, end excellent
dynamic range. If you’re a Pentax user with
a nice set of APS-C lenses, who loves
shooting in black & white and has the
money to spare, it’s easy to recommend.
It’s a fine camera that will repay you with
superb results.
For anyone else, though, I’m not so sure.
While £2,249 is a dramatically lower price
for a specialist mono camera than Leica’s
offerings, I just don’t think the K-3 Mark III
Monochrome has the same aspirational
appeal. A chunky APS-C DSLR simply isn’t
the same object of desire as a beautiful
ISO and noise minimalist rangefinder, and it doesn’t offer
such a special shooting experience, either.
One area where the monochrome sensor positively shines lies with If we were looking at a compact, tactile
high-ISO noise, or rather, the lack of it. At low sensitivities, the 26MP full-frame DSLR that could use all those
sensor resolves detail exceptionally cleanly, with barely any visible film-era K-mount lenses without cropping,
noise, and this is maintained right through to ISO 3200. The finest it might be a different matter.
texture starts to blur away at ISO 6400, however the sensor continues This, in turn, highlights another elephant
to give entirely usable images right up to ISO 102,400. Even higher in the room. If you’re a Pentax user who
settings might be workable if you don’t mind a rough, grainy aesthetic. wants black & white files with higher
The crops shown below are taken I’m not convinced by the very highest settings beyond ISO 409,600, but resolution and lower noise than the K-3
from the area outlined above in red then again, I can’t really envisage any situation when you’d need them. Mark III, why not just buy the full-frame K-1
Mark II instead, which costs rather less at
RAW ISO 200 RAW ISO 6400 RAW ISO 102,400 £1,699? You could put the extra money
towards a lens or two.
I don’t want to sound too critical of the
Pentax K-3 Mark III Monochrome, though.
It’s still a fine camera that succeeds on its
own terms. It’s also great to see a
company other than Leica proving the
advantages of the monochrome sensor.
I just wish more would follow.
RAW ISO 409,600 RAW ISO 819,200 RAW ISO 1,600,000
FEATURES 8/10
BUILD & HANDLING 9/10
METERING 7/10
AUTOFOCUS 8/10
AWB & COLOUR N/A
DYNAMIC RANGE 10/10
IMAGE QUALITY 9/10
VIEWFINDER/LCD 8/10
ACCESSORIES Testbench
Vanguard Veo City CB29

Cross Body Bag Elasticated
sections
Amy Davies tries out this compact shoulder Larger accessories can
be held in place using
bag which can fit a surprising amount of gear the elastic straps
inside the bag.
● £109.99 ● vanguardworld.co.uk
Sitting in the middle of Vanguard’s VEO City range,

the 6-litre CB29 is ideal for carrying enough kit for
everyday or travel usage, without getting bogged
down with the excessive weight a larger bag can
tempt you to bring ‘just in case’.
To put this into real terms, it’s designed to hold a
mirrorless camera or small DSLR, plus one or two
additional lenses. Of course, this will depend on the
camera model and the exact lenses you use. A long
telephoto lens is not going to fit, but something like
a standard zoom plus an additional prime lens, or
possibly even two, should fit perfectly well.
You can adjust the main pocket using the padded
dividers depending on how many spaces you need,
and how large you need them to be. I’ve used it with
Tripod
Straps are included which
a Nikon Z 7II with a 24-70mm f/4 attached, plus a enable you to attach a
35mm f/1.8 lens. I’ve also used it with the smaller small tripod or gimbal at
Nikon Z 30 plus kit lens, where I was able to fit an the bottom of the bag.
additional three small lenses in the sections.
There are also lots of additional pockets and Compartments
clever ways to store accessories. Small pockets are As well as the
the perfect size for memory cards, while elasticated customisable main
loops can be utilised for holding larger accessories compartment there are
in place. A smaller set of such loops is also present pockets for a tablet,
for organising cables. accessories and a rear
The bag can be worn across body, with a pocket too.
removable shoulder strap. This can be extended so
the bag can sit higher or lower on your body. The
bag opens at the top but outwards in a sideways
fashion, giving you plenty of space to see and find
what you’re looking for. Top opening
Aesthetically speaking, the bag is smart and The bag opens from the
stylish, coming in three different colours (blue, top and out to the side,
green or grey). The leather finishes add a sense of which is helpful when on
class and will likely make frequently touched points, the go.
such as the handle, more hard-wearing. On this
note, the bag is constructed of Air Textured Yarn GOLD
which forms a heavy-duty protective nylon fabric that
is designed to be tear- and abrasion-resistant.
It’s also water-resistant, including a waterproof zip.
CABLE ACCESS SLOT
An additional rain cover is included in the bag for At a glance
total protection in heavy downpours. A neat touch with this bag
● Fits a mirrorless or small is the ability to run a cable
ALL PRICES ARE APPROXIMATE STREET PRICES
Verdict DSLR camera + 1-2 lenses from the inside to the

If you’re looking for a small bag to carry over the ● Water-resistant design outside of the bag via a
shoulder for quick and easy access to a small but ● Tablet compartment up to 8in small hole. This gives you
expertly curated selection of kit, this is a great ● Removable shoulder strap the scope to charge your
choice. It would complement something larger you ● 31x13.5x21.5cm external camera or smartphone
have for when you only need a lens or two, for ● Leather accents from a battery pack stored
instance when travelling. within the closed bag.
Tech Talk
Improve
Professor Newman on… your
Patent hunting
photography
with a
subscription
Professor Newman looks at the autofocus systems of to Amateur
Nikon’s Z mount and Canon’s RF mount Photographer
magazine!
I
f someone wants to know
the details of how
something works, then very
often the best source is a
patent. A patent is a deal
between an inventor and the
state. In return for a guaranteed
monopoly for a period (up to 20
years) the inventor makes public
how the invention works, which
goes into the public domain.
The patents that I’m looking at
in this article are US 11,415,771
from Nikon Corporation, which
provides the base definition of
SAVE
the Z-mount system, and US A stout defence. Handheld long lens shots benefit from synchronisation
10,591,808 from Canon, which of camera and lens stabilisation. Both the Nikon Z and Canon RF
does the same for the RF mount. mounts provide an extra communication channel for this purpose UP TO
49%
The first thing that is apparent *
is how similar they are, including data paths between the lens and data transfer, as happened in the
the peculiarities that distinguish camera. In both cases, the first Canon system. It was somewhat
them from other autofocus mount data path is a bi-directional link, surprising, therefore, to find that
systems. One problem with any based on the Serial Peripheral the Z system’s second data
electronic mount system is Interface (SPI) system developed interface is labelled as ‘hotline’.
ensuring that power supplies by the original Motorola company Even more intriguingly, the Canon
don’t short out when the lens is in the 1980s. This was first patent has a similar provision.
twisted onto the camera. As with applied to cameras in the Canon The question that comes to mind
the EF mount, Canon handles this EF mount, since at the time is why such an interface is
by putting the power terminals at Canon used Motorola processors. needed, when the data rate is
a different depth from the data Nikon’s first AF lenses also used already more than sufficient?
contacts, so that they only a variant of SPI for lens data The answer comes from a closer
connect when the lens is fully transmission, though using a examination of the patents. This
twisted on. The Z mount handles shared data line for body-to-lens data is used, amongst other
this differently. The last contact
to connect is a ‘lens detect’
and lens-to-body communication,
which made it somewhat slower.
things, to communicate the
configuration of a lens’s image 2 EASY
terminal, which works in a simple
analogue manner. A resistance
However, the new Z standard
operates at a data rate of 8
stabilisation elements to the
camera. If a camera has in-body
WAYS TO
between the terminal and the
ground allows the camera to
million bits per second, which
makes it about a hundred times
stabilisation, and it is to work
together with in-lens stabilisation,
SUBSCRIBE
detect the lens, and only then faster than the original EF mount. the camera needs continuous Visit
does it turn on the power. There When the Nikon AF mount was and uninterrupted information shop.kelsey.co.uk
is an analogous terminal in the updated to use in-lens motors, it about the amount of correction /AMP823P
RF system too. Here the value of gained two analogue signals, being applied by the lens, and
the resistor tells the camera not which Nikon called ‘hotline’ in its this interface provides it. Other
Call us on
only that something is connected manuals. The purpose of this functions, such as continuous 01959 543 747
but also whether it is a lens, was to allow the body to track the data on focus and aperture and quote AMP823P
teleconverter or mount adapter. movement of the lens focus, the settings are likely not needed for Lines are open Mon-Fri 8.30am to 5.30pm. Calls are
charged at your standard network rate. UK Direct Debit
The next similarity is that both main lens data interface being stills, but could facilitate smooth offer only. You will pay £86.60 every 6 months. *Savings
are based on the yearly cover price plus postage. Offer
ends 30 September 2023. Your subscription will start
mounts provide two independent too slow to do this using digital transitions in video. with the next available issue, and you will receive
51 issues in a year. Prices correct at time of print and
subject to change. For full terms and conditions visit
shop.kelsey.co.uk/terms. To see how we use your data
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of view our privacy policy here shop.kelsey.co.uk/privacy-
policy. You may unsubscribe at any time.
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer
Photo Critique
Peter Dench considers...

Patient being fitted for glasses at Moorfields Eye
Hospital in east London, 1950
I
was born with a lazy left
© TOPFOTO
eye. It wasn’t the left
eye’s fault. It was so bad it
could peer round corners.
Treatment for a lazy eye should
ideally start before age seven,
when vision is still developing.
As soon as it was practical,
my fully functioning right
eye was covered with a white
patch. This forced the lazy left
to work harder. The patch was
paired with NHS glasses. The
NHS boasted that many stylish
frames were available in stylish
colours. I remember two styles
and six colours: ice blue, crystal,
flesh, light brown mottle,
dark brown mottle and black.
The flesh-coloured ones were
basically pink and preferred by
girls; the ice blue ones by boys.
Gender fluidity hadn’t flowed
into 1970s Dorset. I was given
a dark brown mottle pair. The
lens for my lazy eye was as
thick as the bottom of a bottle
of brown ale.
Pudgy son
My dad was a slim, good- medium of photography. ‘This image captures the optimism and
looking, lithe, nine-stone able Whenever I was called
sportsman. I may have been ‘Specky Four Eyes’ in the ideals of the NHS’s early years’
paranoid but when walking school playground I didn’t
in public, I sensed he walked mind. I just thought of all the having the optometrist by Hoxton Mini Press, part of
a few steps ahead of his slightly cool kids who wore specs my breathing closely on my face, its Vintage Britain series. A
pudgy NHS-spectacle-wearing age like the Milky Bar Kid. ‘The the hairs all over my body nostalgic celebration of the
son who was constantly Milky Bars are on me!’ I’d shout would stand to attention. NHS, published to coincide
breaking them by walking into before riding away on an I wanted to please them with with the 75th anniversary.
things. I didn’t choose the imaginary horse, firing my answers to which lens made This image is just one
spectacles where the arms imaginary pistols, singing: ‘The the text, colours and shapes of many that capture the
curved inwards and the feet Milky Bar Kid is strong and look sharper. optimism and ideals of the early
were made to circle around tough, And only the best is This photograph captures years and celebrate the NHS’s
the ears in a bid to keep them good enough, Creamy milk a a girl being examined and many triumphs and trials,
from sliding off during play whiter bar, The good taste that’s fitted with spectacles at the providing a reminder of the
as they made my ears pinch in Milky Bar. THE MILKY BARS Moorfields Eye Hospital in importance of its continued
painfully. For the first five years ARE ON ME!’ I didn’t actually London, which remains one of survival. My left eye remains
of my life I couldn’t see. It’s particularly like them. the best eye hospitals in the lazy and I’m grateful for the
perhaps no surprise I ended I did like the free NHS eye world. It’s from the book, The optical adventures the
up working in the visual tests. I found it exhilarating National Health Service published NHS has afforded us.
Peter Dench is a photographer, writer, curator and presenter based in London. He is one of the co-curators of Photo North and has been exhibited dozens of times. He has published a number
of books including The Dench Dozen: Great Britons of Photography Vol 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England and England Uncensored. Visit peterdench.com

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On sale Tuesday 29 August 2023

Full frame vs MFT

The quest for a perfect shot KELSEYmedia

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