Tuesday 11 January 2022

Sig ma 24 m m F2
ing image quality
Outstand
pact, metal-bodied lens
in a com
TESTED

Passionate about photography since 1884

Mono culture
This is the perfect time to shoot b&w landscapes.
Jeremy Walker shows how to achieve great results

Canon EOS 60D

Why this used gem is
£200 well spent

Rankin gets
theatrical
Shooting London’s
stage stars on the
Fujifilm GFX100

Google it
Is the Google Pixel 6 Pro
£3.49

the best phone camera yet? KELSEYmedia

Plus The story of the RPS O On a shoot with the fast-growing UK Shooters community
 Masters
of Colr
Over 80 years of experience in
photography goes into every camera
we make. It’s part of what makes
the FUJIFILM X Series special

FUJIFILM-X.COM
IMAGE TAKEN BY UK X-PHOTOGRAPHER ALAN HEWITT

Photography can be enjoyed by
introverts and extroverts in equal
measure. It can be a solitary or a
COVER PICTURES © JEREMY WALKER / © RANKIN
7days
very different photographic communities. We look
back at the venerable history of the world’s oldest
society, the RPS, and go on a shoot with one of its

social pursuit. This week AP has a
foot in both camps. If you love
nothing more than being alone
in a desolate landscape with just your thoughts and
your camera you’ll enjoy Jeremy Walker’s guide to
mono winter landscapes. On the other hand if you
relish social interaction we highlight two great but
newest: UK Shooters. Both take a very different
approach but share the same mission of spreading
the joy of photography around the world. We also
talk to one of photography’s greatest ambassadors,
Rankin, about his latest project on London’s
theatreland, and the talented folk who work in it.
See you next week! Nigel Atherton, Editor

If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
This week’s SOMETHING TO SAY? Write to us at ap.ed@kelsey.co.uk with your letters, opinion columns (max 500 words) or article suggestions.

cover image PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to ap.ed@kelsey.co.uk.
JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
This dramatic landscape facebook.com/ flickr.com/groups/
amateurphotographer.co.uk amateur.photographer.magazine amateurphotographer @AP_Magazine @ap_magazine
photo was taken by top
pro Jeremy Walker on his
Nikon D810 with a 35mm
f/2 lens. See our feature
on page 14
This week in 1963
TREASURES FROM THE HULTON ARCHIVE
In this issue
3 7 days
14 Set the mood
20 Inbox
24 Reader portfolio
26 Rankin’s peak
performance
30 Better together
34 Pillars of the
society
39 Sigma 24mm
F2 DG DN
Contemporary
43 Google Pixel 6 Pro
47 Second-hand
Classic
50 Accessories
51 Tech talk
53 Buying Guide:
Cameras
66 Final analysis

Duke Ellington by Victor Drees

American jazz musician and band leader Duke incredibly important and iconic figure in jazz music,
Ellington (1899-1974) smokes a cigarette on a sofa Ellington himself termed his music as ‘beyond
at the Dorchester Hotel in London with a music category’. In 1999 he was awarded a posthumous
score in his lap during the British phase of his Pulitzer Prize Special Award for music to celebrate the
SUBSCRIBE European tour. Although generally considered an centenary of his birth.
AND SAVE! The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic
See page 38 for details
Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.
 Our favourite photos posted by readers
on our social media channels this week

AP picture
of the week
From Dawn of Humanity
to the Milky Way
by Marco Bruni
Nikon D850, Nikon 28mm f/1.8G, using a tripod
and mirror up, 10 secs at f/2.8, ISO 3200
‘This photograph is of the Milky Way seen from
Stonehenge. I decided on the title while I was there,
inspired by what was before my eyes and by the fact
that on that day the Nobel Prize for Physics had just
been awarded to Giorgio Parisi, a physicist from the
same department in Rome where I was an
undergraduate,’ says Marco, a theoretical astrophysicist,
who teaches maths and physics at University of
Portsmouth. ‘I usually spend my time studying
equations, rather than looking at the sky. This is my first
attempt at astrophotography. I went with fellow
photographer Michael Palmer (www.michaelpalmer.com)
who had organised an Astro PhotoExperienceDay at this
location.’ See www.flickr.com/people/broni_foto,
Instagram @broni_1.photo.

#appicoftheweek
Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Each week we choose our favourite picture on Facebook,

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

4
DoubleTree Reflections by
John Dids
Sony A7 III, Sony FE 28-70mm f/3.5-5.6 lens,
1/6sec at f/4, ISO 2000
‘I got into photography around five years ago just
taking snaps on my smartphone. It was only last
year when we went into lockdown that I started to
take it more seriously and bought my first DSLR
(Nikon D5600), before investing in a
better mirrorless camera,’ says John, a keen
landscape, creative and night photographer from
Blackpool. ‘This photo was taken by chance. I was
on my way to Manchester but because the weather
was so bad, I turned the car around and headed to
Leeds. I didn’t do any research beforehand so just
hit the streets to see what I could snap. I stumbled
across Briggate Place and right next to it was the
DoubleTree hotel on the canal side. It looked so
inviting with the lights and reflections on the canal,
so I set my tripod up and snapped away.’
See www.facebook.com/johndidsphotography
Instagram: @john_dids

5
 We also liked...

Bonnie’s Eye by Nick Pollard

Sony A6400, Sony 70-350mm lens at 207mm, NiSi
Macro filter, 1/200sec at f/14, ISO 3200
Seagulls in the Mist
‘Photography and I have had a love/hate relationship. by Steve Rex
I love it, it hates me... until recently, when after an Fujifilm X-T2, 18-55mm lens at
impulse buy on a Sony A6400 I finally made sense of 55mm, 1/900sec at f/9, ISO 200
the whole exposure triangle (thanks, YouTube) and Steve says, ‘I have been interested in
started getting some reasonable shots. My partner and photography for 50+ years. I bought
I “collect” cats and we have eight living with us which my first digital camera, Panasonic’s
gives me a constant stream of opportunities to take FZ30, in 2006, and the Fuji in 2019.
photographs. Armed with a recent purchase of a NiSi My main interest is landscape, mainly
Macro filter I ascended on Bonnie, who was pleasantly sunrise and sunsets especially if it is
sitting by the window in our kitchen, and I started a bit misty. I am lucky that my house
taking shots. After managing to get the focus and DOF in Shropshire has some wonderful
just right, luck was on my side and photography finally views, so I don’t have to go too far,
loved me back.’ See Instagram @harmony_house_cats. and the farmer lets me walk about in
his fields. This particular morning, I
had already taken a few pictures and
when I looked around, I could see the
gulls in the field so tried to get around
that side of the field as I thought it
would make an interesting picture.’

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.

6 www.amateurphotographer.co.uk
 Winter Thrill
by Dolly
Nikon D800, 105mm,
1/640sec at f/3.5,
ISO 400
‘I’ve always loved flowers
so garden photography was
an obvious choice for me. I
started photography during
the first lockdown and
haven’t looked back since.
Like most, I’m hoping to
become professional one
day. In 2021 I was asked to
be part of a photography
exhibition at the Brick Lane
Gallery. This photo was
taken in my garden on a
biting cold winter morning.
I looked out and saw the
frost and thought, I should
be out there with the
camera. Using the macro
lens really helped capture
the cold frosty edges to this
bay tree.’ See Instagram
@dollysdailypics, Twitter @
dollysdailypics, and
www.thedollygallery.com.

www.amateurphotographer.co.uk 7
 Panasonic Lumix
GH6 launch delayed
PANASONIC has announced that its
Lumix GH6 mirrorless camera has been
delayed until the spring.
‘Regarding the GH6 which was developed
and announced on May 26, 2021, we were
the moment. At the beginning of December,
for example, Sony announced its ZV-E10
blogging camera would be postponed, having
already halted orders temporarily for the
APS-C A6100 and A6400 mirrorless models,

Fast Voigtlander 50mm aiming for commercialisation within 2021,

F1.0 for Leica M
COSINA has announced the Voigtlander
50mm F1.0 Nokton Aspherical VM lens
for Leica M mount. With an optical design
comprising 9 elements in 7 groups, it
includes a large ground aspherical element
at the front of the lens, along with another
aspherical element at the rear. The firm
claims that this allows it to deliver sharp
images with an ‘enhanced bokeh effect’.
Relatively compact and lightweight given its
ultra-large aperture, it measures 73.6mm
in diameter and just 55mm in length, while
weighing in at 484g. The minimum focus
distance is 90cm and the lens employs
62mm filters. It’s on sale now for £1,649.
but it is expected to be delayed,’ the
company said in a short message on its
Japanese website. ‘Currently, we are aiming
for commercialisation in early 2022. We
sincerely apologise for any inconvenience
caused to customers who are waiting for
this product.’
While no official reason was given for the
delay, an ongoing global semiconductor
shortage is making life difficult for makers at
and the older full-frame A7 II.
Panasonic’s GH6 was announced at the
end of last May and is expected to feature a
new image sensor and processing engine.
The firm also promised unlimited DCI 4K
recording with 4:2:2 1-bit colour, along with
10-bit 5.7K 60p video. ‘This implies that the
new sensor will require a resolution of at
least 24MP, which is higher than any existing
Micro Four Thirds model,’ we said in our
original news story.

Panasonic has
delayed the
release of the
Lumix GH6

Stark reminder of
shrinking ice
NATIONAL Geographic photographer
and Nikon Ambassador Thomas
Peschak has released a film and images
which reveal how climate change is
shrinking Switzerland’s glaciers. He
recreated an image taken in 1959 of two
geologists measuring the Gornergletscher
glacier and found less than half of the ice
remained in the lower half of the glacier.
‘Thomas felt that having both the old
picture and the new scene in one frame
would better illustrate the major impact
climate change was having on this
landscape,’ said Nikon. ‘Using his Nikon
Z 9 and a slow shutter speed, he
“collaborated’ with the wind, resulting in an
image, which almost looks like it is moving,
much like the glacier itself.’ See his video
at bit.ly/nikonglacier.
Societies show now March, get 10% off
THE SOCIETIES of Photographers has
announced that its annual London Photo
Convention and Trade Show has been
moved to March 2022.
Now in its 19th year, the event will take
place from 16-19 March at the Novotel
London West in Hammersmith, with the
organisers promising 100 exhibitors, 200
hours of classes from 80 speakers, a
dedicated business school, a photographer of
the year presentation and more.
‘Sony, Canon, Epson and Fujifilm are just The Societies show has been moved to March
some of the leading companies lined up to
show their latest products, supported by register online before 28 February, and AP
CameraWorld and Park Cameras,’ said the readers can also get 10% off the paid-for
Societies’ Colin Jones. ‘The move to March masterclass events by using the code AP10.
has been welcomed by the photographic For full details, trade show registration and
trade and members alike.’ to use the AP discount code, see
Entry to the trade show is free if you thesocieties.net/convention.

8 www.amateurphotographer.co.uk
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 Viewpoint
John Gilbey
An idea to capture graduation pics during covid
almost failed in the effort to keep continuity
O
ne of the many threads of my
life as a freelance is
capturing graduation images
for my local university. It’s a
pleasant duty and there are drinks and
nibbles afterwards, which makes for a
pretty much ideal gig.
Covid-19 changed everything. The
graduation ceremonies were postponed
into the future, celebratory gatherings
were discouraged and the new graduates
missed out on a defining moment of
their academic careers – the group
photo. This summer, the second of the
pandemic, a colleague decided we could,
and should, do something about this.
Why not, he suggested, build the class
graduation photograph from a series of
individual images of the students – to
give the impression of the real thing?
The idea was simple, but took much
longer to plan and execute than either of
us had expected. The permissions and
risk assessments were, rightly, complex
– to ensure we didn’t expose anyone to
an increased risk of infection. Eventually,
we thrashed out a plan involving small
groups of students arriving every ten
minutes during the afternoon at the
usual photo location – never less than
2m apart. They were marshalled into
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR KELSEY MEDIA LIMITED
position on preset markers showing the
specific location of each person.
Across the courtyard I stood with my
D800 and 50mm Nikkor mounted on the
heaviest tripod I could carry – capturing
the whole stage in each image. Three
quick shots and each group departed. A
slow process, but manageable – until the
skies darkened and, in blithe disregard
for the weather forecast, torrential rain
began to fall.
www.amateurphotographer.co.uk
I was relying on accurate registration of
the images, so I couldn’t demount the
camera and take cover. So I stood
sheltering my Nikon under the umbrella
that forms part of my emergency kit. The
students, to their credit, kept arriving
– standing in the downpour and smiling
stoically while water lapped around the
tripod. Eventually the sky began to clear,
we finished imaging the last row of
students and were free to pack up.
Row, row, row
Back in the office, I realised just how
dramatic the range of lighting conditions
was – so I set up a workflow to even out
the worst excesses. Once I’d chosen the
best base image of the venue – dry, with
diffused light – I started to plan the
construction. Starting with the back row,
I created an image file cut-out for each
person – labelled A1, A2, A3... Then I
assembled the row onto the base image,
slightly adjusting positions as necessary,
before flattening that set of layers. When
I reached the front row – row E – I spent
a while adding shadows under their
shoes to add a touch of realism.
The result was radically less formal
than previous photos, and if the sun had
shone gently throughout it would have
been much better. The rainstorm had an
obvious impact on tonality, with isolated
rain streaks clearly visible in the image.
Still, it was much better than nothing,
and the customers seemed to like it. I
just hope that things next year return to
normal, and this was an exercise that
will never need to be repeated.
John Gilbey is a writer and photographer based in west
Wales. He tweets as @John_Gilbey
Books
The latest and best books
from the world of photography
Far Far East by Alexa Schels
and Patrick Pichler
£49.95, TeNeues, hardback, 272 pages,
ISBN: 9783961713479
With travel off the cards for so many of
us, armchair travel in the form of
beautifully printed photography books
has perhaps never been so popular.
One such book that you can use to
dream of distant lands is Far Far East.
This gorgeous collection of images from across Asia
is one to truly lose yourself in.
Eight countries are featured, with everything from
stilt fisherman in Sri Lanka and reindeer nomads in
the Mongolian steppes, to the heady busyness of
downtown Tokyo and the wilderness of the
Himalayas. Accompanying the stunning photography
is insightful and inspiring stories of personal
encounters. It’s a homage and a love letter to the
kind of travel we were able to do without restrictions,
and hopefully something we can all return to in the
not-too-distant future.
All the Things You Are
by Fie Johansen
£35, Kehrer Verlag, hardback, 120 pages,
ISBN: 9783969000403
Shot over two years in Copenhagen
Zoo, this book reflects on who we are
as humans, taking a closer look at
other species with whom we all share
a certain amount of DNA.
The black & white imagery is
unusual, and at times, arresting, as we are generally
so used to this kind of work being shot in full and
vibrant colour. It helps us acknowledge that animals
are individuals, conscious and aware of their
surroundings. Making animal portraits relatable is
something that several natural history photographers
take as an approach; it works particularly well here.
An interesting and beautiful book for those with an
interest in animal photography – especially
considering these were taken in the type of place
which many of us can also visit too.
11
From the archive
Nigel Atherton looks back at past AP issues

The leader page shared a tale from Libya ‘Action’ by AP Editor F J Mortimer

13 January 1943
IN JANUARY 1943 the world’s largest office building, the
Pentagon, opened in Arlington, Virginia, and Casablanca
opened in US movie theatres. In the theatres of war The
Battle of Stalingrad and the Guadalcanal Campaign were
reaching their climax and, on 23 January, the British Eighth A view of Manhattan by Harvey A Falk Making small prints with an enlarger
Army captured Tripoli. AP’s leader page relayed an anecdote
from the North African front to convey how photography is
‘a universal language that says something to everybody, be
he East or West, Eskimo or Ethiopian. It even bridges the
wide chasm between armies. Recently, when the Army
Photographic Unit in the Middle East, intent on making a film
of the Eighth Army’s victories, reached Benghazi, the
Commanding Officer of the photographic sergeants met his
opposite number in the German Film Unit. And the German
disclosed the fact that he had lived in London for seven years
making advertising films.’ It is not known whether the unit
used any of the cameras obtained via the weekly Wallace
Heaton ads in AP begging the British public to sell their Leica
and Contax cameras to aid the war effort – one of these ads
was on the cover of this issue, though you’d have thought
that after two years of these ads anyone who had not already
parted with their camera was probably unlikely to do so.
Articles in this week’s issue included ‘Eyestrain and the
Photographer’, Making Small Prints with an Enlarger’, and
‘Twelve Uses for Gumstrip’ – which here included any kind of
adhesive tape on a roll – while Readers’ Hints, Tips and A second ad from Wallace Heaton asking An Ilford ad on the back cover illustrated
Gadgets explained how to make a tripod out of wood. for readers’ Leica and Contax cameras by a picture of a destroyer by Lt C J Ware

12 www.amateurphotographer.co.uk
 CELEBRATING
THE YEAR’S
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visit www.eisa.eu for the winners
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in all aspects of consumer electronics from mobile devices, home theatre display and audio products,
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the EISA Awards and official logo are your guide to the best in global consumer technology!

n WWW.EISA.EU
 Technique
Jeremy Walker
Jeremy, one of the UK’s leading landscape photographers,
is known for his eye-catching panoramas and moody
black & white landscapes. Landscape is his acclaimed
first book and he is in much demand as a speaker, writer,
and workshop leader. See www.jeremywalker.co.uk or
follow him on Facebook or Instagram.

Set the
mood
How to capture atmospheric
monochrome scenes. Landscape guru
Jeremy Walker is your guide

W
hy mono? It’s a
simple enough
question. Why
not instead
utilise the full ability of the
modern sensor and shoot in
glorious colour? To me, the
answer is not a technical one.
I find there is an undefinable
quality about black & white
images that I just don’t get
from an image that was
shot at sunrise or sunset and
packed with super-juiced post
production primary colours.
Black & white imagery is of
course not for everyone, and
I recently heard a client on a
workshop say bluntly, ‘I don’t
do black & white’, which is fair
enough, but I feel they are
missing out on an incredibly
creative part of the
photographic process.

Cuillin Hills in winter, Isle of Skye

Nikon D810, 1/640sec at f/8, ISO 64. Three images stitched
together in Photoshop. Converted to B+W in Silver Efex Pro

14 www.amateurphotographer.co.uk

The days of starting your
photographic career by mixing
chemicals in the bathroom,
sticking bin bags across the
window to achieve blackout, an
enlarger precariously perched
on a stool and prints being
washed in the bath probably
just do not happen any more,
but processing your own black
& white negatives and then
printing them really
concentrated the creative mind.
You looked at the world in
black & white, your whole
photographic output was in
mono and so you looked at the
www.amateurphotographer.co.uk
world in terms of shadows,
tones, contrast and texture.
Colour, unlike today, rarely
came into the equation.
Being in the right place
at the right time
Shooting moody, mono
landscapes requires a great deal
more effort than just getting up
for a sunrise or sunset and then
hitting the saturation slider in
post production. Having found
a location that will work well in
mono is one thing; being there
at the right time in the right
conditions is another. Weather
forecasts showing the
percentage of cloud and rain,
wind speed and direction
become critical. A forecast
showing a 50% chance of rain
with the wind at 15 to 20 miles
an hour can be encouraging.
Basically, look for sunny
intervals with frequent showers.
Clearing (or approaching)
storm clouds on a background
of deep blue sky with dark
patchy shadows scudding across
the landscape are heaven for
those photographers who want
oodles of mood and drama,
although there is a price to pay
15th century tower
house in late autumn,
Dumfries and Galloway
Leica M10-R, 1/30sec at f/8, ISO
100, Silver Efex Pro
for such dramatic conditions.
By the very nature of wanting
storm clouds, the chances are
you are going to get wet, cold,
hit by hailstones or even
snowed on, but trust me on this
one, it will be worth it.
Hunkering down on a
hillside, even well prepared and
in the right outdoor kit, can
seem slightly unpleasant at
times but when the storm clears
you are there, in place and
ready to shoot. There is no
getting out of the car, getting
togged up and having to
walk to the right spot; if
15
 Technique MOODY MONO LANDSCAPES Avebury stone circle in
late winter, Wiltshire
Leica M10, 1/125sec at f/5.6, ISO
100, Silver Efex Pro

Marlborough Downs in late summer, Wiltshire

Leica M10, 1/250sec at f/8, ISO 100, Silver Efex Pro

you do this the chances landscape anyway and the sun of feel and look you are going to
are you will have missed is never going to climb too high give your images. The doyen of
the shot, that transient moment in the sky. many landscape photographers,
when all the elements have Ansel Adams, always said
come together for just a split Post production visualise the final print on the
second. Yes, you may have to When you are shooting moody wall before you take the camera
suffer a cold waterdrop mono landscapes, you should out of the bag, and this still
dribbling down your neck or a be aware of how you are going holds true today. When
hard hailstone hitting home, to process them and what sort you are on location you
but to be in the right place at
the right time, ready and
waiting and then getting the
image, there is no better feeling,
JEREMY’S TOP TIPS
even after hours of discomfort.
Thinking and shooting in
mono also opens up the
possibility of a larger, longer
working window. Sunrises and
sunsets with their pretty pink
skies come and go after about
an hour but when you are
shooting in mono there is often
an opportunity to be shooting
much longer into the day. Yes,
the conditions and location will
play a huge part in how long Follow the weather forecasts Go prepared
you can shoot for but even Don’t be put off by warnings of showers or There may be a great deal of hanging around
several hours after sunrise or even storms. You want moody and waiting for the perfect conditions. Warm
before sunset you can often still atmospheric conditions, but you need to find waterproof clothing and the correct footwear
use the light to your advantage. a balance of showers, sunshine, and a strong are the essentials but carrying a flask of
Late autumn, winter and even breeze. Use at least three different coffee and some comfort snacks can be just
early spring are great times to forecasters to get a good cross-section of as important. A soft waterproof cushion to sit
be thinking in terms of what is likely to happen. on and protect you from cold and damp
shooting mono as there is surfaces during a long vigil is also a must!
precious little colour in the

16 www.amateurphotographer.co.uk
Make use of filters
Use grads, polarisers and any other filters
that will have an impact on how a colour or
hue will translate into black & white. It’s
also important you get to know your software
and how it works with and interprets your
raw files. This comes with experience so
don’t let one shoot put you off. The more
you shoot and process, the better
understanding you will gain.
www.amateurphotographer.co.uk
Appropriate subject matter Perseverance
Large, dark brooding skies work well over
castles and ruins, less so over pretty
rose-covered cottages. Try to choose a
subject matter where the mood and drama
help tell a story – ancient stone circles,
Neolithic earthworks, and abandoned
buildings like old churches can all look
amazing with stormy skies and fleeting
patches of light.
Judging the conditions at any given location is
never going to be easy. There will be a great
deal of frustration when the elements do not
come together, hours spent just waiting with
nothing to show for it. But when the light,
clouds and the landscape come together in
harmony the struggles will be worth it.
17
 Technique
should know what look
and feel your image will
have and when you are sat in
front of your computer you
should know how to achieve
the desired result.
Creating moody mono
landscapes is not just a case of
pushing the saturation slider to
the left in Photoshop,
desaturating the image and
hoping for the best. Contrast,
clarity and colour channels can
all come into play in creating
the look and feel you want.
Possibly the best-known
software for creating black &
white images is the superb Nik
Silver Efex Pro. It is a very
creative and powerful program
with many presets but it too
has its limitations. It can be a
very aggressive piece of software
so you need to check your
images carefully for any
deficiencies and imperfections
that it may create. In using
software that has many presets
you also risk having your
images look like everyone else’s
and so you must be very careful
and selective in what you use.
Look to create your own style,
apply a pic ‘n’ mix type of
approach to your selections so
that hopefully no one else will
have quite the same look and
Beech Trees, Marlborough Downs, Wiltshire
Leica M10, 1/250th at f/8, ISO 100, Silver Efex Pro
feel to their images.
You have visualised and shot
your landscape as a black &
white, but of course the camera
chip is seeing colour (unless
you have the stunning Leica
M10 Monochrom) and the
resultant raw file will contain
all the colour information that
was in front of you at the time
of shooting. In converting the
raw file to a black & white
image the software is using the
colour information and you can
turn this to your advantage. For
instance, if you want dark black
skies, make your blues as dark
as possible, using a polariser or
grad. Even when you are
shooting for a black & white
image you still must be aware of
colour and how its conversion
will affect the resultant image.
Conclusion
Even if black & white
photography is not for you,
I urge you this winter to give it
a go. Not just pleasant images
with a wide tonal range and a
well-balanced histogram but
images with solid blacks, and
mood and drama by the
bucket-load. Set your camera
monitor to mono and visualise
and explore a drama-filled
world devoid of colour.
 Kilchurn Castle, Loch
Awe, Scotland
Nikon D810, 1/6th sec at f/11,
ISO 64, Silver Efex Pro

AFTER

Why it works BEFORE

▲ The ruins of Kilchurn Castle on the shores
of Loch Awe are often photographed at
sunrise with calm waters, reflections, snow on
the hills and perhaps a thin layer of mist
wafting by. I wanted to see what the castle
was like late on a breezy, wet winter’s
afternoon. My visit was more in hope than
anticipation as it had rained all day. Scotland
in winter is always a frustrating battle against
the elements.
Storm clouds hung over the hills, the wind
ruffled the water, and the sun was well hidden,
not a promising start. However, just for a few
minutes a beam of light pierced the gloom
and illuminated the stark trees in the
foreground, the castle being almost an
afterthought in the distant background. I knew
then with a bit of work in Photoshop and a
black & white conversion in Silver Efex Pro
I would have the moody and dramatic image
that I had in my mind’s eye.
Judging the scene when you shoot it and
knowing your software are key to this type of
image. At the time of shooting, you should
have an idea of what your final image will look
like, and how you are going to achieve it.

www.amateurphotographer.co.uk 19
YOUR LETTERS

Amateur Photographer

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Special thanks to The moderators of the AP
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LETTER OF THE WEEK significantly lower cost of
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Management
Chief Executive
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Samsung NX system taxes etc). Also bear in
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Managing Director Kevin McCormick I partially agree with your response to excludes tax, while the UK
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Publisher Liz Reid Mike O’Regan’s letter about Samsung price includes 20% VAT.
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only sell a relative greater choice I prefer JPEGs
Print Production Controller Hayley Brown few of their of lenses for In reply to comments on
cameras. I myself his Samsung Malcolm Foulds’ letter
Subscriptions
51 issues of Amateur Photographer are have owned and NX-30 (26 October) I am a firm
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Customer service and subscription postal
address Amateur Photographer Customer Samsung’s superb sufficient for my
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Kelsey Media, The Granary, Downs Court,
Yalding Hill, Yalding, Maidstone, successful isn’t due The quality of the Samsung system up to A4.
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Find current subscription offers on to the firm not selling was on a par with Canon, Olympus, There was merit in
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Already a subscriber? many cameras but the fact that very Fuji and Sony (all of which I’ve owned) preferring raw back in the
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Distribution in Great Britain means used prices still remain and along with it, a new collection of in front of a screen.
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and the Republic Of Ireland raws, agonising over
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original work of the author and not previously published.
Where photographs are included, which are not the Pete Jeans
property of the contributor, permission to reproduce them
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letters and emails received. The views expressed in the
Price discrepancy other markets are asked putting off going mirrorless Me too
magazine are not necessarily those of the Editor or the I think we can all agree to pay more. The UK price but thought this camera Regarding your raw versus
Publisher. Kelsey Publishing Ltd accepts no liability for that the new Nikon Z 9 of £5,299 is over $7,000 would be the one; but not JPEG debate, I only use
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Kelsey Media takes your personal data very seriously. For appears on the face of it at the current exchange at the premium Nikon JPEGs as I want to take
more information of our privacy policy, please visit www. to be a great camera. rate. Why would Nikon do wants in the UK. pictures, not sit at a
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queries regarding Kelsey’s data policy you can email our I’m amazed by how much this other than for greater Andy Betty computer. We do not even
Data Protection Officer at dpo@kelsey.co.uk.
they have packed in for profits? Just imagine how own a computer and only
the price, but only if you many they would sell here Most consumer goods are got a tablet last year. l
are in the USA, where it’s if the price was the same much cheaper in the US, have been taking photos
www.kelsey.co.uk only $5,495 (£4,162). All as the USA. I have been including cameras, and for the past 61 years after

20 www.amateurphotographer.co.uk

being given my first
camera for my 21st
birthday. I went digital 14
years ago and I now use a
Fujifilm Finepix HS50EXR,
printing to A4 on a Canon
printer. My dream camera
would be a Fuji XS10
fitted with new Tamron
18-300mm zoom. JPEGs
suit my way of working.
C Shaun Hammon
Licensing technology
Regarding Steve Smith’s
letter about why Sony
doesn’t offer any
technology like Olympus’s
Pro Capture (AP 2
November.) I wonder if
Sony’s lack of interest is
because Olympus actually
patented this technology
and has not yet licensed it
to other manufacturers.
I recall marvelling at a
Simon King wildlife
documentary more than
20 years ago about the
difficulty of filming things
like dolphins, which
appear suddenly out of
the water. To ‘anticipate’
this, he was using a video
camera attached by a long
cable to bulky computer
equipment in the boat
which was continuously
recording and erasing to
achieve this. Now it is
Michael Newman recommends the Lumix 30mm macro
www.amateurphotographer.co.uk
built into my own small (by
comparison) Olympus
OM-D E-M1X.
I remember too that
back in the 1980s my
Contax was fitted with a
‘flash exposure correct’
feature which confirmed in
the viewfinder if the photo
you had just taken using
the connected flashgun
had exposed correctly. I
thought it was a brilliant
feature and when I asked
why other brands didn’t
have it, I was told that
Contax hadn’t licensed
the technology.
Mike Dodman
Adobe issues
I wonder if I may highlight
a problem with the latest
incarnations of Photoshop
and Lightroom which
perhaps some of your
readers may already have
experienced.
It is now mandatory to
have a subscription to use
Photoshop and Lightroom,
something I have been,
until recently, perfectly
happy with. However, with
Photoshop 2022 I have
experienced a recurring
problem, which is related
more to the age of the
computer rather than the
software. It seems that
YOUR LETTERS
with some older PCs such
as mine, which is only six
years old, the graphics in
In next week’s issue
© JEREMY WALKER
the latest versions of
Photoshop will not work
with older graphics cards.
In my case there are no
newer drivers available,
and my computer cannot
be upgraded with a newer
graphics card due, it
seems, to power issues.
I have spent considerable
time on the telephone and
online chat with Dell,
Adobe and graphics cards
manufacturers trying to
resolve the problem, but
to no avail; and whilst
Adobe is somewhat
sympathetic, all they say
is to revert to an older
version that does work,
Master
and not update the
program in future. This, to
me, is a red rag to a bull,
seeing as I pay my
subscription every month,
and it is nice to have the
latest tools to play with.
I wonder if there are
many other AP readers
who are suffering the
same problem? Obviously
your kit
Expert tips on everything
Adobe is aware of the from how to maximise depth
issue but does not seem
to worry that some users of field to using flash
have to remain at a
© BRIAN LLOYD DUCKETT 2021
certain version, and
cannot have the benefits
for which they are paying.
Roger Lush
Lumix 30mm
I enjoyed the Close-up
Special of 19 October very
much. Your lens round-up
was good but included the
very poor Leica 45mm
and excluded the really
excellent Lumix 30mm.
I’ve also got the Olympus Hone your camera skills
60mm which I don’t rate Pros share how to handle aperture,
as highly as the Lumix. A shutter speed and ISO for best results
year or two ago I had been
getting frustrated with the Get more from your lenses
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
two famous lenses failing Angela Nicholson shows you how to
to focus accurately or get the most from your optics
quickly and then by
accident discovered the The repair shop
Lumix 30mm. This Peter Dench talks to two retouching
focuses quickly and experts behind top photographers
accurately and is a delight
to use with my G9 and
GX9 cameras.
Michael Newman
On sale every Tuesday
21
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
 Indulge in the
Nikon Z system from
Grays of Westminster
this season.

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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
Miller, Reading
bout Michael
ichael is retired and a
ember of the RPS Digital
maging Group.
avourite subjects
Anything to do with the natural world.
How did you get into photography?
I took a lot of holiday snaps as a child,
and it went from there.
What do you love about photography?
I love photography as a means of
expressing myself and communicating
my love for nature, wildlife, the
landscape and woodland. For me, the
job is not complete until I have made a
print, and left it where I can see it
each day for a few days. Only then will
you see where you can make
improvements.
How and where do you find
inspiration?
I get my inspiration from the beauty of
the world around us.
First camera
Box Brownie.
Current kit
Sony A7R III, 16-35mm, 24-70mm,
90mm, 70-300mm, 200-600mm
Sony lenses. Novoflex tripod with
Magic Ball head.
24
1 Swallow 2
1 This swallow was
feeding its young.
I captured this at
Doñana National
Park, Spain.
Nikon D800, 80-
400mm, 1/1250sec
at f/8, ISO 640
Favourite lens
My FE 200-600mm f/5.6-6.3 G which
is ideal for birds and other wildlife, and
my FE 16-35mm f/4 ZA OSS. I much
prefer zoom lenses for their versatility
– the latest autofocus and in-body
image stabilisation make big lenses
much easier to use successfully.
Dream purchase
A Sony A1.
What software do you use?
FastRawViewer and Photoshop CC.
Favourite photographers
Ansel Adams for his breathtaking
prints, which I’ve had the privilege of
seeing at a couple of his exhibitions
over the years. Sebastião Salgado,
whose breadth of work makes him, for
me, the greatest photographer who
has ever lived. Eric Hosking, a pioneer
in photographing wild birds, who used
view cameras, working in makeshift
hides near the top of trees.
Favourite photo books
Eric Hosking’s An Eye for a Bird. Kingfisher
Favourite tips 3 I love nature and
Enjoy taking what you like and don’t wildlife and this
get bogged down with equipment. Look kingfisher was a
at as many serious pictures as you beauty.
can, and note what it is about them Nikon D1, 80-
that appeals to you. Keep taking 400mm, 1/640sec
pictures – practice makes perfect. at f/6.3, ISO 100
 YOUR PICTURES IN PRINT
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

The Reader Portfolio winner chosen will receive a copy of Submit your images
Skylum Luminar AI, worth £79. See www.skylum.com Please see the ‘PICTURES’ section on page 3
Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools for details on how to submit. You could see
with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, your images here in a future issue!
while over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

Seals
2 These seals
were on Horsey
beach in Norfolk.
Sony Alpha 7R,
200-600mm,
1/500sec at f/8,
ISO 125

Little Egret
5 My 200-600mm
is ideal for taking
pictures of birds like
this little egret.
Sony Alpha 7R, 200-
600mm, 1/500sec at
f/8, ISO 160

3 Woodpecker 4 5
4 Green
woodpecker being
ringed at Minsmere
Nature Reserve,
Suffolk.
Sony Alpha 7R,
70-300mm,
1/1000sec at
f/5.6, ISO 320
Rankin’s peak pe
Portrait pro Rankin worked like a fury to put together skilled people who make up the
sector, including stage managers,
an exhibition celebrating London’s theatreland. He dressers, pit musicians, designers,
puppeteers, technicians, stage door
tells Geoff Harris the dramatic story... keepers, voice coaches and more.

O
ne of the best
photography
exhibitions in London
at the moment is
PERFORMANCE by Rankin, a free
show being held at the Fujifilm
House of Photography in Covent
Garden until 31 January. It’s a
collection of portraits of London’s
theatreland, and really captures
the resilience and vibrancy of this
vital cultural asset. Like just about
every avenue of artistic expression,
Above: Emmie Ray this country’s theatre has been
and Carl Man, hammered by the lockdowns and
ensemble restrictions, which, sadly, looked like
members in they could return in force at the time
Wicked
of going to press.
The exhibition features nearly 150
portraits of individuals from nearly
60 top London shows and venues,
but not just the leading actors or
big-name directors. This is much
more than a luvvie-fest. Visitors get a
comprehensive look behind the
curtain at the countless highly
Hanging in there
What’s particularly impressive is that
everything was done unusually
quickly. Rankin and his team printed
as they shot each day, doing 150
portraits over the three-week
sessions. They started hanging the
exhibition at the start of November,
and on the last two shoot days
(2 and 3 November) they shot,
printed and hung the rest of the
images as they went along, so
everyone saw it in real time.

26 www.amateurphotographer.co.uk
rformance
After the end of the exhibition’s
tenure at the Fujifilm House of
Photography, the portraits will be
exhibited across multiple venues
across central London and on train
platforms across south east England
– with more details due to be
announced soon.
‘Massive theatre fan’
We caught up with Rankin to discuss
the project and began by asking
whose idea it was, and how he got
involved in the first place.
‘A friend of mine came up with the
idea before the pandemic hit. At the
time I said to him, “This is far too
big and complicated.” But when the
pandemic hit and we saw all of our
www.amateurphotographer.co.uk
Above: Stephanie friends go out of work, that’s when
‘I’m a massive film and theatre
fan so I’ve been photographing
actors for years,’ he explains. ‘For
example, I also did a whole project
with the British Independent Film
Awards back in 2014, where I
photographed more than 50 actors,
directors and producers in
Lo, Lioness and we felt that it was the right moment celebration of the immense talent in
Dance Captain in to start thinking about it again. British filmmaking.
The Lion King ‘Once all the theatres looked like ‘What makes theatre and all the
they were coming back to life, we creative industries so compelling for
started planning the shoots.’ me is that it is always a team effort.
To make this project happen, You have to collaborate. To make
Rankin was supported by the Society theatre, photography and film really
of London Theatre. ‘Emma De Souza work, we have to do things in real
was our contact there and she really life. We can’t do them virtually. The
helped put it together, including exhibition and the show are a
choosing the productions, actors and celebration of that concept.
the support teams.’ ‘It’s so critically important for us to
While Rankin is more usually experience performance in real life,
associated with shooting and be inspired by it.’
professional models and celebrities, PERFORMANCE was put together
or more recent campaigns around very fast. Was it a lot of pressure to
the pandemic, he has done a lot of complete the shoot and print
portrait work with actors before. the images so quickly?
27
 Gabrielle Brooks
and Arinzé Kene as
Bob and Rita
Marley in Get Up,

It’s show time

Stand Up! The Bob
Marley Musical

Personnel from the

following shows feature
in PERFORMANCE:
& Juliet, Shaftesbury Theatre
Anything Goes, Barbican
Back to the Future – The Musical,
Adelphi Theatre
The Book of Mormon, Prince of Wales Theatre
Cabaret, Playhouse Theatre
The Choir of Man, Arts Theatre
Andrew Lloyd Webber’s Cinderella,
Gillian Lynne Theatre
Come From Away, Phoenix Theatre
Dear Evan Hansen, Noël Coward Theatre
Disney’s Frozen, Theatre Royal Drury Lane
Get Up, Stand Up! The Bob Marley Musical,
Lyric Theatre
Hamilton, Victoria Palace Theatre
Harry Potter and the Cursed Child,
Palace Theatre
Jamie Lloyd Company, Harold Pinter Theatre
Jersey Boys, Trafalgar Theatre
Leopoldstadt, Wyndham’s Theatre
Life of Pi, Wyndham’s Theatre
Disney’s The Lion King, Lyceum Theatre
Magic Goes Wrong, Apollo Theatre
MAMMA MIA!, Novello Theatre
‘It wasn’t too bad actually,’ Parker as Henry VIII and Rosanna
Mary Poppins, Prince Edward Theatre
Rankin recalls. ‘Half the fun of Adams as Anna of Cleves in The
Matilda The Musical, Cambridge Theatre it was making it with that much Mirror and the Light. Those characters
The Mirror and the Light, Gielgud Theatre pressure. The energy you get from would never engage in that way
Les Misérables, Sondheim Theatre making work that fast is so either, but we could play with
exciting, and it’s like bottling some their relationship in front of the
Moulin Rouge! The Musical, kind of spirit. camera.During the shoots I laughed
Piccadilly Theatre
‘For me the experience was quite at the time because I felt like a
The Mousetrap, St Martin’s Theatre emotional. Although I wasn’t modern-day Holbein, capturing the
The Ocean at the End of the Lane, John Rankin Waddell,
entirely locked down for the last year full range of emotions.’
Duke of York’s Theatre and a half my work has definitely aka Rankin, is a British
Only Fools and Horses, The Musical, been different, more contemplative. photographer and The mirror(less) and the light
Theatre Royal Haymarket ‘It was just amazing for me to meet
director who first shot to As you’d expect from an exhibition
The Phantom of the Opera, and photograph the energy of all of fame as co-founder of hosted at the Fujifilm House of
Her Majesty’s Theatre these incredible people who have Dazed & Confused Photography, all the portraits were
suffered so much.’ magazine in the 1990s. taken on Fujifilm gear – in this case,
The Play That Goes Wrong, Duchess Theatre the high-resolution Fujifilm GFX100.
Pretty Woman The Musical, Savoy Theatre His famous subjects
Full range of emotions ‘Amazingly enough it was my first
have included Kate
Pride and Prejudice* (*sort of), Which, we wondered, were his experience with the camera,’ adds
favourite images, and why?
Moss, Madonna, David Rankin. ‘It didn’t really take that
Criterion Theatre
‘My favourites are the pictures Bowie and Queen much getting used to, as I’ve been
The Prince of Egypt, Dominion Theatre Elizabeth II. He is now
where the actors or support taking photographs for some 30
The Shark is Broken, Ambassadors Theatre much more of a
teams are being more playful with years. The technology has obviously
SIX, Vaudeville Theatre the camera. household name after got better, but the basics are the
Tina – The Tina Turner Musical, ‘I love it when the images are hosting the Great British same. I can definitely say that it’s a
Aldwych Theatre slightly cheeky, for example the Photography Challenge good piece of kit.
Wicked, Apollo Victoria Theatre image of Mary Poppins and Bert. As on BBC Four and iPlayer ‘More specifically, I have to say this
a character he would never kiss Mary back in the summer. is one of the fastest – a camera that
Witness for the Prosecution,
Poppins in a million years, so it’s See more at could keep up with me. Also a lot of
London County Hall
quite fun to play with that. rankinphoto.co.uk. super-high-res-capture cameras can
The Woman in Black, Fortune Theatre ‘Also the images of Nathaniel freeze when you’re shooting at the

28 www.amateurphotographer.co.uk

speed and volume necessary for this
project, but the GFX was on top
form the whole time. I was shooting
very, very fast.
‘I love the studio and team at the
Fujifilm House of Photography on
Long Acre and will certainly be
working with them as much as
I can,’ he confirms.
The images are wonderfully rich,
detailed and sharp, and Rankin was
particularly taken by the wideangle
lens. ‘It’s got a very close focal point
which meant I could get extremely
tight into my subjects.
‘That kind of intimacy is
something that I love to do because
you really feel the subjects looking
through the lens at the viewer.’
Hardly any post-shoot processing
was required, according to Rankin,
and every single photograph was
taken specifically for
PERFORMANCE – there was no
archive imagery. Even if you aren’t
able to get to London to see the
exhibition, you can check out the
eponymous book. Performance by
Rankin the book is on sale now, with
all proceeds going to four
homeless charities.
www.amateurphotographer.co.uk
Cason Pennycooke RANKIN
as Toulouse-
Lautrec, and Lily
Wang, Ensemble, in
Moulin Rouge!
The Musical
Rosanna Adams (Anna of Cleves) in The Mirror and the Light
Sweet charity
Rankin’s celebration of London’s
theatreland was produced in
partnership with the Mayor of London’s
#LetsDoLondon campaign and the
Society of London Theatre (SOLT) as
part of their #BackOnStage campaign.
The goal was to inspire the public
about the incredible array of live
theatre on offer in the capital, and
encourage them to return to the West
End to sample its famous cultural
offerings (and indeed, to return to
theatres all over the country).
Visitors to PERFORMANCE also have
the option to donate to the Theatre
Artists Fund, which provides
emergency aid to struggling theatre
freelancers, as well as four London
youth homelessness charities selected
by the Mayor of
London. Lastly, a
limited-edition
book of the
portraits was
launched on 25
November, with all
proceeds going to
chosen charities. Rory Kinnear as Tomas in Force Majeure
29
PHOTOGRAPHY COMMUNITY

Better
together
Jessica Miller speaks with Mike Will to find out
about the concept, ethos and global expansion of the
ever-growing creative community, UK Shooters

F
ounded by Mike Will in
2016, UK Shooters began
as a small group on social
media, hosting unique
meet-ups and creative events
around the UK. Now, thanks to
Mike and his team, UK Shooters has
grown into a popular community
and a recognisable brand with
photographers, videographers, and
content creators around the world.
Where it all began
Social media has become a powerful
tool for interaction, with plenty of
photography communities and
groups forming over the years Above: Behind the
encouraging photographers to share scenes of UK
their work and engage with others. Shooters x
Alongside his professional ice hockey Bentley meet
career, Mike took up photography Right: UK
as a hobby in 2016. But the potential Shooters has
of Instagram as a place for grown into a
collaboration and being social with popular
others soon became clear as he community and a
began sharing his own work. recognisable
The idea for UK Shooters first came brand with
photographers,
about following a trip to LA. ‘I saw
videographers and
the scene that was out there, and content creators
everyone knew each other… you’d
be walking in the streets and if you
had your camera out someone

30 www.amateurphotographer.co.uk
 PHOTOGRAPHY COMMUNITY

would come up to you and be like

“Ah cool what are you shooting?”
No one would do that in the UK.’
Mike started to search for this
community in the UK and began
reaching out to other photographers
to go out and shoot with. Every
Monday he would travel into
London to practise photography
and always tried meeting up with
another photographer. Many of
whom hadn’t met up with others to
take photographs before, and this is
what led to Mike hosting his first
meet in September 2016.
‘I obviously had success in terms
of turning a hobby into a job with
hockey. I’ve always had that drive
and I knew that if I wanted to do
something I could do it… The
people I originally reached out to
came and supported, then so did
others. It was all about networking
and meeting like-minded people –
which was especially hard back then.
I was very lucky to progress pretty
quickly, and social media was an
amazing part of that for me.’ From
here, UK Shooters was born and
blossomed around the UK.

Expansion
Mike also met his team through
Instagram. Several people came and
went early on, but now the team is
more settled: ‘The people that stayed
were those who continued to hustle,
work on their own photography and
also wanted to build a community,
which was the driving force behind
UK Shooters.
‘We did a call out on Instagram to
expand the team. There’s six of us in
the main team, four in UK Shooters
and two in UK Portraits.’ The team is
made up of Mike Will, Luke
Jackson-Clark, Keenan Lam, Cyrus
Nezami, Gigi Umbrasaite and Gareth
Davies. Mike met Gigi and Gareth
several years ago and always had
them in mind for UK Portraits, so
when the opportunity arose they ran
with it. ‘It was a good time to move
the team on... Now we’re also doing
everything, a lot of the campaigns
and events, as a six. But it’s very hard
to get six incredibly talented people
in a room, as we all have our own
clients and work going on.’
Mike retired from ice hockey in
2020, due to the pandemic as well as
the increasing shift in focus to his
growing business and photography.

The meets
UK Shooters offer a range of

www.amateurphotographer.co.uk 31
PHOTOGRAPHY COMMUNITY
meet-ups and events that cover
as many different photography
genres as possible, as well as film and
video. ‘Our meet-ups can be anything
from a UK Shooters Presents social
event where guest speakers come in
and talk about their journey as a
creator, to our main flagship meets
which are based around creating
content and the community coming
in to take photographs, meet
like-minded people – and just have a
good time really!’
Each meet is themed slightly
differently, for example Halloween,
and many also collaborate with
models and make-up artists. Part of
the aim is to offer photographers the
opportunity to have a go at genres
that may be inaccessible to them,
such as portraiture. ‘Another one we
did was with Bentley, we had 14
Bentleys, again people wouldn’t
normally have the opportunity to
just go and shoot all of those cars.
Also, sometimes the meets are in the
day, and sometimes at night.’
Community at the heart
Collaboration, community and
networking is very much at the core
of UK Shooters, feeding from the
work ethic of Mike and the team
through to how they connect with
photographers online.
Mike explains, ‘At the start I knew
a lot of people and no one was really
open and willing to help. I thought
that was a weird way of going about
Mike Will, @m.visuals
things and another reason I wanted
to foster the team around me. It’s
actually better to work together and
help each other… the mistakes and
things you are learning or things you
do well is going to transcend into
everyone and you’re all going to
learn from each other. Therefore
you’re going to grow. I wanted to
have that at the heart of UK
Shooters. It was an opportunity to
help each other out, even if it’s
business as well.’
Instagram is used as the main
platform for engaging with the
community and sharing their work.
Mike added, ‘I wanted to showcase as
many up-and-coming shooters, and
as many locations from around the
UK as we could with the feature page
of UK Shooters.’
Taking over the world
Since 2016, other Shooter
communities have been created in
the US including, Bay (the San
Francisco area), LA, Chicago and
Pacific North West (PNW), plus more
recently Philadelphia. ‘They were
sprouting up and we were putting
our heads together about how we
can grow things and have people
running meets.’ A big part of
expanding at a global scale for Mike
was ensuring that the teams behind
the new pages were talented and
all-round good people who support
the UK Shooters ethos.
In January 2020, Mike and Luke
Luke Jackson-Clark,
@watchluke
 PHOTOGRAPHY COMMUNITY

Opportunities to meet flew to New York to launch the NY

new people and try new Shooters hub. Their plans to
photography skills and continue flying around the world
genres. Behind the and launch others was halted due to
scenes of UK Shooters Covid-19. ‘We had this amazing
x Bentley meet
team and plan in place, then
obviously Covid hit and it shifted
everything that we could do, we
couldn’t go out and finish launching.
People running the pages stopped for
various reasons and it’s kind of really
reshuffled everything… Now we’re at
a stage of rebuilding in the US with
lots of the team.’
The Dutch Shooters community
also began in March 2020. ‘That was
really exciting and they’ve just run
their first event. It’s great they’re
building really well. We have this
amazing hub of photographers
behind it.’
World Shooters launched in April
2020 to extend to a global audience,
with hopes it can act as the head for
all Shooter groups formed
worldwide. ‘We thought, “we’re in
lockdown, we’ll be on our phones a
lot, let’s just launch this new page!”
Hopefully it will be the biggest hub
one day that then feeds down to all
of the different individual pages.’
There are plans to launch more
communities around the world, but
it’s just a matter of time. ‘In the UK
we’re running one to four events
every month. I’m very busy with my
own personal clients and work…
and I haven’t been able to travel but
I intend to. We have some potential
locations in mind as a few tourist
The UK Shooters team Visit Instagram boards have reached out about
from left to right, top: @world.shooters events, which is exciting. We’re
Gigi Umbrasaite, Mike @uk.shooters waiting for travel to hopefully open
Will, Gareth Davies, up even more.’
Luke Jackson-Clark; @uk.portraits
bottom: Cyrus Nezami, @la.shooters
Keenan Lam Advice to newcomers
@bay.shooters
Keep an eye on the @uk.shooters
@chi.shooters page for the latest information on
@pnw.shooters events. Mike says, ‘Just get involved!
@ny.shooters Come and speak to the team. A lot
@sw.shooters of events you come to, you might
@phl.shooters have been messaging some of the
@portrait.shooters other photographers for a long time
@uk.spinners and this might be the first time you
@film.shooters can meet them face to face. We want
UK Shooters our events to be a safe environment,
Mike Will @m.visuals; so it is an opportunity for people
Luke Jackson-Clark who maybe don’t have the
@watchluke; Cyrus confidence to meet up one-on-one;
with UK Shooters you can meet in
Nezami @cyrusnezami;
groups. From there it’s who you vibe
Keenan Lam @keenanlam
and get on with, friendships and
UK Portraits relationships can then be built.’
Gareth Davies @87shots The future is looking incredibly
Gigi Umbrasaite bright for the UK Shooters team
@ggphotographyofficial so watch this space.

33
 Technique
Mike Crawford
Mike Crawford is a London-based photographer and specialist
printer working primarily in urban landscape and portraiture. His
work has been exhibited widely in the UK and abroad. For over 20
years he has run Lighthouse Darkroom, one of the UK’s premier
photographic labs, working for many leading photographers on
numerous exhibitions and publications. www.mike-crawford.co.uk.

Pillars
of the
society
Photographer and print specialist
Mike Crawford explores the history of
Britain’s oldest and most prestigious
photographic businesses. This week he
visits The Royal Photographic Society

T
he Royal Photographic
Society has a long and
important heritage, yet
it is also a progressive
organisation that is aware of the
importance of photography and Left: RPS House, History and heritage:
how it can be addressed and used Bristol Dr Michael Pritchard
in contemporary society. Although Dr Michael Pritchard joined the RPS
based in the UK, it has a global Above: Sea of in 2011, having previously worked
Steps by Frederick
membership of over 10,000, H Evans, 1903. for 20 years as a photography
participating in, and delivering a Taken at Wells specialist at Christie’s auction house.
© EVAN DAWSON

The Royal Photographic Society was
founded in 1853, just 14 years after the
announcement of photography, and is
recognised as one of the world’s oldest
societies for photographers.
www.rps.org
range of events, exhibitions, and Cathedral and His responsibilities include planning
collaborations. copied by thousands public and educational programmes
In 2019 the society moved to a of amateur such as exhibitions, workshops, talks
new building in Bristol, RPS House, photographers ever and events with his wider team.
which has an exhibition space, an since. Exhibited in During a tour of RPS House,
the RPS annual
auditorium for talks, events and film exhibition Michael explained more about their
screenings, an education centre and founding and links to early
a Resource Room allowing access to Above right: photographic history. ‘The Great
the Society’s library and other Frederic Aranda, Exhibition of 1851 was a catalyst
research material. On a recent trip to Ian at Home. One with important changes in
Bristol, I took the opportunity to of the awarded technology such as Frederick Scott
photographs from
visit the RPS to meet Dr Michael the RPS Archer’s Collodion process
Pritchard, the director of International announced the same year.’ Prior to
programmes, and Evan Dawson, the Photography this process, which produced
CEO of the Society. Exhibition 162 negatives on glass, Henry Fox

34 www.amateurphotographer.co.uk

Talbot’s Calotype process using paper
negatives was required to produce
positive prints. Unlike Talbot, Archer
did not seek patent protection.
‘Talbot’s patents held back progress,
but once he relaxed them, allowing
the process to be used without
restriction, a growth in commercial
studios followed and everything was
in place for the inaugural meeting of
the society in January 1853.’
Photography in the 1850s was a
relatively expensive pastime or
profession. Given our presumptions
of a Victorian member’s society, it
was reassuring to hear that this was
not just an exclusive gentleman’s
club. ‘Our membership has always
been open to both men and women
from the very beginning. Even in the
first months there were female
www.amateurphotographer.co.uk
© RPS COLLECTION / V&A MUSEUM, LONDON
© MIKE CRAWFORD
members joining in their own right
as photographers, participating and
exhibiting which of course carries
through to the present day.’
The society held its first exhibition
in 1854 and this annual event has
continued most years, even during
wartime. As then, it remains an open
call and next April will see the 163rd
exhibition open in Bristol following
an international submission of over
8,000 images. Another mainstay of
the society has been its publication,
The Journal. ‘The first issue was
published in March 1853,’ informed
Michael, ‘just two months after the
Society’s foundation. The monthly
meetings allowed members to
present papers, discuss the art and
science of photography and
developments in chemistry and Dr Michael Pritchard, RPS director of programmes
35
 Technique
© MIKE CRAWFORD
Evan Dawson, CEO of the RPS
optics, with these papers and
records of meetings then
published in The Journal. Its
circulation was far wider than the
membership, producing 3,000 copies
of some issues at a time when there
was at best around 300 members.’
The prefix ‘Royal’ was added to
The Photographic Society in 1894,
though Queen Victoria and Prince
Albert supported the Society from
the outset. This tradition continues,
with the Duchess of Cambridge
being the current patron. The RPS
has built up one of the most
important collections of
photography in the UK and
maintains close relationships with
the Science Museum and the V&A
Museum. ‘For example, when the
centenary of photography was
celebrated in 1939, a lot of the RPS
collection was exhibited at the
Science Museum as it did not have a
very large collection itself.’ In recent
years, this collection has been
housed within the V&A, making it
available to the public. ‘They have
been doing very important work
digitising the collection which is
accessible in their Print Room where
one can request to see and handle
work such as by Talbot, Rejlander
and Emerson. I think with any
collection of photography in a
museum, it is important that it is
available to be used rather than just
kept in storage.’
Michael is also responsible for the
RPS Resource Room in Bristol which
allows academics, students, and
anyone with a general interest to
research the Society’s library of
books, journals, records, and other
related material. ‘We really do want
people to come and use it. We’re
36
working on catalogues and resources
so people will know what we have.
‘Currently, Falmouth MA students
are doing work on an important
collection of Autochromes donated
in 2019 and are looking at how this
material might be displayed. They
have seen digital images but will
soon be here to look at them
physically, working on their own
projects based on the collection.’
Michael concluded by reflecting
on the significance of their long
heritage. ‘Its accessibility as a
member’s institution and a charity
promoting photography is essential.
The RPS has been integral to the
history of photography as an
organisation involved in everything
from debates on copyright to setting
standards in both professional and
amateur photography. The history
and heritage of the Society continues
to be much valued by the trustees
and the membership.’
Current and future plans:
Evan Dawson
I also had the opportunity to meet
the CEO, Evan Dawson, a
photographer working in music and
performance. ‘I’ve been working in
the arts for 16 years before joining
the RPS and have been CEO for just
over a year,’ Evan told me. ‘The
greatest strength of the RPS is its
members. There are different levels
of membership, and it is possible to
join specialist groups such as
Analogue, Landscape or Natural
History. This is not just a UK
photographic community but
extends throughout the world. There
are active groups as far afield as
Australia, India, Sri Lanka and China
as well as throughout Europe.’
Evan stressed the importance of
maintaining the Society’s
contemporary relevance, not just for
its members, but also to reach out to
a wider community. Much of this is
reflected in their new strategic plan
for the next five years which has just
been launched. ’A lot of changes
have been made to our historic
governance systems, which is how Francis James Mortimer
the RPS functions,’ Evan explained. Simon Hill is the 72nd president of the RPS and joins an
‘As I see it, the organisation does illustrious list of men and women who have served the role.
three things, which is how we’ve Amongst their number is Francis James Mortimer (1874-
structured our new strategy, 1944), a distinguished Edwardian photographer who as well
Photography For Everyone – it’s themes as serving as the RPS president from 1940-1942, was also
being to inspire, create and connect. the editor of Amateur Photographer for 36 years from 1908
We Inspire people, enabling them to until his death in 1944. His work was Pictorialist in style
access the latest photography and was awarded over 120 medals and plaques from
through exhibitions, awards, and numerous photographic societies and salons from both the
our publication, The RPS Journal. UK and abroad.
www.amateurphotographer.co.uk

Next is Create, in which our
education programmes, distinctions
and qualifications support people’s
photographic learning and
development. The third part is
Connect which is how we enable
photography to be shared, whether
in different UK regions, specialist
groups or internationally.’
Evan expanded on this theme
with details of some of the proposed
new initiatives of the strategy.
‘There are a lot of really interesting
and important ideas emerging
about photography and well-being.
This might concern people who
are living with dementia, autism,
or other challenges such as
loneliness. Photography is a fantastic
catalyst for getting people active,
being creative and sharing these
experiences with other people.
I don’t think that as an arts
community we’ve yet understood
how to take advantage of the
unique opportunities that
photography offers.
‘Any form of expression used to
communicate, regarding social
anxiety, is useful. If it is not possible
to connect through conversation,
perhaps it is possible through
photographs,’ said Evan. ‘We want
the RPS to be a centre of excellence
for well-being, bringing together
practitioners working in this area.
Through this, new practice guidance
offering support can help to deliver
projects. For example, we are in
www.amateurphotographer.co.uk
© RPS
© DERRYN VRANCH
Left: FJ Mortimer, partnership with Positive View, who
Against the Light, are working with children affected
from the RPS’s by drug misuse. Another example is
The Year’s our work with Action for Children
Photography
1938-1939 and funded by Arts Council England to
exhibited in its support Britain’s young carers. Over
annual exhibition the coming months we will be
providing participating children
Above: with resources and workshops to
International develop their photographic skills to
Photography produce a series of environmental
Exhibition at the
RPS Gallery, portraits documenting their lives.
Bristol We hope it empowers and celebrates
them, and at the same time produces
Above right: Jon a powerful new body of work for the
Tonks talk in the charity and a touring exhibition.’
RPS Auditorium, I felt a definite sense of pride and
Bristol, during excitement from everyone I spoke to
BOP festival 2021
on my visit, both in what the RPS
has achieved and its plans for the Five benefits of
future. This is complemented by RPS membership
their move to Bristol and the
location of RPS House, which is 1 Join a community of photographers
opposite the Martin Parr Foundation in your local area and in particular
– which has naturally led to areas of photography.
collaborations on events, festivals, 2 Gain recognition for your
and exhibitions. ‘Having the Martin photography by working towards the
Parr Foundation next door allows internationally respected RPS
the two organisations to work Distinctions with individual advice and
together,’ agreed Evan. ‘We don’t support from leading photographers.
want RPS House only to be a place to 3 Take part in a wide range of online
come for exhibitions, but and in-person photography workshops,
somewhere to visit time and again to discussions, and events.
participate, pick up cameras, try
darkroom techniques or join one of 4 Support the RPS’s initiatives bringing
the amazing workshops we run. The photography to everyone from young
building is an opportunity to show people to those with particular needs.
we can engage with people and 5 Receive the award-winning RPS
support communities.’ Journal six times a year.
37
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Sigma 24mm F2 DG
DN Contemporary
This 24mm is designed for excellent image quality, in a
compact body. Joshua Waller finds out how it performs
S
igma has been on a roll
recently, introducing a
range of six compact
metal-barelled I-series
lenses designed for full-frame
mirrorless cameras, in both
L-mount and E-mount. The
wideangle 24mm F2 DG DN
Contemporary is one of the most
recent and offers a relatively
bright aperture for its size,
whilst also being lightweight.
It costs £549.
www.amateurphotographer.co.uk
LENS TEST Testbench
Flare is well
controlled, even when
shooting into the sun
Sony Alpha 7 III, 24mm,
1/250sec at f/5.6, ISO 100
as well as larger models. On the
Sony Alpha 7 III, it feels just the
right size, being quite portable.
Like the other I-series lenses, it
Features flare, making it ideal for night sky boasts all-metal construction,
Sigma’s I-series lenses are made photography. It features Sigma’s with precision-cut aluminium and
to match compact full-frame Super Multi-layer coating to a durable brass bayonet mount.
mirrorless cameras, such as the suppress flare and ghosting. This gives it a premium quality
Sigma fp, Panasonic Lumix S5, There are 9 rounded diaphragm that goes beyond the
and Sony’s Alpha 7 IV and A7C. blades, which should give smooth ‘Contemporary’ labelling. Whilst
The lens is made up of 13 bokeh. The minimum focus the lens is not specifically
elements in 11 groups, with 2 distance is 24.5cm and the filter weather-sealed, it can be
SLD elements, 1 FLD glass, and thread size is 62mm. considered weather-resistant with
2 aspherical lens elements. The lens measures 70x74mm an oil and water-resistant coating
Sigma says this enables excellent and weighs 360g in its E-mount on the front as well as a dust and
correction of aberrations, as well version. This makes it suitably splash-resistant mount,
as suppressing sagittal coma lightweight for smaller cameras thanks to a rubber seal.
39

The lens uses a high-
speed stepping motor, which
gives quiet and fast AF
performance. It doesn’t feature
optical image stabilisation, but
most of the cameras that it can
be used on have in-body IS.
There’s a solid metal ring for
the aperture control, which adds
a nice level of manual control.
The aperture ring gives you a
range from f/2 to f/22, as well
as an A/Auto position, with two
click-stops in between the main
aperture settings. There is a
stronger level of resistance
between A and the aperture
settings, to help you avoid
accidentally switching between
these. But there’s no clickless
option, which might come as a
disappointment for those who’d
like to use it to shoot video.
In the box you get the choice of
a standard lens cap, or a
magnetic metal lens cap. This is
a nice added bonus, but if you’re
planning on using a filter, then
you’ll need to use the standard
plastic version. You’ll also find a
petal-shaped metal lens hood.
Build and handling
The metal barrel is designed to
be ergonomic, and for the most
part it is. However, one thing that
I noticed was the somewhat
angular nature of some of the
edges. Whilst not sharp as such,
they could be considered jarring if
you’re being fussy.
In terms of ergonomics, the
manual focus ring feels good, and
there is a great level of grip on
offer. The aperture ring has neatly
designed ribbing for grip, with this
raising up from a smooth surface
at the edges of the labelling.
Speaking of which, the printing on
the lens is particularly
impressive, being etched and
painted rather than simply being
printed or painted onto the
surface. This means that even
with wear, the labelling should
stay intact, and never rub off.
There’s a side AF/MF switch,
letting you switch quickly between
autofocus and manual focus
without having to use a function
button or menu setting. There are
no function buttons.
The focus ring is very smooth in
Have you considered trading in your old equipment for either cash or Part-Exchange?
Tell us what you have at cameraWorld.co.uk/trade-in
operation, with an electronic
fly-by-wire design. It has no
end-stops, which means once
you’ve reached the focus limit,
you can continue turning the
focus ring and nothing happens.
The lens is made of aluminium
and has a good level of grip on
the focus ring and aperture ring,
however the ring in between the
aperture ring and camera is
particularly smooth, and this
can make attaching and removing
the lens from the camera body
particularly difficult, as there is
very little grip provided. In fact, if
you do try to use this area to
remove the lens from the camera,
you’ll find there’s simply not
enough grip provided, unless
you’ve been working on your
Vulcan death pinch (that is to say,
you have to squeeze it very hard).
With some practise this does
become easier.
On the Sony Alpha camera
used the mount felt quite tight,
adding to the difficulty in
attaching the lens. In the end, the
easiest way to gain some
purchase on the lens was to turn
The lens captures plenty
of detail in this shot of
Meersbrook Hall
Sony Alpha 7 III, 24mm,
1/200sec at f/5, ISO 100
the aperture ring all the way until
it stopped, and then use that as
the grip when attaching or
removing the lens.
The lens hood fits neatly onto
the lens, and is also made of
metal, which is quite rare for an
entry-level lens, and it’s even rare
on some premium lenses from
other manufacturers. The inner
section of the hood is made of
plastic, and the hood will fit the
standard way, as expected; as
well as reversed, should you
wish, although this does block
the focus ring.
At 360g the lens feels like a
good weight. It’s not too light to
suggest low quality, with enough
heft to feel like a solid lens. But it
doesn’t come across as
excessively heavy when paired
with a mid-size full-frame camera,
such as the Sony Alpha 7 III.
Autofocus
The lens gives relatively rapid
focus with no noticeable lack
in performance, even when
shooting in low-light conditions.
The only delay that I noticed was

Artwork by Fauna
Graphic. Blue skies are
a good test for
vignetting
Sony Alpha 7 III, 24mm,
1/400sec at f/6.3, ISO 100
in very dark conditions, or when
using the lens at the closest
focus distance.
Switching to manual focus and
there is a smooth action to the
focus ring, with plenty of travel
available for fine-tuning the focus
as necessary. Turn the focus ring
slowly to focus more precisely or
turn it more quickly if you want to
travel more speedily through the
focus range.
Image quality
The lens is designed to give high
levels of sharpness, and
certainly the lens delivers plenty
of sharpness and detail.
Sharpness is very good at
f/2.0 particularly in the centre of
the frame, but the corners are
not as sharp as the centre, until
you stop down slightly.
www.amateurphotographer.co.uk
The image does become
sharper when stopped down,
with peak levels of sharpness
appearing between f/4 and
f/5.6, where levels of sharpness
across the frame are excellent,
and this extends into the corners
which also improve.
When needed, you can shoot
wide open and get the benefits
of a sharp image, as well as
good looking background blur (or
bokeh). Out-of-focus highlights
are circular in the centre of the
image, but they become more
like cat’s-eyes towards the
corners of the frame.
Whilst you can focus on a
subject as close as 24.5cm,
you’ll need to stop down to get
the best results, because the
shallow depth of field at f/2.0 is
very apparent.
Focus performs well even in
low-light conditions
Sony Alpha 7 III, 24mm, 1/160sec at f/2, ISO 640
LENS TEST
The camera’s built-in chromatic
aberration correction takes care
of any purple fringing or
chromatic aberration, and even
with this switched off, it was
difficult to spot any major issues.
Vignetting is noticeable when
viewing uncorrected images, and
could be considered quite strong
when shooting wide open.
However, this lens is designed to
be used with vignetting (shading)
correction switched on, and
therefore isn’t something to be
concerned about. If you are
concerned, then vignetting is
mostly gone by f/3.2.
Similarly, if you view the
uncorrected images, then there
is a high level of barrel distortion
visible. However, since the lens
is designed to be used with the
lens distortion correction
switched on at all times, this
shouldn’t be an issue.
Flare resistance is quite
impressive, with some flare
visible only when shooting with a
very bright light in the frame
(such as the sun). Even then,
the effect can be controlled
depending on where the light
source is positioned in the
frame. If you’re looking to use a
lens for creative flare, then
you’re unlikely to find it with
modern lenses.
Sun stars and light points in
the image will give you a
star with 18 points.
Testbench
Verdict
WHILST the Sigma 24mm F2.0
DG DN is not as affordable as
some of the alternatives
available, the build quality and
design of the lens are something
that is clearly justified. With this
lens you’re buying a high-quality
lens that should last several
cameras, and beyond.
Image quality delivers the
goods with high image quality,
with excellent levels of
sharpness. Sigma set out to
design a lens that could be both
compact, and deliver high levels
of image quality, and they have
certainly delivered. Whilst there is
vignetting in uncorrected images,
this is part of the design
philosophy, being easily corrected
in software, and enabling a more
compact lens.
The build quality is admirable,
and certainly gives the lens a
premium feel, with much higher
than expected build quality. The
relatively compact size of the lens
and the bright aperture make this
a lens you can easily take with
you without worrying about size
and weight.
The aperture ring and AF/MF
switch give the lens a more
tactile feel, and for those who
wish to use manual controls,
these will be a welcome addition.
They add to the premium feel of
this lens, which considering the
‘Contemporary’ labelling, is an
unexpected bonus.
Data file
Price £549 Minimum focus
Filter diameter 24.5cm
62mm Maximum
Lens elements/ magnification
1:6.7
groups 13, 11 (1
FLD, 2 SLD, and 2 Length 72mm
aspherical) Diameter 70mm
Diaphragm blades Weight 365g
9 (circular) Lens mounts Sony
Aperture f/2.0-22 E (full-frame),
L-mount
GOLD
41
 SMARTPHONE TEST Testbench
Thanks to Google’s class-leading
image processing, the Pixel 6 Pro
delivers really impressive results
Google Pixel 6 Pro, 24mm equiv, 1/25sec at f/1.9, ISO 146

Google Pixel 6 Pro

This much-hyped smartphone has
At a glance
an eye-catching camera array. Could
it be the photographer’s device of £849 12GB/128GB
choice? Jon Devo takes a look O Android smartphone
O 6.7in screen, 19.5:9, 120Hz

R
eluctant to adopt the competition was beginning to O 24mm equiv f/1.85 main camera
multi-camera systems pull away in both respects, it was O 16mm equiv f/2.2 ultra-wideangle
for a number of years, time to step up to the challenge O 104mm equiv f/3.5 telephoto
the popularity of of putting out a genuine flagship O Three colours available: Stormy
Google’s Pixel phones among smartphone. With the Pixel 6 Pro, Black, Sorta Sunny, Cloudy White
photographers proved that Google has answered many of O store.google.com
camera software was every bit as the criticisms of the Pixel
important as hardware. But as 5-series devices.

www.amateurphotographer.co.uk 43
 Testbench
This illustrates the various angles of view available, with 52mm employing the main wideangle camera and super-resolution digital zoom
In a world where semi-
conductor shortages are
playing havoc with gadget
releases, Google had the
foresight to develop its own
processor. This aims to deliver
the slickest possible Android
experience, with improvements in
power management and overall
device performance. Facing stiff
competition from rival devices in
the form of Samsung’s Galaxy
S21 Ultra, One Plus 9 Pro and of
course, the iPhone 13 Pro, let’s
see how the Pixel 6 Pro performs.
Hardware and design
Starting at a competitive £849,
the Pixel 6 Pro comes in three
storage options: 128GB, 256GB
and 512GB. All harness Google’s
Tensor chipset, coupled with
12GB RAM. The device has a
5,003mAh battery, with 30W
wired charging and 23W wireless
charging. The display is a bright
44
SMARTPHONE TEST
16mm
48mm (2x digital zoom)
6.7in, 1440x3120 AMOLED
panel, with a 120Hz refresh rate.
The display’s curved glass will
surely split opinion. The look is
sleek, but it does lead to some
shadowing in the edges, slight
colour shifting as you angle the
device and the occasional input
mishap. However, it’s still one of
the most attractive I’ve used.
Another potential clash in taste
comes with the triple-camera
array. This is housed in a broad
black bar intersecting a two-toned
glass back panel. It’s a bold
approach that sets the Pixel 6
Pro apart from the competition.
The whole device is encased in
Gorilla Glass Victus – the
toughest type available – with an
aluminium frame. Colour choices
are Stormy Black, Sorta Sunny
and Cloudy White. Whichever you
go for, the Pixel 6 Pro looks and
feels premium, which is a marked
step up for Google.
Camera and performance
Pixel devices are widely regarded
as delivering some of the most
impressive photo capabilities on
any smartphone. This year is no
exception. Having compared the
Pixel 6 Pro directly with the
iPhone 13 Pro Max, courtesy of a
loan from Vodafone, I can
confidently say it offers class-
leading camera performance
when it comes to stills. But that
isn’t quite the whole picture.
The Pixel 6 Pro’s camera array
comprises five sensors, including
a spectral light and flicker sensor.
The main camera uses a 1/1.3in
50MP Quad Bayer sensor with a
24mm equivalent f/1.85 lens. Its
combined phase-detection and
laser-detect autofocus is fast in
all lighting conditions and
consistently outperformed the
iPhone 13 Pro Max.
Images produced by the Pixel 6
Pro have a noticeable HDR feel to
24mm
104mm
them, conveying an impressive
level of dynamic range. Detail
retention in both shadows and
highlights tends to lean towards
hyper-realism, which won’t suit
everyone. This is particularly
noticeable in high-contrast and
low-light scenes. There’s little
drop in quality when you engage
its 2x digital zoom setting, which
exploits data from multiple
frames in a process known as
super-resolution. But at 3x the
results are visibly worse.
The periscopic telephoto
camera has a 48MP 1/2in
sensor and offers a 4x optical
zoom with an f/3.5 aperture.
I found its 104mm equivalent
focal length produced particularly
attractive portraits, but it was
also good for capturing distant
subjects such as building details.
At 0.7x, offering a 16mm
equivalent (114°) field of view,
the ultrawide camera has a 12MP
www.amateurphotographer.co.uk

In low light, the Pixel 6 Pro will switch
to Night Mode for long exposures
Google Pixel 6 Pro, 24mm equiv, f/1.9, ISO 117
sensor and an aperture of f/2.2.
It does a decent job of allowing
you to take in landscape scenes
and extreme angles of close-up
subjects. But it doesn’t feel
quite wide enough when
compared to the iPhone 13 Pro
Max’s ultrawide camera, with its
120° field of view.
In terms of image quality, it’s a
similar story with wideangle
images as it is with the rest of
the Pixel 6 Pro’s camera
performance. Its output is
vibrant in good light and frankly,
surreal in low light. The Pixel 6
Pro tends to lean towards
warmer tones in most situations,
but I found it to produce
pleasing images overall that
require little adjustment before
publishing or sharing.
A double tap of the power
button will open the camera app
almost instantly, even from a
locked screen. This means you’ll
rarely miss a shot. And speaking
of missing shots, the Pixel’s
‘Motion Mode’ makes capturing
moving subjects effortless and
fun. Combining data from its
multiple cameras, the Pixel 6 Pro
is able to combine the blur of
motion while using AI to detect
and freeze subjects. It’s the first
time a smart device has
www.amateurphotographer.co.uk
introduced a new feature that
allows me to capture images
that I actually want.
In challenging low light, the
Pixel 6 Pro will switch to Night
Mode and take a couple of
seconds to gather light data. It
also has highly capable optical
image stabilisation on its main
wideangle and telephoto camera
units. After some quick
processing, the Pixel 6 Pro can
produce an image that is beyond
what our eyes alone can see. It’s
an impressive trick that finds
light where there’s very little
illumination to be found.
Unfortunately, there are limited
manual controls available with
the Pixel 6 Pro’s native camera
app to manipulate shutter times.
It only offers basic sliders for
exposure level and white
balance. However, it is possible
to capture in both raw and JPEG
formats simultaneously if you
prefer to process your images
more subtly after shooting.
Howver it’s locked to outputting
12.5MP images only, despite the
sensor’s 50MP resolution.
There’s a raft of other
intelligent features that
showcase the power of the Pixel
6 Pro, including Top Shot, Live
HDR+ and Face Unblur. But
Magic Eraser is one of my other
favourite features on this device.
This AI tool can detect potentially
unwanted features of a scene
after you’ve captured the image,
allowing you to remove
bystanders at beauty spots or
unsightly road signs. It’s a clever
function to have built in natively
to the camera app, and it’s the
best implementation I’ve seen of
this technology on any phone.
The only area that I feel lets
the camera down is its video
performance. Spec-wise, the
Pixel 6 Pro looks like it should be
a solid movie-making tool. It
offers 4K video recording at up
to 60fps, 4K timelapse with
stabilisation, Astrophotography
timelapse and more. It’s not
short of features by any means,
I just expected the actual look of
its videos to match the quality of
its photos. Unfortunately, it falls
a little short. To its credit, the
Pixel 6 Pro’s video is very well
stabilised and good enough for
capturing moments to share on
social media.
Lastly, if you’re keen on
capturing content throughout the
day, the Pixel 6 Pro’s intelligent
power management and large
battery will comfortably get
you through an entire day.
Recommended
Verdict
THE PIXEL 6 Pro is the most
pleasing Android device to
capture images on and in the
rare scenarios where it doesn’t
surpass the competition, it at
least holds its own. If you’re a
keen photographer and want a
device that will help you capture
beautiful images in a range of
scenarios, any time of day, the
Pixel 6 Pro is very hard to beat.
Considering that its little brother,
the Pixel 6, features the same
main camera and software as the
Pro, only lacking the 4x zoom, it
may even be the better option at
its price (from £599) if you can
forgo a telephoto lens.
The Pixel 6 Pro is not perfect by
any means and personal
preference will always affect how
people perceive varying image
processing between devices. But
its sensor and software tech is
capable of producing seriously
impressive photos. The Pixel 6
Pro is a device that makes me
want to take more pictures,
confident that I’ll be getting great
results. Having the benefit of
Google’s best smartphone
features and powerful AI in a
device that genuinely lets me
leave my dedicated camera at
home when I’m not working is
something I’ve wanted for years.
Data file
Price From £849 Display
12GB/128GB 6.7in, 19.5:9, up
Cameras to 120 Hz, HDR
24mm f/1.85, OIS, Operating system
50MP sensor Android 12
16mm f/2.2, Dimensions 163.9
12MP sensor x 75.9 x 8.9 mm
104mm f/3.5, OIS, Weight 210g
48 MP sensor
45
 Fine Photographica
12th April

Fine cameras from a superb and extensive collection sold in our recent auction.

We sell fine film cameras of all types and are now taking in more lots for
our next auctions. These auctions already include a huge collection,
literally weighing a ton, including fine usable vintage medium format and
35mm cameras and lenses. Our auctions are online only, but each lot is well-
illustrated with guidance on condition and viewing is available by appointment.
We can assist with the sale of all types of cameras of all types and values,
photographs and related items and are happy to visit to pick up collections,
offering competitive commission terms.

Please contact Mike Spencer, Paul Mason or Hugo Marsh

+ 44 (0)1635 580595 or mail@specialauctionservices.com

Special Auction Services

Plenty Close, Off Hambridge Road, Newbury RG14 5RL
 USED CAMERAS Testbench
SECONDHAND CLASSIC

Canon
EOS 60D
Canon’s double-digit DSLR is a
bargain when you consider good Canon built the EOS 60D around an
GOLD
18.1MP APS-C CMOS sensor
used examples cost just £200

T
he EOS 60D was introduced to Canon’s EOS lineup in
2010. It sat above the EOS 50D from 2008 and presented
an increase in resolution to 18.1MP. The APS-C CMOS
sensor featured an improved ISO 100-6400 range that
could be expanded to ISO 12,800, and unlike its predecessor, the
60D’s screen articulates and matches the aspect ratio of the
sensor. Although not as fast as the 50D, it was made smaller and
lighter, plus it benefited from the widely used LP-E6 battery to give it
a longer 1,100-shot battery life. Other features include a single SD
card slot, 3.5mm mic port and 1080p HD video at 24, 25 and 30p.

What we said What to pay

O ‘It’s more accessible to many
enthusiast photographers than
the EOS 7D.’
O ‘When at the maximum
ISO 6400 setting, images look
very good.’
O ‘By retaining the jog control
wheel the camera feels
unmistakably like a Canon’
O ‘The camera feels solid and
substantial, unlike the hollow
feel of many polycarbonate
entry-level models.’
The EOS 60D cost £1,099 An informative status panel
(body only) new in 2010. Today adorns the EOS 60D’s top plate
you can pick one up in excellent
used condition with a shutter
count of around 17,000 frames
for £224. Examples with a
shutter count of around 60,000
frames deemed to be in ‘good’
working order can be picked up
for £199. Well used 60D’s can
be found under £150, although
expect some marks and scuffs
to the body, paintwork and LCD.

How it fares today New alternatives

Although the 60D is no spring
chicken and has been
superseded by the 70D, 80D
and 90D, it remains a well-
rounded APS-C DSLR that many
still use and swear by. Its main
downfalls are its basic 9-point
AF system and leisurely 5.3fps
burst rate. A resolution of
18.1MP remains adequate for
enthusiasts who don’t require
the colossal files outputted by
today’s high-resolution cameras.
See over to find out what Canon EOS 60D owners have to say
www.amateurphotographer.co.uk
Arriving in 2019, the EOS 90D’s
32.5MP CMOS sensor offers a
broader ISO 100-25,600 range
(expandable to ISO 51,200),
and burst speeds up to 10fps
with AF tracking. It also boasts
much-improved autofocus when
shooting stills and video in live
view. There’s plenty more
besides, including a 45-point
cross-type AF system, AF
joystick, vari-angle touchscreen
and 4K video at 30fps.
The vari-angle screen is helpful when shooting at awkward angles
At a glance
£169-£244 body only
O 18.1.MP APS-C CMOS sensor
O DIGIC 4 processor
O ISO 100-12,800 (expanded)
O 95% viewfinder coverage
O 3in, 1.04m-dot articulated screen
O 755g
For and against
+ Respectable image quality
+ Intuitive controls
+ Excellent battery life
+ Superb handling
– No AF joystick
– Basic autofocus system
– Single SD card slot
– Screen is not touch sensitive
47
 Testbench USED CAMERAS

What the owners think

Three Canon EOS 60D users give their verdict

Phil Durkin
My first DSLR was the Canon
EOS 550D, which I owned for
about two and half years. It was a
great way into digital photography.
I got hooked and wanted a more
capable and functional DSLR with
a few EF-S lenses so it was
always going to be another Canon
for me. Then on New Year’s Day a
friend was selling a 60D. Two
hours later I did the deal. I The well
photographed
immediately noticed that the Lloyd’s of
build quality was far superior than London
the 550D with its robust body Building close
and more buttons. It felt like a to Leadenhall
natural progression from the Market
entry-level 550D. I capture a lot Canon EOS 60D,
of landscape shots and used to Sigma 10-20mm f/3.5
EX DC HSM, 1/6sec at
get very low down to the ground. f/13, ISO 100
The articulated screen was a real
game-changer as were the when I upgraded from the kit lens my wife got me the Canon EOS
additional ISO increments that to the Canon EF-S 15-85mm 5D Mark III for my 50th birthday. For and against
gave me great control over f/3.5-5.6 IS USM I found I was I suddenly missed that articulated + Articulated screen
exposure times for the moving getting the best from the body screen, and still do six years later + Build quality
water. The image quality was without going to L-series glass. A but with the 5D Mark IV. + Top LCD display
almost identical to the 550D but year later I went full frame after www.phildurkin.co.uk. –Very limited focus point coverage

Chris Andrews
The 60D was my second DSLR,
having started with a 550D. The
primary driver to upgrade was my
increased enthusiasm for
landscape photography whilst
retaining my existing EF-S mount
lenses. Predominantly I wanted a
camera to shoot with in all
weather but also something more
robust. The articulated screen
looked neat, but it was only once
I had the camera that I realised
its usefulness. The 60D helped
me fine-tune my settings, getting
the camera working how I wanted
it to, rather than working within
constraints. A testament to its
robustness and image quality is
that despite moving to full frame,
it’s the only camera I’ve never
traded in and is still enjoyed by
my wife. My journal can be found
at blipfoto.com/AnnieandChris

For and against Chris has uploaded many images taken on the EOS 60D to his
+ Excellent build and flip-out screen Instagram account @chrisjandrews_photographer
– Limited ISO range and no Wi-Fi Canon EOS 60D, Canon EF-S 15-85mm f/3.5-5.6 IS USM, 1/800sec at f/9, ISO 400

48 www.amateurphotographer.co.uk
 More of Phil’s stunning work can be viewed by
following him on Instagram @philpot100
Canon EOS 60D, Canon EF-S 15-85mm f/3.5-5.6 IS USM, 20secs at f/5.6, ISO 100

Ivelin Marev The Lights of Budapest,

Chain Bridge
When I started out I settled on Canon EOS 60D, Sigma 17-50mm f/2.8
the Canon system partly because EX DC OS HSM, 2.5secs at f/8, ISO 100
of people’s high-valued opinion of
it. I have never had any regret
and in the past decade I have
owned the EOS 350D, 40D, 60D,
5D Mark III and EOS R. There is
still a place for a DSLR in my
backpack and I often use my EOS
60D. Yes it is old, yes it is slow
and the AF isn’t always accurate,
but still I love it. Things I like
most are its articulating screen,
great choice of EF lenses, good
battery life and excellent image
quality. Not everything in the
garden is rosy – AF speed in live
view is a nightmare and the burst
mode is too slow for any kind of
action photography. If you’re new
to photography, I’d say the 60D is
one that’ll fit you well for travel,
street or portrait photography.

For and against

+ Great choice of EF-S and EF lenses
– Slow burst mode for sports/action
www.amateurphotographer.co.uk 49
 Testbench ACCESSORIES

NiSi BRC
(Bluetooth Remote Control)
Andy Westlake tries out a simple wireless remote release
controlled by your smartphone O £29.90 + £4.50 per cable O www.nisioptics.co.uk
LEDs
Two small LEDs, one blue
and one red, indicate the
device’s operational status.
ALL PRICES ARE APPROXIMATE STREET PRICES
Recommended
NiSi app
To fire your camera’s
shutter, you need to
download and connect to the
free NiSi ND Calculator
app for Android or iOS.
Interchangeable cables
Power
The device employs a current
single CR2032 battery, Fujifilm, Nikon, Olympus,
which can be replaced by
removing the bright yellow
cover around the edge.
IF YOU’VE ever used strong neutral density filters,
you’ll probably have run into a specific problem –
how to calculate and shoot the long exposures
required, which can easily run to several minutes?
Most cameras will only provide timed shutter
speeds up to 30 seconds. The obvious answer is to
set the camera to bulb and use a cable release
with a locking shutter button, while timing your
exposures using a stopwatch. But NiSi has come
up with an easier way, with its Bluetooth Remote
Control (or BRC).
This is a simple device that plugs into your
camera’s remote release socket using an
appropriate interchangeable cable. It pairs with your
phone via Bluetooth, and connects to NiSi’s ND
Calculator app. Here you set a base shutter speed
(from 30sec to 1/8000sec), a filter factor (1 to 20
stops), and any exposure compensation you might
need. The app will then calculate the shutter
speed required; all you have to do is set the
camera to bulb and press ‘Start’. The BRC will
release the shutter and hold it open until the
requisite time has elapsed. It doesn’t even need to
stay connected to your phone.
At just 42mm square and 15mm thick, the device
takes up little space in your bag, and it’s so light
that it just hangs off the release cable. There are
no external controls, as it’s switched on or off by
inserting or removing the cable. It can take a
minute to pair with your phone when you first use it
on a shoot, but after that it usually reconnects
Cables immediately. The simple design means that
you shouldn’t have to worry about shooting
are available for most outdoors in wet weather; NiSi says it’s
cameras from Canon, waterproof, although your camera’s weather-
sealing might be reduced with the shutter
Pentax and Sony (but release port exposed.
unfortunately not Of course, you’re not restricted to using the
Panasonic). BRC with ND filters. It can be used in any situation
where a remote release is valuable, and with any
exposure mode. With its 10m range, you could use
it to include yourself in a photo, for example. You
might just need to experiment with the shutter

CAMERA COMPATIBILITY
Camera cables are available in five
types: Sony micro USB; Nikon 10-pin and O Bluetooth shutter release
DC2; Canon N3; and the 2.5mm TRS
jack that’s used by a wide range of
cameras. You can check NiSi’s website
for compatibility; note though that it
doesn’t include Olympus models that
use the 2.5mm connector (E-M1 Mark II
and III, and E-M5 III).
At a glance
O Up to 10m range
O Interchangeable camera
cables
O Uses CR2032 battery
speed setting, which will need to be long enough to
activate and confirm autofocus if you’re using it.
Verdict
NiSi’s Bluetooth Remote Control may not do much,
but it does what it’s designed to do with the
minimum of fuss. It’s a neat and inexpensive little
device that makes shooting with strong ND filters
just that bit easier. It’s also worth considering for
anyone who just wants a simple wireless release.

50 www.amateurphotographer.co.uk
 Tech Talk
BLAST FROM THE PAST
The Hollywood
John Wade unearths an
unexpected disposable camera
LAUNCHED c.1950
PRICE AT LAUNCH free as a premium gift
GUIDE PRICE NOW $28
(£20 – recent eBay purchase)
BACK in 1986, Fujifilm introduced
the Quicksnap, reckoned to be
the world’s first disposable
camera. It wasn’t. In 1972 there
was a 110 camera, variously
called the Rank, Lure, Love and
Blick, depending on the country
in which it was sold, designed to
be used once before being
broken open to process the film,
never to be used again. But that
wasn’t the first either. Around
1948-50, three disposable
cameras appeared in America:
the Picture Box, the Photo-Pac
and the more abundant
Hollywood, available by saving
up enough coupons from
cigarette packs.
The Hollywood is made of
cardboard with a paper covering
that resembles a light-coloured
leather. It has a shutter release
and film wind knob on the side, a
wire-frame viewfinder that pulls
up from the top and a simple
fixed focus, fixed aperture lens.
The camera came pre-loaded with
a roll of 127 film and was used
like any other box camera of the
day. In case of doubt, full
instructions for use were printed
on the side.
A label on the bottom of the
camera was pre-printed with
the name and address of the
Encore Camera Company that
www.amateurphotographer.co.uk
The Hollywood,
a very early form
of disposable
box camera
made the camera and processed
the film. The label also included
a place for the user to write his
or her name and address and
then the edge of a coin was used
to open a perforated slot. Into
this the photographer inserted
$1.25, suggested to comprise a
quarter coin (25 cents) wrapped
in a dollar bill. Then all the user
had to do was stick a six-cent
stamp on the camera and put the
whole thing in the mail.
Sometime later, a set of pictures
would arrive in the post,
followed shortly after by
Left: Instructions
on the side of the
body tell
photographers
how to use the
camera
Right: The label
on the base
where the user
added their
name, address
and a stamp
another pre-loaded camera.
Variations on the Hollywood
included the Encore Deluxe,
which was the same camera
covered in fake snakeskin, and
one badged by, and given away to
passengers travelling on,
Continental Airlines.
What’s good An unusual
collector’s item, rare because
so many were destroyed.
What’s bad Fragile body and
totally useless for today’s
photographers.
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Our comprehensive listing of key camera specifications
Cameras
Cameras come in three types:
DSLRs with optical viewfinders,
mirrorless models with electronic
viewing, and compact cameras
with non-interchangeable lenses
Handgrip
DSLRs traditionally
have relatively large
handgrips, while many
mirrorless models have
much smaller grips
to keep size down.
However, some can
accept accessory grips
to improve handling
with larger lenses.
SPONSORED BY
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Guide
107
cameras
listed &
rated
ations
Controls Viewfinder Compact cameras
Entry-level cameras The biggest difference These range from
tend to have simple, between DSLRs and small, pocketable
easy-to-understand mirrorless cameras models to large
controls, while more is that the latter use bridge-type cameras
expensive models add electronic, rather than with long zoom lenses
lots of buttons and optical viewfinders. and SLR-style designs.
dials to give quick Some advanced In this guide, we’re only
access to settings. compact cameras including those with
also have built-in relatively large sensors
electronic viewfinders for high image quality,
to complement their raw format recording
rear LCD screens. and manual controls.
ALMOST all serious photographers manufacturers offer a range of
Lens mount prefer to use cameras with options, from simple, relatively
Each camera brand interchangeable lenses, as this inexpensive beginner-friendly
uses its own lens gives the greatest degree of creative designs, to sophisticated
mount, and mirrorless flexibility. At one time, this meant professional models. In the middle
cameras use different digital single-lens-reflex (DSLR) of the range you’ll find enthusiast
lenses to DSLRs even cameras, but these have now been cameras with more-advanced control
from the same brand. joined by mirrorless cameras that layouts. Meanwhile the term
However, mirrorless use electronic viewfinders. The ‘compact’ refers to cameras with
models can often latest models are true alternatives built-in lenses, regardless of their
use DSLR lenses via to DSLRs, offering the same image size. Many offer excellent image
a mount adapter. quality and creative options. Camera quality and full manual control.
Park Cameras was established in 1971 in Burgess Hill, West Sussex. For 50 years they have forged a reputation across
the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of all
photographers, from enthusiasts through to professionals, through the very highest level of customer service.
53
 BUYING GUIDE

Mirrorless cameras

RESOLUTION (MP)

SCREEN SIZE (IN)

BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
SENSOR SIZE

LENS MOUNT

VIEWFINDER

HEIGHT (MM)
BATTERY LIFE

WIDTH (MM)

DEPTH (MM)
MIC INPUT
AF POINTS

WEIGHT (G)
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M200 £499 Basic entry-level viewfinderless model gains 4K video recording APS-C 24.1 Canon M 25,600 3840 143 6.1 • • 3 • • 315 108.2 67.1 35.1 299

Canon EOS M50 Mark II £699 4★ Likeable, easy-to-use entry-level APS-C model with viewfinder APS-C 24.2 Canon M 51,200 3840 • 143 10 • • • 3 • • 250 116.3 88.1 58.7 387

Canon EOS M6 Mark II £869 4★ Sports 32.5MP sensor and 14fps shooting, uses removable viewfinder APS-C 32.5 Canon M 51,200 3840 • 143 14 • • 3 • • 305 119.6 70 49.2 398

Canon EOS RP £1400 4★ Compact and affordable but over-simplified full-frame camera ever FF 26.2 Canon RF 102,400 3840 • 779 5 • • 3 • • 250 132.5 85 70 485

Canon EOS R £2350 4★ Canon’s first full-frame mirrorless uses the EOS 5D Mark IV’s sensor FF 30.3 Canon RF 102,400 3840 • 565 8 • • 3.2 • • 350 135.8 98.3 84.4 660

Canon EOS R3 £5880 High-speed, pro-spec flagship model that’s packed full of clever technology FF 24.1 Canon RF 204,800 6000 • 779 30 • • 3.2 • • 860 150 142.6 87.2 1015

Canon EOS R5 £4200 4.5★ Remarkable 45MP powerhouse capable of internal 8K video recording FF 45 Canon RF 102,400 4096 • 940 12 • • 3.2 • • 320 135.8 97.5 88 738

Canon EOS R6 £2500 5★ Superb all-rounder with in-body stabilisation and dual card slots FF 20.1 Canon RF 204,800 3840 • 072 12 • • 3 • • 380 138.4 97.5 88.4 680

Fujifilm X-A7 £699 3★ Sports large fully articulated LCD, but frustrating controls APS-C 24.2 Fuji X 51,200 3840 • 425 6 • • 3.5 • • 270 119 67.7 41.1 320

Fujifilm X-E4 £799 4★ Sharply-styled, compact mirrorless model with a tilt-up selfie screen APS-C 26.1 Fuji X 51,200 3840 • 425 20 • • 3 • • 460 121.3 72.9 32.7 364

Fujifilm X-Pro3 £1799 4★ Employs unusual hidden rear LCD design that polarises opinions APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 370 140.5 82.8 46.1 497

Fujifilm X-S10 £949 5★ Fine SLR-styled model with in-body image stabilisation and large handgrip APS-C 26.1 Fuji X 51,200 3840 • 425 20 • • • 3 • • 325 126 85.1 65.4 465

Fujifilm X-T200 £749 3.5★ Fine handling and great image quality, but slow and buggy in use APS-C 24.2 Fuji X 51,200 3840 • 425 8 • • • 3.5 • • 270 121 83.7 55.1 370

Fujifilm X-T30 £849 5★ Superb mid-range model that borrows much of its tech from the X-T3 APS-C 26.1 Fuji X 51,200 3840 • 425 8 • • • 3 • • 380 118.4 82.8 46.8 383

Fujifilm X-T30 II £769 Gains higher-resolution screen and numerous small updates over X-T30 APS-C 26.1 Fuji X 51,200 4096 • 425 8 • • • 3 • • 390 118.4 82.8 46.8 378

Fujifilm X-T3 £1349 5★ New sensor and improved autofocus make it the best APS-C camera yet APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 390 132.5 92.8 58.8 539

Fujifilm X-T4 £1549 5★ Exciting update with in-body stabilisation and fully articulated screen APS-C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 500 134.6 92.8 63.8 607

Leica CL £2250 4.5★ Gorgeous APS-C mirrorless model with viewfinder and touchscreen APS-C 24.2 Leica L 50,000 3840 49 10 • • 3 • 220 131 78 45 403

Leica TL2 £1700 4★ Update to the TL with 24MP sensor and much faster operation APS-C 24 Leica L 50,000 3840 49 20 • 3.7 • 250 134 69 33 399

Leica SL2 £5300 4★ Sports 47.3MP full-frame sensor, in-body stabilisation and 5K video FF 47.3 Leica L 50,000 5120 • 225 20 • • 3.2 • 370 147 107 83 916

Leica SL2-S £3975 4★ More affordable 24MP version of the SL2 with pro video features FF 24.6 Leica L 100,000 4096 • 225 25 • • 3.2 • 510 146 107 83 931

Nikon Z 5 £1719 4★ Simplified version of the Z 6, comes with compact 24-50mm f/4-6.3 zoom FF 24.3 Nikon Z 102,400 3840 • 273 4.5 • • 3.2 • • 470 134 100.5 69.5 675

Nikon Z 6 £2099 5★ Full-frame mirrorless all-rounder with 24MP sensor and 12fps shooting FF 24.5 Nikon Z 204,800 3840 • 273 12 • • 3.2 • • 330 134 100.5 67.5 675

Nikon Z 6II £1999 4.5★ Second-generation full-frame mirrorless model with useful updates FF 24.5 Nikon Z 204,800 3840 • 273 14 • • 3.2 • • 410 134 100.5 69.5 705

Nikon Z 7 £3399 5★ High-resolution full-frame mirrorless with in-body stabilisation FF 45.7 Nikon Z 102,400 3840 • 493 9 • • 3.2 • • 330 134 100.5 67.5 675

Nikon Z 7II £2999 4.5★ Gains dual card slots, faster shooting, 4K 60p video and vertical grip option FF 45.7 Nikon Z 102,400 3840 • 493 10 • • 3.2 • • 420 134 100.5 69.5 705

Nikon Z 9 £5299 High-speed, high-resolution flagship with pro build and connectivity FF 45.7 Nikon Z 102,400 7680 • 493 20 • • 3.2 • • 700 149 149.5 90.5 1340
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Nikon Z 50 £849 5★ Well-specified APS-C mirrorless model boasts excellent handling DX 20.9 Nikon Z 204,800 3840 • 209 11 • • • 3.2 • • 320 126.5 93.5 60 450

Nikon Z fc £899 4★ Lovely-looking retro-styled model with fully articulated touchscreen DX 20.9 Nikon Z 204,800 3840 • 209 11 • • 3 • • 300 134.5 93.5 43.5 445

We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will
inevitably have crept in along the way: if you spot one, please let us know by emailing ap.ed@kelsey.co.uk. Unfortunately we don’t have space
to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you
to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

Mirrorless cameras at competitive low

ark Cameras in store or online.

r of our expert team for free impartial

nd the perfect camera for your needs.
Keep up to date with us on:

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Mirrorless cameras

RESOLUTION (MP)

SCREEN SIZE (IN)

BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
SENSOR SIZE

LENS MOUNT

VIEWFINDER

HEIGHT (MM)
BATTERY LIFE

WIDTH (MM)

DEPTH (MM)
MIC INPUT
AF POINTS

WEIGHT (G)
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Olympus PEN E-P7 £749 4★ Viewfinderless model with 20MP sensor and creative processing controls 4/3 20.3 Mic4/3 25,600 3840 121 15 • • 3 • • 360 118.3 68.5 38.1 337

Olympus OM-D E-M10 IV £699 4.5★ Compact, lightweight, enjoyable to use and takes great-looking pictures 4/3 20.2 Mic4/3 25,600 3840 121 15 • • • 3 • • 360 121.7 84.4 49 383

Olympus OM-D E-M5 III £1100 5★ Very capable camera with a small, lightweight, weather-sealed body 4/3 20.4 Mic4/3 25,600 4096 • 121 10 • • 3 • • 310 125.3 85.2 49.7 414

Olympus OM-D E-M1 III £1600 5★ Super-fast, incredible IS and packed full of advanced features 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 420 134.1 90.9 68.9 580

Olympus OM-D E-M1X £2800 4.5★ Pro-spec high-speed model with built-in vertical grip 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 2580 144.4 146.8 75.4 997

Panasonic Lumix G9 £1499 4.5★ High-speed, rugged photo-centric flagship camera with in-body IS 4/3 20.3 Mic4/3 25,600 3840 • 225 9 • • 3 • • 890 136.9 97.3 91.6 658

Panasonic Lumix G100 £590 4★ Small SLR-shaped camera specifically designed for vloggers 4/3 20.3 Mic4/3 25,600 3840 • 49 10 • • • 3 • • 270 115.6 82.5 54.2 345

Panasonic Lumix GX880 £400 Tiny easy-to-use pocket camera with tilting screen and 4K video 4/3 16 Mic4/3 25,600 3840 49 5.8 • • 3 • • 210 106.5 64.6 33.3 270

Panasonic Lumix GX9 £699 4★ Compact body with tilting screen and viewfinder, and 5-axis stabilisation 4/3 20.3 Mic4/3 25,600 3840 49 9 • • • 3 • • 900 124 72.1 46.8 450

Panasonic Lumix GH5 II £1499 4.5★ Video-focused high-end model with in-body stabilisation and 4K video 4/3 20.2 Mic4/3 25,600 4096 • 225 12 • • 3 • • 410 138.5 98.1 87.4 727

Panasonic Lumix GH5S £2199 Professional video version of GH5 with 10.2MP multi-aspect sensor 4/3 10.2 Mic4/3 204,800 4096 • 225 11 • • 3.2 • • 410 138.5 98.1 87.4 660

Panasonic Lumix S1 £2199 4.5★ 24MP full-frame mirrorless with exceptional viewfinder FF 24.2 Leica L 204,800 3840 • 225 9 • • 3.2 • • 380 148.9 110 96.7 899

Panasonic Lumix S1H £3600 Specialist full-frame mirrorless model designed for pro-level video FF 24.2 Leica L 204,800 4096 • 225 9 • • 3.2 • • 380 151 114.2 110.4 1164

Panasonic Lumix S1R £3399 4.5★ High-resolution full-frame mirrorless with in-body stabilisation FF 47.3 Leica L 51,200 3840 • 229 9 • • 3.2 • • 360 148.9 110 96.7 898

Panasonic Lumix S5 £1800 4.5★ Compact-bodied, enthusiast-focused model designed for both stills and video FF 24.2 Leica L 204,800 3840 • 225 7 • • 3 • • 440 132.6 97.1 81.9 714

Sigma fp £1999 4★ Smallest full-frame mirrorless, but compromised features and handling FF 24.6 Leica L 102,400 3840 • 49 18 3.2 • 280 112.6 69.9 45.3 422

Sigma fp L £1999 4★ High-resolution version of the fp with 61MP full-frame sensor FF 61.0 Leica L 102,400 3840 • 49 10 3.2 • 240 112.6 69.9 45.3 427

Sony Alpha 6000 £670 4.5★ A fine camera for its time, but now very much showing its age APS-C 24 Sony E 25,600 1080 179 11 • • • 3 • 310 120 67 45 344

Sony Alpha 6100 £830 Update to the A6000 with Sony’s latest AF technology and 4K video APS-C 24.2 Sony E 51,200 3840 • 425 11 • • • 3 • • 380 120 66.9 59.4 396

Sony Alpha 6400 £1000 4★ Extraordinary new autofocus system, but in an outdated body design APS-C 24.2 Sony E 102,400 3840 • 425 11 • • • 3 • • 360 120 66.9 49.9 403

Sony Alpha 6600 £1450 4★ In-body stabilistion and impressive autofocus, but frustrating body design APS-C 24.2 Sony E 102,400 3840 • 425 11 • • • 3 • • 720 120 66.9 59 503

Sony Alpha 1 £6500 5★ Flagship model with an unprecedented combination of resolution and speed FF 50.1 Sony E 102,400 7680 • 759 30 • • 3 • • 530 128.9 96.9 80.8 737

Sony Alpha 7 II £1498 5★ The full-frame Alpha 7 II includes in-body image stabilisation FF 24.3 Sony E 25,600 1080 • 117 5 • • 3 • 350 126.9 95.7 59.7 556

Sony Alpha 7 III £1999 5★ Fine camera with 10fps shooting and 4K video recording FF 24.2 Sony E 204,800 3840 • 693 10 • • 3 • • 610 126.9 95.6 73.7 650

Sony Alpha 7 IV £2400 5★ Excellent all-rounder with 33MP sensor and fully articulated screen FF 33.0 Sony E 204,800 3840 • 759 10 • • 3 • • 610 131 96.4 79.8 658

Sony Alpha 7C £1900 3.5★ Compact full-frame design let down by poor handling and tiny EVF FF 24.2 Sony E 204,800 3840 • 693 10 • • 3 • • 680 124 71.1 59.7 509

Sony Alpha 7R III £3200 5★ Impressive image quality and handling, but starting to look a little dated FF 42.4 Sony E 102,400 3840 • 399 10 • • 3 • • 650 126.9 95.6 73.7 657

Sony Alpha 7R IV £3500 5★ Superb high-resolution, full-frame mirrorless with new 61MP sensor FF 61.0 Sony E 102,400 3840 • 567 10 • • 3 • • 670 128.9 96.4 77.5 665

Sony Alpha 7S III £3800 4.5★ Huge update gains fully articulated screen and new touch interface FF 12.1 Sony E 409,600 3840 • 759 10 • • 3 • • 600 128.9 96.9 80.8 600

Sony Alpha 9 II £4800 A9 gains professional connectivity options and an improved body design FF 24.2 Sony E 204,800 3840 • 693 20 • • 3 • • 500 128.9 96.4 77.5 678

Sony ZV-E10 £680 4★ Designed for vlogging, with high-end microphone and fully articulated screen APS-C 24.2 Sony E 51,200 3840 • 425 11 • 3 • • 440 113 64.2 44.7 343

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 BUYING GUIDE

VF COVERAGE (%)
RESOLUTION (MP)
DSLR cameras

SCREEN SIZE (IN)

BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
SENSOR SIZE

LENS MOUNT

HEIGHT (MM)
BATTERY LIFE

WIDTH (MM)

DEPTH (MM)
MIC INPUT
AF POINTS

WEIGHT (G)
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 2000D £469 3★ Minor update to EOS 1300D gains 24.1MP sensor APS-C 24.1 Canon EF 12,800 1080 9 3 95 • • 3 500 129 101.3 77.6 475

Canon EOS 250D £530 4★ Very compact entry-level DSLR with fully articulated screen and 4K video APS-C 24.1 Canon EF 51,200 3840 • 9 5 95 • • 3 • • 1070 122.4 92.6 69.8 449

Canon EOS 850D £820 4★ Fully featured upper entry-level DSLR includes 4K video recording APS-C 24.1 Canon EF 51,200 3840 • 45 7 95 • • 3 • • 800 131 102.6 76.2 515

Canon EOS 90D £1210 4★ Mid-range DSLR boasts 32.5MP sensor, 10fps shooting and 4K video APS-C 32.5 Canon EF 51,200 3840 • 45 10 100 • • 3 • • 1300 140.7 104.8 76.8 701

Canon EOS 6D Mark II £1999 4.5★ Includes 26.2MP full-frame sensor and fully articulated screen FF 26.2 Canon EF 102,400 1080 • 45 6.5 98 • 3 • • 1,200 144 110.5 74.8 765

Canon EOS 5D Mark IV £3599 4.5★ Hugely accomplished workhorse model, but pricey FF 30.4 Canon EF 102,400 3840 • 61 7 7 100 • 3.2 • 900 151 116 76 890

Canon EOS-1D X Mark III £6499 Super-fast pro model for sports and action photographers FF 20.1 Canon EF 819,200 5496 • 191 16 100 • 3.2 • 2,850 158 167.6 82.6 1440

Nikon D3500 £499 4★ Easy-to-use entry-level DSLR with Bluetooth connectivity DX 24.2 Nikon F 25,600 1080 11 5 95 • 3 1,550 124 97 69.5 415

Nikon D5600 £800 4.5★ Excellent image quality and handling, plus Bluetooth connectivity DX 24.1 Nikon F 25,600 1080 • 39 5 95 • • 3.2 • • 970 124 97 78 465

Nikon D7500 £1299 4.5★ Places the excellent sensor from the D500 into a smaller body DX 20.9 Nikon F 1,640,000 3840 • 51 8 100 • • 3.2 • • 950 135.5 104 72.5 720

Nikon D500 £1729 5★ Probably the best DX-format DSLR ever, with remarkable autofocus DX 20.9 Nikon F 1,640,000 3840 • 153 10 100 • 3.2 • • 1,240 147 115 81 860

Nikon D780 £2199 5★ Superb all-rounder blends the best of DSLR and mirrorless technology FX 24.5 Nikon F 204,800 3840 • 51 7 100 • 3.2 • • 2,060 143.5 115.5 76 840

Nikon D850 £3499 5★ High speed and superb image quality make this the best DSLR yet FX 45.7 Nikon F 102,400 3840 • 153 7 100 • 3.2 • • 1,840 146 124 78.5 1005

Nikon D5 £5199 Nikon’s top-end sports and action model for professionals FX 20.8 Nikon F 3,280,000 3840 • 153 14 100 3.2 • • 3,780 160 158.5 92 1405

Nikon D6 £6299 Latest pro-level high-speed sports camera boasts new AF system FX 20.8 Nikon F 3,280,000 3840 • 105 14 100 • 3.2 • 3,580 160 163 92 1450

Pentax K-70 £600 4.5★ Solid performer with fully articulated screen and in-body stabilisation APS-C 24.2 Pentax K 102,400 1080 11 6 100 • • 3 • 410 125.5 93 74 688
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Pentax KP £1099 4★ Compact but well-specified DSLR with interchangeable hand-grips APS-C 24.3 Pentax K 819,200 1080 • 27 7 100 • • 3 • 390 131.5 101 76 703

Pentax K-3 III £1899 4★ Highly specified but pricey APS-C DSLR that boasts a large viewfinder APS-C 25.7 Pentax K 1,600,000 3840 • 101 12 100 • 3.2 • 800 134.5 103.5 73.5 820

Pentax K-1 II £1799 4.5★ Well-featured full-frame DSLR that’s excellent value for money FF 36 Pentax K 819,200 1080 • 33 4.4 100 • 3.2 • 670 136.5 110 85.5 1010

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Compact cameras

RESOLUTION (MP)

SCREEN SIZE (IN)

BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
SENSOR SIZE

VIEWFINDER
LENS RANGE
(MM EQUIV)

HEIGHT (MM)
BATTERY LIFE

WIDTH (MM)

DEPTH (MM)
MIC INPUT

WEIGHT (G)
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon G1 X Mark III £1149 5★ Rewrites the rule book by fitting an APS-C sensor in a compact body APS-C 24.2 24-72 25,600 1080 9 • • • 3in • • 200 115 77.9 51.4 399

Canon G3 X £799 3.5★ Long zoom range, but let down by slow shooting and no built-in EVF 1in 20.2 24-600 12,800 1080 • 5.9 • • 3.2in • • 300 123.3 76.5 105.3 733

Canon G5 X Mark II £849 4★ Handles well and gives great image quality, but sluggish AF in low light 1in 20.2 24-120 25,600 3840 30 • • • 3in • • 230 110.9 60.9 46 340

Canon G7 X Mark II £549 4.5★ Pocketable body that handles well, with really useful zoom range 1in 20.1 24-100 12,800 1080 8 • • 3in • • 265 105.5 60.9 42 319

Canon G7 X Mark III £699 4★ Lovely pocket camera that includes 4K video and YouTube live streaming 1in 20.1 24-100 25,600 3840 • 30 • • 3in • • 265 105.5 60.9 41.4 304

Canon G9 X Mark II £449 4★ Slim, stylish, pocketable camera gives great image quality 1in 20.2 28-84 12,800 1080 8.2 • • 3in • 235 98 57.9 30.8 206

Fujifilm X100V £1999 5★ Replaces the X100F with new lens, tilting screen and weather-sealing APS-C 26.1 35 51,200 3840 • 20 • • • 3in • • 420 128 74.8 53.3 478

Leica C-Lux £875 Customised, re-badged version of the Panasonic TZ200 1in 20.1 24-360 25,000 3840 10 • • • 3in • 370 113 67 46 340

Leica D-Lux 7 £1075 Customised, re-badged version of the Panasonic LX100 II 4/3 17 24-75 25,000 3840 11 • • 3in • 340 118 66 64 392

Leica V-Lux 5 £1049 Customised, re-badged version of the Panasonic FZ1000 II 1in 20.1 25-400 25,000 3840 • 12 • • • 3in • • 440 136.7 97.2 131.5 812

Leica Q2 £4250 Update to the Q with high-resolution sensor and weather-sealed body FF 47.3 28 50,000 4096 20 • • 3in • 350 130 80 91.9 718

Leica Q2 Monochrom £4995 5★ Variant of the Q2 with a modified sensor that only shoots in black & white FF 47.3 28 100,000 4096 20 • • 3in • 350 130 80 91.9 734

Panasonic FZ1000 II £700 4★ Updates FZ1000 with higher-resolution, touch-sensitive screen 1in 20.1 25-400 25,600 3840 • 12 • • • 3in • • 440 136.2 97.2 131.5 810

Panasonic FZ2000 £600 4.5★ Sophisticated bridge camera with strong focus on 4K video 1in 20.1 24-480 25,600 3840 • 12 • • • 3in • • 350 137.6 101.9 134.7 966

Panasonic LX15 £370 4.5★ Likeable advanced compact with ultra-fast f/1.4-2.8 zoom lens 1in 20.1 24-72 25,600 3840 10 • • 3in • • 260 105.5 60 42 310

Panasonic LX100 II £600 4.5★ Fine camera with Four Thirds sensor, fast lens and analogue controls 4/3 17 24-75 25,600 3840 11 • • 3in • 340 115 66.2 64.2 392

Panasonic TZ100 £350 4.5★ Long zoom lens in pocket-sized body makes for a fine travel camera 1in 20.1 25-250 25,600 3840 10 • • • 3in • 300 110.5 64.5 44.3 312

Panasonic TZ200 £500 4.5★ Huge zoom range for a pocket camera, but telephoto images lack detail 1in 20.1 24-360 25,600 3840 10 • • • 3in • 370 111.2 66.4 45.2 340

Ricoh GR III £799 4★ Slimline, lightweight advanced compact with in-body image stabilisation APS-C 24.2 28 102,400 1920 4 • 3in • 200 109.4 61.9 33.2 257

Ricoh GR IIIx £899 Variant of the GR III with new 40mm-equivalent f/2.8 lens APS-C 24.2 40 102,400 1920 4 • 3in • 200 109.4 61.9 35.2 262

Sony RX0 II £730 Tough wateproof camera with tilting screen and internal 4K video recording 1in 15.3 24 12,800 3840 • 16 • 1.5in • 240 59 40.5 35 132

Sony RX10 IV £1800 5★ Update to RX10 III with vastly improved shooting speed and autofocus 1in 20.1 24-600 12,800 3840 • 24 • • • 3in • • 400 132.5 94 144 1095

Sony RX100 III £810 5★ Features fast f/1.8-2.8 zoom lens and pop-up electronic viewfinder 1in 20.1 24-70 12,800 1920 10 • • • 3in • 320 101.6 58.1 41 290

Sony RX100 V £900 4.5★ Includes super-fast 24fps shooting and slow-motion video up to 960fps 1in 20.1 24-70 12,800 3840 24 • • • 3in • 220 101.6 58.1 41 299

Sony RX100 VI £980 4.5★ Fantastic pocket travel camera with 24-200mm equivalent f/2.8-4 lens 1in 20.1 24-200 12,800 3840 24 • • • 3in • • 240 101.6 58.1 42.8 301

Sony RX100 VII £1200 4.5★ Gains Sony’s latest AI-based autofocus tech, including real-time eye AF 1in 20.1 24-200 12,800 3840 • 20 • • • 3in • • 260 101.6 58.1 42.8 302

Sony ZV-1 £700 4★ Designed for vloggers, with high-spec mic and fully articulated screen 1in 20.1 25-70 12,800 3840 • 24 • 3in • • 260 105.5 60 43.5 294

Zeiss ZX1 £5400 3★ Unique camera with built-in Lightroom Mobile, but awkward touch interface FF 27.4 35 51,200 3840 3 • • 4.3in • TBC 142 93 94 837

Treat yourself to a new camera or lens by TRADING IN your existing kit with
We offer competitive quotes and provide a hassle free service.
Step 1 Step 2 Step 3
Get a quote Send your kit Receive your payment
or new product!
Simply complete the form at Having accepted the quotation, send your gear Once the equipment has been received & checked,
www.parkcameras.com/trade-in to us or request a collection from your home. your new gear / payment shall be sent to you.

www.amateurphotographer.co.uk 57
 Mifsuds Photographic Ltd Est. 1954.
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 info@mifsuds.com
Opening times: - Monday - Saturday 10am till 4pm. Closed Sunday.
MIRRORLESS R SERIES CAMERAS & LENSES
New Stock EOS R5 body..............£4299 EOS R6 body......... £2399
CANON EOS R3 OS R6 plus 24-105mm F4/7.1 IS STM ............. £2729
F 5.2mm F2.8L DUAL FISHEYE............................ £2099
F 14-35mm F4 L IS USM ....................................... £1749
F 15-35mm F2.8 L IS USM .................................... £2389
Body F 16mm F2.8 STM black ..........................................£319
Only F 24-70mm F2.8 L IS USM .................................... £2389
£5879 F 24-105mm F4 L IS USM ..................................... £1389
F 24-105mm F4/7.1 IS STM.....................................£479
F 24-240mm F4/6.3 IS USM ....................................£959
F 28-70mm F2 L USM ........................................... £3299
New Stock F 35mm F1.8 IS STM Macro..................................£529
RF 100-500mm F 50mm f1.2 L USM ................................................ £2589
F4.5/7.1 IS L USM F 50mm F1.8 STM ......................................................£219
F 70-200mm F2.8 L IS USM.................................. £2729
Our F 70-200mm F4 L IS USM..................................... £1699
Price MORE NEW STOCK LISTED ON OUR WEBSITE - WWW.MIFSUDS.COM
£2979 FULL FRAME CAMERAS
EOS 1DX MKIII body .................................................£6999
OS 5D MKIV body....................................................£2869
New Stock OS 6D MKII body .....................................................£1429
RF 100-400mm OS 6D MKII + 24-105mm F3.5/5.6 IS STM ......£1819
F5/6.8 IS USM NON FULL FRAME CAMERAS
OS 90D body.............................................................£1249
OS 90D plus 18-55mm..........................................£1349
Our EOS 90D plus 18-135mm........................................£1629
Price
EOS 850D body ............................................................ £859
£699 EOS 250D body ...£569 EOS 250D + 18-55mm £629
EOS 2000D body.£379 EOS 2000D + 18-55mm...£468
RF 85mm F1.2 I USM DS ......................................... £3459
RF 85mm F1.2 L USM ............................................... £3059
RF 85mm F2 IS Macro .................................................£669
RF 100mm F2.8L IS USM Macro ........................... £1479
RF 100-400mm F5/6.8 IS USM black......................£699
RF 100-500mm F4.5/7.1 L IS USM ....................... £2979
RF 400mm F2.8 L IS USM ......................................£12449
RF 600mm F4 L IS USM .........................................£13409
RF 600mm F11 IS STM ................................................£859
RF 800mm F11 IS STM ............................................. £1099
RF 1.4 Extender.....£579 RF 2x Extender ..............£719
Speedlite EL-1.....£1299 Speedlite 600EXII RT.. £538
Speedlite 430EXIII RT.. £299 Speedlite 470EX-A1.£479
BG-R10 grip fits R5 / R6 ..............................................£419
LP-E6NH battery .................................................... £119.99
Mount adapter EF-EOS R .................................... £119.99
OTHER CANON CAMERAS
Powershot G5X MarkII ............................................... £849
Powershot G7X MarkIII........................................... £699
Powershot SX70HS ..................................................... £579
M50 Mark II plus 15-45mm...................................... £699
M50 Mark II plus 18-150mm ................................... £949
PANASONIC BRIDGE & COMPACTCAMERAS
FZ1000 MarkII ............................................................... £729
FZ330 ........................£429 FZ82............................... £299
LX15...........................£429 LX100 MarkII............... £749
TZ200 ........................£599 TZ95............................... £399

Quality Used Equipment

Part Exchange Welcome

BEST
PRICES
CALL MATT 0736 828 8126
Open 8am till 8pm daily. RING NOW!
Or email equipment details to info@mifsuds.com

FREE BAG DEAL - SEE HOMEPAGE

Sensor cleaning and Pro equipment hire available
ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 16/12/2021. E&OE.
 Website
updated daily
inc. promotions
QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.
CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
Used Canon 7D MKII CAF
300mm F2.8
EX DG
1DX MKII 5D MKIV body body box 50-500 120-300mm F2.8
body box box F4.5/6.3 DG OS Sport box
HSM OS
£2499 £1999/2397 £997
CANON R DIGITAL AF USED
R5 body Mint- box ........................£3697
RF 24-105 F4 L IS............................£1099
RF 70-200 F4 IS box ......................£1549
CANON DIGITAL AF USED
1DX MKII body box ........... £1997/2499
7D MKII body box............................ £997
6D body box...................................... £599
5D MKIV body box ............ £1999/2397
5D MKIII body box........................... £997
5D MKI body...................................... £249
80D body Mint box......................... £699
400D body ............................................£99
BG-E20 grip box............................... £249
BG-E16 grip........................................ £179
BG-E13 grip........................................ £149
BG-E11 grip........................................ £149
BG-E9 grip box.....................................£89
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON Z DIGITAL AF USED
Z2 body Mint box..........................£2599
Z7 MKII body Mint box................£2599
Z7 body box ....................................£1399
Z6 MKII body box ..........................£1699
Z6 body box ...................................... £997
24-70 F4 S Mint box........................ £499
FTZ adapter box............................... £239
NIKON DIGITAL AF USED
D5 Dual XQD body box...................£3699
D5 Dual CS body box.......................£3199
D3 body box....................................... £799
D850 body box...............................£1997
D810 body box................... £1199/1397
D780 body Mint box ........ £1549/1699
D750 body box................................. £997
D600 body.......................................... £599
D500 body Mint box ....................£1349
D500 body box................................. £997
D300 body box................................. £299
D7200 body box .............................. £649
D7100 body box .............................. £499
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
FUJI DIGITAL USED
X-T4 body Mint- box....................£1299
X-T1 body box................................... £349
X-T10 body box ................................ £199
8-16 F2.8 XF WR box.....................£1399
10-24 F4 R OIS XF box.................... £699
14 F2.8 R box..................................... £529
16 F1.4 XF box .................................. £699
16-80 F4 XF WR ................................ £599
18-55 F2.8/4 XF Mint- .................... £399
23 F1.4 XF M- box............................ £699
50 F1.0 XF R WR box.....................£1197
50-140 F2.8 XF box ......................... £997
50-230 F4.5/6.7 OS XC MKII ......... £299
50-230 F4.5/6.7 OS XC MKI .......... £249
60 F2.4 XF box .................................. £479
90 F2 R LM WR XF box ................... £699
100-400 F4.5/5.6 XF LM OIS WR.. £1299
2x XF converter ................................ £339
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA 645 USED
ETRSi + 75 PE + WLF + back ........ £699
ETRS + AEII prism + 75 PE
+ speed grip ...................................... £699
ETRSi body box ................................ £299
40 F4 PE............................................... £449
40 F4 E ................................................. £299
45-90 F4/5.6....................................... £449
150 F3.5 E ........................................... £149
200 F4.5 PE......................................... £299
ETRSi 120 back RWC late .............. £119
ETRS 120 back early...........................£99
Polaroid back box...............................£29
Rotary prism E box.......................... £199
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED
EOS 1V HS body box ...................... £899
EOS 3 body ........................................ £449
EOS 5 body ...........................................£89
EOS 600 / 650 / 3000 body each...£39
EOS 300 / 50E / 500N body each..£39
EOS 1000/1000fn body each..........£39
CANON FD USED
A1 body............................................... £169
AE1P silver body .............................. £199
T90 body............................................. £199
T70 body................................................£99
A1 World Cup 1982 body box..... £249
AV-1 body..............................................£99
50 F1.8...............£69 50 F2.................£69
70-210 F4...............................................£99
135 F3.5..................................................£69
2x extender B.......................................£49
FD bellows ......................................... £149
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL EMAIL YOU WHEN WE CAN HELP. CORRECT 16/12/2021.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
www.mifsuds.com
Here to help - just call 01803 852400
500mm F4 IS
HSM 100-400mm 300mm F2.8 USM LII box
F4.5/5.6 LII box IS USM LII
BG-E2 grip .............................................£39
CANON AF LENSES USED
10-18 F4.5/5.6 IS STM..................... £219
10-22 F3.5/4.5 USM EFS ................ £349
14 F2.8 USM LII...............................£1299
15 F2.8 fisheye.................................. £449
15-85 F3.5/5.6 EFS........................... £299
16-35 F4 USM IS L............................ £799
17-40 F4 L USM ................................ £449
17-55 F2.8 EFS IS USM ................... £649
18-55 F3.5/5.6 IS STM........................£99
18-135 F3.5/5.6 USM Nano .......... £399
18-200 F3.5/5.6 EFS ........................ £299
24 F2.8 STM ....................................... £129
24 F3.5 TSE LII box.........................£1499
24-70 F2.8 L USM II .......................£1299
24-70 F4 IS USM L............................ £699
24-105 F4 IS USM LII M- box........ £799
D3400 body....................................... £299
D3200 body...£199 D3000 body ..£99
D80 body........£199 D90 body .... £199
MBD-15 (D7100/7200) .................. £129
MBD-14 (D610/600) ..........................£99
MBD-12 grip (D810)........................ £199
MBD-10 grip (D300)...........................£89
MBD-80 grip (D80).............................£79
NIKON AF LENSES USED
10.5 F2.8 fisheye .............................. £299
10-24 F3.5/4.5 AFS box.................. £499
12-24 F4 DX AFS .............................. £499
14-24 F2.8 AFS.................................. £997
16 F2.8 AFD fisheye box................ £449
16-35 F4 AFS VR box ...................... £699
16-80 F2.8/4 VR DX ......................... £649
18-35 F3.5/4.5 AFS M- box ........... £549
18-35 F3.5/4.5 AFD ......................... £249
18-55 F3.5/5.6 AF VR .........................£99
18-105 F3.5/5.6 VR DX AFS........... £199
18-200 F3.5/5.6 VRII box ............... £349
18-200 F3.5/5.6 VR box.................. £199
X100 Limited Edition kit box....... £499
VG-XT3 vertical grip box............... £149
VPB-XT2 grip box............................. £149
VG-XT1 grip ..........................................£79
Nissin Air 10S box...............................£49
MINOLTA/SONY DIGITAL USED
Sony RX10 MKIV box....................£1199
Sony RX100 MKIII............................. £299
Sony A100 body..................................£79
Sony VG-C70AM..................................£99
A 16-50 F2.8 SSM DT ...................... £399
A 18-70 F3.5/5.6..................................£89
MINOLTA/SONY A MOUNT AF USED
28-80 F3.5/5.6..£49 28-85 F3.5/4.5.£99
35-70 F3.5/4.5..£29 35-105 F3.5/4.5 £99
70-210 F4.5/5.6....................................£79
75-300 F4.5/5.6....................................£79
80-200 F4.5/5.6....................................£49
100-300 F4.5/5.6 APO .................... £199
Plain prism E box............................. £169
AEII prism ........................................... £169
Speed grip E .........................................£99
Lenshoods various.............................£40
BRONICA 6x6 USED
SQAi complete................................£1097
SQAi body .......................................... £499
SQA body ........................................... £299
SQB body............................................ £299
40 F4 PS............................................... £499
50 F3.5 PS box .................................. £349
150 F4 PS ............................................ £299
2x converter PS ................................ £299
2x converter S................................... £149
CONTAX USED
CZ 180 F2.8 AE.................................. £399
CZ 300 F4 AE ..................................... £399
LIGHTMETERS USED
Minolta Flashmeter IVF ................. £199
Sekonic L308s ................................... £169
Sekonic L308x................................... £199
Sekonic L358..................................... £239
MINOLTA AF USED
7Xi body.................................................£69
Dynax 3 body.......................................£29
500Si / 505Si Super body each......£29
MINOLTA MD USED
X700 body.......................................... £199
X300s body black ...............................£99
X300 body blk/chrome ....................£99
35-70 F3.5/4.5 ......................................£69
50 F1.7 ....................................................£79
50 F3.5 macro ................................... £149
Used Sigma
£799 £2199 £1399
24-105 F4 IS USM L ......................... £549
28-135 F3.5/5.6 USM ...................... £219
35 F1.4 LII box.................................£1299
50 F1.2 L USM box........................... £997
50 F1.4 USM....................................... £299
50 F1.8 STM box..................................£99
55-250 F4/5.6 IS EFS ....................... £199
60 F2.8 EFS macro ........................... £299
65 F2.8 MPE macro ......................... £849
70-200 F2.8 IS USM LIII box........£1799
70-200 F2.8 IS USM LII .................£1297
70-200 F4 IS USM box.................... £699
70-200 F4 L USM.............................. £449
70-300 F4.5/5.6 U L IS box............ £899
70-300 F4/5.6 IS USM II.................. £499
70-300 F4.5/5.6 USM ...................... £299
85 F1.2 L USM MKII .......................£1299
100 F2.8 IS USM L macro .............. £849
18-300 F3.5/5.6 VR DX box........... £699
24 F3.5 PC-E ED box .....................£1299
24 F1.4 G AFS Mint.......................... £997
24 F1.8 AFS box................................ £549
24 F2.8 AFD........................................ £349
24-70 F2.8 AFS VR M- box ..........£1499
24-70 F2.8 AFS box ......................... £897
24-85 F3.5/4.5 AFS VR .................... £399
24-120 F4 AFS VR box.................... £499
28-105 F3.5/4.5 AFD....................... £199
28-300 F3.5/5.6 VR box.................. £649
35 F1.4 G AFS M- box..................... £997
35 F1.8 AFS DX ................................. £149
35-105 F3.5/4.5 AFD one touch . £169
40 F2.8 AFS DX macro box........... £249
45 F2.8 PC-E tilt box......................£1199
50 F1.4 AFS G box ........................... £299
50 F1.8 AFS box................................ £169
50 F1.8 AFD box............................... £129
55-200 F4.5/5.6 VRII box ............... £149
58 F1.4 AFS G box ........................... £997
60 F2.8 AFS box................................ £449
100-300 F4.5/5.6 .............................. £149
3600HSD flash .....................................£49
OTHER MIN/SONY A MOUNT AF USED
SIG 18-300 F3.5/6.3......................... £299
SIG 50-500 F4.5/6.3 HSM OS ....... £899
SIG 70-200 F2.8 EX DG OS box .. £599
SIG 105 F2.8 EX DG OS .................. £329
SIG 150-500 F5/6.3 DG OS box... £599
SIG 1.4x EX converter........................£99
TAM 90 F2.8 SP ................................. £199
Teleplus 1.4x or 2x conv each........£79
Kenko 1.4x Pro 300DG................... £149
SONY NEX FE MOUNT AF USED
FE 35 F1.4 ZA OSS box................... £899
FE 70-200 F2.8 G OSS box ............ £997
SIG 70-200 F2.8 FE GF OSS box £1699
SONY NEX E MOUNT AF USED
A6000 body ....................................... £369
E 16-50 F3.5/5.6 PZ OSS ................ £169
SQAi straight prism......................... £199
SQAi 120 back late .......................... £199
SQA 120 back early......................... £149
Polaroid back .......................................£29
WLF ....................................................... £199
Lenshoods various...................... £20/50
HASSELBLAD 6x6 USED
500CM + 80 F2.8 + A12...............£1997
150 F4 CF............................................ £699
150 F4 Blk T* box............................. £499
A12 black latest box ....................... £499
WLF chrome late.............................. £299
Polaroid back .......................................£79
Lenshood various...............................£49
70-210 F4...............................................£99
75-200 F4.5 ...........................................£99
100-300 F5.6...................................... £149
Kenko Teleplus macro conv............£69
Auto bellows III................................. £149
Bellows IV box................................... £149
Macro ext tube for 50 F3.5..............£49
Auto ext tube set................................£89
VC700 grip ............................................£49
NIKON AF FILM BODIES USED
F5 body box....................................... £699
F4s body ............................................. £499
F801 / F801s body each...................£99
NIKON MF USED
Nikon F Photomic FTn Apollo
chrome body..................................... £699
F3HP + ERC ........................................ £799
F3 body ............................................... £499
CF22 / CF20 case for F3 each .........£39
100 F2.8 USM macro ...................... £399
100-400 F4.5/5.6 LII box..............£1499
100-400 F4.5/5.6 L........................... £897
135 F2 USM L box............................ £649
180 F3.5 L USM macro.................£1097
200 F2.8 USM LII .............................. £549
300 F2.8 IS USM LII............ £3997/4499
300 F4 IS USM L................................ £749
400 F5.6 USM L................................. £799
500 F4 IS USM LII ...........................£6999
1.4x extender MKIII......................... £399
2x extender MKIII............................. £369
SIGMA CAF USED
8 F4 EX DG fisheye .......................... £499
8-16 F4.5/5.6 HSM DC box ........... £399
10 F2.8 EX DC HSM ......................... £499
10-20 F3.5 EX DC HSM................... £279
12-24 F4.5/5.6 II HSM ..................... £599
60 F2.8 AFD box............................... £349
70-200 F2.8 E FL AFS box ...........£1799
70-200 F2.8 AFS VRII M- box....... £997
70-200 F4 VR box............................. £699
70-300 F4.5/5.6 AF-P ED VR box £479
70-300 F4.5/5.6 AFS VR box......... £349
70-300 F4.5/5.6 G ...............................£99
80-400 F4.5/5.6 AFS VR box.......£1199
85 F1.4 AFS box................................ £997
85 F1.4 AFD Mint box .................... £997
105 F2.8 AFS VR................................ £599
180 F2.8 ED........................................ £399
200 F2 G ED AFS VRII....................£3997
200 F4 AFD macro box................£1499
200-400 F4 AFS VR II.....................£2997
200-500 F5.6 VR AFS box.............. £999
300 F2.8 AFS VRII box...................£3997
300 F4 AFS E PF ED VR box ........£1199
500 F4 AFS VR E FL latest box ...£7497
500 F5.6 E PF VR AFS box ...........£2997
TC14-EIII box.£459 TC14-EII box £329
TC17-EII box....................................... £299
E 50 F1.8 OSS box............................ £189
E 55-210 F4.5/6.3 ............................. £219
OLYMPUS 4/3 USED
14-42 F3.5-5.6 ......................................£69
14-45 F3.5-5.6 ......................................£69
35 F3.5 ....................................................£99
40-150 F3.5/4.5....................................£99
40-150 F4/5.6 .......................................£69
EX 25 extension tube........................£99
OLYMPUS MICRO 4/3 USED
OMD-EM1X body box..................£1499
OMD-EM1 body black.................... £399
OMD-EM5 MKII body box............. £599
OMD-EM5 body box....................... £199
OMD-EM10 MKII body................... £249
12-40 F2.8 Pro................................... £549
12-100 F4 IS Pro box....................... £799
12-200 F3.5/6.3 box........................ £599
14-150 F4.5/5.6 MKII....................... £429
MAMIYA 645 MF USED
Qick shoe AQ701 box .................... £149
Teleplus 2x converter........................£39
120 insert...............................................£29
Ext tube 1, 2 or 3 each......................£29
MAMIYA 7 RF USED
43 F4.5 L + V/F box ......................... £997
Viewfinder for 150 F4.5 ................. £199
MAMIYA RB USED
55 F4.5 ................................................. £299
Ext tube 1 or ext tube 2 each ........£59
MAMIYA RZ USED
100-200 F5.2 W................................. £299
180 F4.5 W.......................................... £299
F2 Photomic + DP-1 chrome....... £599
FM2n body Black ............................. £599
FM2n body Chrome........................ £599
F301 body .............................................£69
24 F2.8 AI............................................ £299
28 F2 AI box....................................... £299
28 F3.5 AI............................................ £169
28 F4 shift........................................... £399
28-85 F3.5/4.5 AIS............................ £199
35 F2 AI ............................................... £249
35-70 F3.5 AIS ......................................£99
35-105 F3.5/4.5 AIS......................... £149
50 F1.4 AIS.......................................... £329
50 F1.4 AI............................................ £249
50 F1.8 AIS...£149 50 F2 AI .............£99
55 F2.8 AIS micro............................. £199
80-200 F4 AIS .................................... £249
85 F2 AI box....................................... £299
100-300 F5.6 AIS .............................. £149
Used Canon
£1699 £3997/4499
17-50 F2.8 EX DC HS OSM............ £269
17-70 F2.8/4 DC OS HSM .............. £249
18-250 F3.5/6.3 DC OS HSM ........ £199
24 F1.4 DG HSM Art........................ £579
35 F1.4 DG HSM Art........................ £579
50 F1.4 DG HSM Art........................ £549
50-500 F4.5/6.3 HSM OS ............... £799
70-200 F2.8 EX DG OS HSM ......... £599
85 F1.8 EX DG box........................... £499
105 F2.8 EX DG HSM OS box....... £329
150 F2.8 EX DG OS HSM box....... £599
150-500 F5/6.3 APO DG OS ......... £599
150-600 F5/6.3 DG OS sport......£1197
150-600 F5/6.3 contemporary.... £749
300 F2.8 EX DG HSM ....................£1399
TC1401 extender ............................. £179
OTHER CAF USED
TAM 10-24 F3.5/4.5 Di II ................ £199
TC20-EIII box.....£349 TC-20EII .... £199
SIGMA NAF USED
8 F3.5 EX DG fisheye....................... £599
8-16 F4.5/5.6 HSM DC box ........... £399
10-20 F3.5 DC box........................... £269
10-24 F3.5/4.5 Di II VC HLD.......... £449
12-24 F4.5/5.6 II HSM ..................... £599
18-250 F3.5/6.3 DC OS................... £199
24 F1.4 DG HSM Art........................ £579
35 F1.4 DG HSM Art........................ £579
50 F1.4 DG HSM Art........................ £549
50-500 F4.5/6.3 HSM OS ............... £799
70-200 F2.8 EX DG OS HSM ......... £599
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150 F2.8 EX DG OS HSM box....... £649
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17 F1.2 ED Pro................................... £799
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135 F4 leaf.......................................... £399
200 F4 .................................................. £199
300 F4 ED IF green T*..................... £599
Auto ext tube set............................. £149
REF converter angle finder box.. £179
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135 F2.8 AI ......................................... £199
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Kenko ext tubes box .........................£99
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Kenko ext tubes box .........................£99
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R1 ring flash....................................... £399
SB-300................£99 SB-600.............£99
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SB-910 box......................................... £299
SU-800 ................................................. £299
Nissin i40 ...............................................£99
DR-6 or DR-5 angle finder each . £169
DR-4 ang find.£149 DR-3 anglfind £89
MC-36A rem.....£89 MC-30A rem..£39
SC-17/SC-19/SC-28 cable each......£49
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45-200 F4.5/5.6................................. £199
200 F2.8 box....................................£1299
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16-45 F4 ED DA box........................ £199
18-55 F3.5/5.6 AL................................£69
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28-80 F3.5/5.6 silver FA ....................£69
35 F2.4 DA AL.......................................£99
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50 F1.8 DA.......................................... £119
55-300 F4/5.8 ED WR...................... £299
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Wooden grip ..................................... £299
REF converter angle finder .......... £199
Chimney.............................................. £299
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35-105 F3.5/4.5................................. £149
50 F1.8...........£99 135 F3.5..............£99
200 F4 .................................................. £129
7/14/25 ext tube each ......................£20
14/25 auto ext tube each................£29
Converter 2x A.....................................£99
PENTAX AF USED
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17 F4 PK .............................................. £399
50 F1.4 PK......£149 50 F1.7 PK.......£99
50 F2 PK .................................................£69
80-200 F4.5 PK.....................................£69
135 F3.5 PK ...........................................£79
300 F4 PK box ................................... £399
400 F5.6 PK ........................................ £399
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otect

Final Analysis
Zelda Cheatle considers... ‘Child living in
Oklahoma City, ShackTown’, 1936 by Dorothea Lange
I
n my new book, The
Photograph that Changed
My Life, over 50
photographers chose an
image to discuss.
This picture, by Dorothea
Lange, was chosen by Ralph
Gibson. About it he writes:
‘I had been working for
Dorothea Lange for a few
months printing all day in the
darkroom. At the end of the
afternoon looking at the prints
in the wash I asked her about
this image of a young person,
thinking in fact that the subject
was a teenager. Dorothea
said: “No Ralph she was just
a child but she was mentally
retarded and the other children
ruthlessly tormented her.” As
Dorothea told this story she
started to cry; the memory
had remained vivid and her
feeling for the content of the
photograph had endured
through the decades.
‘That night I told myself that
I wanted more than anything
to make photographs that
harboured true staying power...’
I was surprised that Ralph
Gibson chose this picture but
he is absolutely right. It has
staying power, in the same way
as Lange’s most famous image,
‘Migrant Mother’, is also seared
into our visual memories. I feel
it is a great homage to Dorothea
Lange and a sign too of who
Ralph Gibson is.
That this child, this young
girl, challenged and already
having endured so much,
touched Lange so much – and
that she was so moved by
seeing her portrait again to be
moved to tears – is testament to
her integrity and compassion.
We are able, decades later, to
feel how Lange has given her
time and respect and a sense of
Zelda Cheatle is a well-known curator and editor of photography. After some years taking photographs, she began a gallery career at The Photographers’ Gallery in London before setting
up and running her own eponymous photography gallery from 1989 to 2005. For more information, visit her website zeldacheatle.com.
66
Photo Critique
herself. There is a connection
we can palpably feel. Dorothea
Lange had polio as a young girl,
aged 7. Her foot was twisted
and she walked with difficulty
the rest of her life although it
never weakened her strength
nor purpose. She acknowledged
that, ‘[It] was the most
important thing that happened
to me, and formed me, guided
me, instructed me, helped me
and humiliated me.’
Dorothea Lange took her
mother’s maiden name as her
own, as a teenager who already
knew her own mind. Education
in the arts and humanities were
were of her education. She
attended the New York Training
School for Teachers in 1913.
Lange, who was not an
academic, decided to pursue
photography after work
experience in an NYC studio.
She went on to study
photography at Columbia
University, and for several years
later assisted photographers and
learned the craft. One such,
Arnold Genthe, was a leading
portrait photographer. In 1917,
she studied with Clarence
Hudson White at his school of
photography.
By 1918, Lange was living in
San Francisco and running her
own portrait studio, married to
muralist Maynard Dixon, and
they had two sons. marriage, met Paul Taylor, a includes the portrait, ‘Migrant
Lange’s documentary university professor and Mother’, the iconic image from
photography began in the economist, and by 1935, both this period that captured the
1920s when she visited the had left their respective spouses pain of what so many
South West with Dixon, to be together. Americans experienced.
photographing indigenous From 1935 Paul Taylor and In 1940 Lange became the
Americans. When the Great Dorothea Lange travelled first woman to be awarded
Depression began she was in together, documenting the rural a Guggenheim fellowship.
San Francisco and began to hardship they encountered for
document changes, the queues the Farm Security The Photograph That Changed My Life
for bread and the striking Administration, established by by Zelda Cheatle, published by Art
labour market. In the early the U.S. Agriculture Cinema, is available to buy now for
1930s, Lange, in an unhappy Department. This body of work £19.95. ISBN: 9781739914303
www.amateurphotographer.co.uk
 www.parkcameras.com/wacom

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USB On-The-Go Adapter, and
SAVE take your work fully mobile
*Normally £179. £30! Purchase the Intuos Medium and receive FREE software!
Call 01444 23 70 60 FREE
Simply register your purchase a wacom.com.
or see our website. software
See website for details.
Offer available 24.12.21 - 18.01.22

Wacom Intuos Small Wacom Intuos Small Wacom Intuos Pro Small
Graphics Tablet SAVE Bluetooth Graphics Tablet Graphics Tablet SAVE
£10
£30
Special Price! Special Price! Special Price!

£59* £74* SAVE

£15
£169*
*Normally £69. See website. *Normally £89. See website. *Normally £199. See website.
Available 24-12.21 - 18.01.22. Available 24-12.21 - 18.01.22. Available 24-12.21 - 18.01.22.

Purchase any Wacom Tablet, and add the

Capture One 21 software for only £179 (normally £299).

For even more Wacom tablets & accessories, visit us in store or online!

LONDON
53-54 Rathbone Place,
LONDON, W1T 1JR
SUSSEX
York Road, BURGESS HILL,
West Sussex, RH15 9TT

Visit our website - updated daily or call us 7 days a week

www.parkcameras.com 01444 23 70 60
All prices include VAT. All products are UK stock. Finance provided by DEKO PAY. See website to learn more.
E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.