Tuesday 2 May 2023

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Fantastic Mr
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 7days
Inside this week’s issue
Welcome
3 7days
10 It’s good to share 14 Still life is the most
accessible genre of
14 Set up a still-life photography. You
home studio don’t need to leave
the house, and you
22 Totally don’t even need a
transformed lot of space. All you need is a small
24 William Henry table, a light source (which could
Fox Talbot be just your window) and your
imagination. This week three
28 Photo stories photographers share their
30 Build your own approach to setting up a still-life
website studio. We also talk to the author
of a new book that takes a fresh
35 Inbox look at the legacy of William
37 AP subscription Henry Fox Talbot, the inventor of
offer photography (sorry, France). John

38 Reader portfolio 24 Wade looks at classic cameras that

were either inspired by, or were
direct copies of, landmark models
40 Film stars
from the likes of Leica, Hasselblad
46 My favourite kit and Rolleiflex. Also this week we
48 Trade up to explain how to set up an online
the best portfolio so you can share your
work with the world.
50 Accessories Nigel Atherton, Editor
54 Join our photo
tours
55 Buying Guide:
best buys
66 Final analysis
40

COVER PICTURE © GETTY IMAGES / © WILLIAM HENRY FOX TALBOT

46 22 This week’s beautiful cover image is by

Giles Angel, at Getty Images

THIS WEEK’S CONTRIBUTORS

Connect with us
@ EMAIL US at ap.ed@kelsey.co.uk with your
letters, send us a link to your online gallery, or
attach up to 5MB of low-res sample images
JOIN US ONLINE in one of these AP communities:
WEBSITE: www.amateurphotographer.com
TRACY CALDER AMY DAVIES JOSHUA WALLER JOHN WADE ANDY WESTLAKE JESSICA MILLER FACEBOOK: amateur.photographer.magazine
Features Editor Online Editor
AP’s expert
Technical Editor Dep. Online Editor TWITTER: @AP_Magazine
The AP regular
shares her advice Amy talks to the Joshua guides you columnist on Our resident Our social media INSTAGRAM: @AP_Magazine
for better still-life author of a new to the best website vintage cameras camera expert whizz compiles FLICKR: flickr.com/groups/amateurphotographer
images and asks book about legend builders available and photo heritage brings you our best more of your
two other experts William Henry Fox to share your looks at classic camera and stunning images,
for their tips Talbot photographs copycat cameras accessory buys on pages 10-12
 The updates are
available via
users’ Creative
Cloud
subscription
Lightroom updates
include AI ‘Denoise’
ADOBE has released significant updates
for Lightroom, Lightroom Classic, plus
Lightroom for mobile and web.
One of the most intriguing additions is the
AI-powered Denoise. This feature, which is
restricted to the desktop version, enables
users to remove noise automatically or
manually, and sits within the Detail panel
(Denoise can’t be applied at the same time
as Super Resolution, however). Denoise
creates a DNG version of the raw image you
are working on, which is then stacked with
the original. Support for image formats other
than raw files is expected soon.
AI masking enhancements, meanwhile, give
Nikon announces first Z-series power zoom
NIKON has announced the Nikkor Z DX
12-28mm f/3.5-5.6 PZ VR ultra-
wideangle zoom for its Z range of APS-C
mirrorless cameras.
It’s the first Z-series power zoom lens, and
should appeal to landscape and architectural
photographers, as well as vloggers and movie
makers. The new lens has an equivalent
focal length of 18-42mm and offers 11
different zoom speeds to choose from. You
can control the zoom via assignable camera
buttons, or remotely via the Nikon ML-L7
remote control or SnapBridge app. The lens
also includes in-lens Vibration Reduction (up
to 4.5 stops) and the lens barrel does not
get longer or shorter when focusing or
zooming, so there’s no need to re-balance a
gimbal after zooming. Other features include
a minimum focus distance of 0.19m, a silent
control ring, dust- and water-resistance and
compatibility with 67mm filters.
4
access to two new categories in the People
mask for editing facial hair and clothes in a
photo (desktop only). Furthermore, you can
now adjust the tonal range of a photo using
the Point Curve tool, in the Masking panel.
A new set of portrait presets has also been
added, including Polished Portrait and
Enhance Clothes (desktop and mobile).
Video updates enable you to edit videos in
black & white, and extract and export frames
(desktop and Lightroom mobile iOS). These
and other updates to Lightroom and Camera
Raw are available via a Creative Cloud
subscription – see bit.ly/newLRupdates for
full details.
© EVGENIY MALOLETKA
The lens is lightweight, too, weighing in at
The World Press Photo 2023 Contest
205g. The Nikkor Z DX 12-28mm f/3.5-5.6
winner, taken by Evgeniy Maloletka
PZ VR will be available from May for £379.
The futility of war
EVGENIY Maloletka’s heart-rending
image, taken in the aftermath of an
airstrike of a maternity hospital during the
siege of Mariupol in Ukraine, has been
named winner of the World Press Photo
Contest 2023. The photographer, who
works for the Associated Press, described
it as ‘the image I want to forget but
couldn’t’. Tragically, the baby was stillborn
and the mother also died. Meanwhile
Mads Nissen’s photos documenting
everyday life under the Taliban in
Afghanistan won Story of the Year.
Nikon’s first Z-series power zoom is designed See the full list of winners at
for both photographers and movie makers www.worldpressphoto.org/
Sporty Canon telephoto zoom Societies roadshows across the UK
CANON has announced the RF 100-300mm F2.8L IS USM, THE SOCIETIES of Photographers has announced nine
aimed at pro and enthusiast sports photographers. As well as photographic roadshows to be held throughout the UK this year,
the far-reaching focal range, the lens has a minimum focusing from May to September.
distance of 1.8m with a 0.16x maximum magnification. It also offers The free-to-enter events
5.5 stops of optical image stabilisation, with 6 stops of OIS when give an opportunity to
combined with a camera with in-body stabilisation. It will be available catch up with the latest
in May for £11,499. products and services
from the trade and be
inspired by a range of
lectures from leading
The lens is photographers. For full
aimed at
pro and information and to register
enthusiast for your free tickets, see
sports thesocieties.net/
photographers roadshows/ The roadshows are free to attend

www.amateurphotographer.co.uk 5
 New Xiaomi phone with
1in sensor, variable
aperture
CHINESE smartphone maker Xiaomi
has announced its latest flagship
model, the Xiaomi 13 Ultra, an ambitious
release featuring a Leica Vario-
Summicron lens and a 1in sensor with
variable aperture for its main camera.
You can set the aperture to a fast f/1.9
or f/4 via an onscreen button.
The smartphone’s four cameras all
have 50MP sensors developed with
Sony. The main camera has
a wide 23mm f/1.9 lens with an IMX989
1in sensor. The others, which have a
Sony IMX858 sensor, are a 12mm f/1.8
ultra-wide which offers 5cm macro focus;
a 75mm telephoto, which offers 3.2x
optical zoom; and a telephoto 120mm
f/3.0 periscope camera offering 5x
optical zoom. All feature optical image
stabilisation except the ultra-wide lens.
Another interesting-sounding feature is
Fast Shot mode, which the firm says is
inspired by the hyperfocal distance
shooting method, popular with street
photographers. This enables the user to
Photographers’ Gallery rewarding
new talent Open call for
emerging
THE PHOTOGRAPHERS’ Gallery has
announced its TPG New Talent 23
initiative (TNT23), which aims to support
the most exciting and relevant UK-based
photographers. The scheme offers each
finalist a bursary of £1,500, a year-long
mentorship with a photographer or
industry professional, the chance to
work with web designers on a bespoke
exhibition website, and the opportunity
to get their work displayed on billboards
in London and their hometown. The New
Talent 23 is free to enter and open to
6 www.amateurphotographer.co.uk
Receive
13 issues
for £19.50
PLUS
a free issue of
Improve Your
Photography
The Xiaomi 13 Ultra
set the focus point manually and
complete the capture in 0.8 seconds.
Xiaomi is claiming a fully optimised raw
workflow, too, with more algorithms
migrated to raw processing. ‘The main
camera supports 50MP raw, bringing a
higher imaging resolution, while providing
multi-frame 14-bit UltraRAW, which takes
the data directly from the computing
pipeline – bringing better resolution and
high dynamic range.’
Additionally, the Xiaomi 13 Ultra offers
two photographic styles, Leica Authentic
Look and Leica Vibrant look, along with
customisation options and a range of
Leica-branded filters. Moreover, 8K
video capture at 24fps is supported
across all of the camera’s lenses.
The Xiaomi 13 Ultra went on sale in
China on 21 April, with the choice of
Olive Green, Professional Black and
White livery. The firm says it will
be coming to various international SAVE
£32
markets in the next few months, though
the exact timing has yet to be decided.
on your
subscription
2 EASY WAYS
artists
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people of all ages. Six finalists will be Call us on 01959 543 747
selected by acclaimed artist Hoda and quote AMP423P
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*Offer available for UK Direct Debit customers only. You will pay £19.50 for 13
curator at The Photographers’ Gallery. issues via Direct Debit saving 62% on the shop price. You will then continue to
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23:59pm UK time. See bit.ly/tnt23open
 Professional Line Photo Books
No logo · Handmade · Acrylic cover · Layflat binding

www.saal-digital.co.uk
Portrait of Humanity
Volume 5
£25, Hoxton Mini Press, hardback, 320 pages,
ISBN: 9781914314346
The latest Portrait of Humanity
collection is another moving selection
of beautiful contemporary portraits,
says Amy Davies
8 www.amateurphotographer.co.uk
Produced in collaboration with the British
Journal of Photography, Portrait of
Humanity is now in its fifth volume.
In essence, it’s just like the also
annual Portrait of Britain collection, but
expands the lens across the globe, not
just towards home-grown talent. Though
there’s plenty of that in the book, too.
Like its British counterpart, it forms both
a book and an exhibition.
You’ll find over 200 portraits taken by
photographers across the world in this
volume, each one being an insight into
both the sitter and the photographer.
Each also comes with a small story to
give you some background about who
you’re looking at. The only complaint
here is that sometimes it creates more
 Hakuna Matata - New
Italians by Daniele Gambassi
questions than answers – some folk
could clearly have an entire book
written about them, never mind just
a sentence or two.
Writing in the introduction to the
book, the BJP’s digital editor, Ravi
Ghosh says, ‘These times are defined
by instability. It feels like we are at a
crossroads, where the path ahead is
difficult to navigate. Collectively, we are
between sickness and health, war and
peace, prosperity and poverty, solidarity
and demonisation. Photography is a
way of drawing us together.’
It’s hard to come up with a more
perfect summation than that when
making your way through this book.
Though some portraits may be more
www.amateurphotographer.co.uk
Forbidden by Mahdiyeh Afshar Bakeshloo
Vivienne Westwood by Wayne Hanson
Heritage Unmoving by Ponita Keo
technically excellent than others, while
some you might just find yourself more
drawn to, pretty much all of them are
capable of creating a connection with the
reader and it’s a book you can spend a
lot of time lost in.
Hoxton Mini Press doesn’t stray from
its design of the previous ‘Portrait of’
books, so if you’ve got the others in this
series, you’ll have a fairly hefty collection
by now. The small size (but excellent
printing) keeps it affordable, while still
displaying the portraits beautifully.
If you’re a fan of portraiture and
want to know what the world’s current
practitioners are getting up to, there’s
nothing better you can buy right now –
certainly for the value you get.
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
Angus
McBean, David
Dulak, 1946
Courtesy
Rupert Smith
Collection
A Hard Man is Good to Find
Until 11 June 2023
The Photographers’ Gallery, London
£8 (includes entry to all exhibitions)
A bold new exhibition which charts over 60 years of
queer photography of the male physique is currently
on display at The Photographers’ Gallery.
More than 100 works are included in the show,
with the main emphasis on queer photographs of
men’s bodies, produced in London in the 20th
century, at a time when any depiction of male nudity
that suggested homosexuality remained subject to the
1887 Obscene Publications Act, which made making
or distributing such images a criminal offence.
The exhibition includes works by John S Barrington,
Cecil Beaton, Guy Burch, Angus McBean, Ajamu X
and more. It is curated by Alistair O’Neill, professor
of Fashion History and Theory at Central Saint
Martins in London.
If this exhibition alone doesn’t float your boat,
remember that also on display is the Deutsche Börse
Photography Foundation Prize.
Retro Cameras by John Wade
£16.99, Thames & Hudson, paperback,
288 pages, ISBN: 9780500296974
If you’re a fan of film-camera guru
John Wade’s regular articles in AP,
then you’ll love this book – first
released in 2018 and now
available in paperback.
This beautiful tome includes
100 profiles of classic analogue cameras of every
type and format, be it SLR, stereo or subminiature.
Illuminated by John’s signature top-quality
product photography and knowledgeable
commentary about each camera, it’s not intended
to be merely a guide to collectable museum
pieces, but also includes useful tips and insights
for how to get great photos using these still
very-usable classics. It’s camera geek heaven.
9
Our favourite photos posted by readers
on our social media channels this week

AP picture
of the week
Behemoth by Richard Doak
Nikon Z 6II, 24-70mm f/4 at 44mm, 4sec at f/11,
ISO 100

‘I took this photograph while exploring a private

woodland that I am lucky enough to have permission to
be on. Upon stepping out of the dense larch trees that
surround this oak all I could see were these giant thick
branches escaping to the canopy. My first impressions
were, “What is that thing!” I set the shot up to portrait
my first impressions of a giant beast escaping the
understory into the amazing light dropping through the
open canopy.’
Instagram: @rich.doak.photography

#appicoftheweek
Win!
The AP Pic of the Week winner currently wins an annual
subscription to Skylum Luminar Neo, worth £99. Designed for
photographers of all skill levels, Luminar Neo is an advanced
but fun-to-use photo editor for Mac and PC, available also as a
plug-in for Photoshop and Lightroom. Blending pro-level tools
with remarkable ease of use and an
award-winning user interface, its wide range
of editing possibilities plus a suite of
AI-powered technologies will make any
image stand out. www.skylum.com

10 www.amateurphotographer.co.uk
 Meditations 10
by Abigail Miseldine
Canon EOS 100D, Canon EF 18-55mm f/3.4-5.6 IS
STM at 38mm, 1/30sec at f/5, ISO 100

‘I had been looking at some shots of flowers that I’d

taken in 2020 and wondered what would happen if
I played with some filters in Photoscape. I wasn’t sure
how the image would turn out but was pleasantly
surprised with the abstract nature of the image that
appeared on the screen.’
Instagram: @amiseldine

www.amateurphotographer.co.uk 11
The Galactic
Beauty of The
Rosette Nebula
by Andreas
Aufschnaiter
Canon EOS R6, Canon RF
100-500mm f/5.6-7.1 L, EQ-
modified Skywatcher AZ
GTI, 466 exposures, each 60
sec, f/8, 500mm, ISO 3200
(7h 46 min total integration),
stacked in SiriL and
processed with Starnet++,
Darktable and GIMP
‘The Rosette Nebula is a
star-forming region in our galaxy,
approximately 5,000 light-years
from Earth. So, the light you see
roughly dates back to when the
Pyramid of Cheops was built!
The central stars were formed
from the matter of this beautiful
nebula and their radiation
ionizes the surrounding clouds.’
Instagram: @aufschnaiter_
photography
Twitter: @AufschnaiterPic
Vero: aufschnaiter_photography

We also
liked...
Stand Alone
by Jonathan Price
Sony RX10 III at 207mm, 1/320sec at f/4, ISO 100

‘This photo was taken in early April on a walk with my

son after work. I’d given up getting a good photo as we
were nearly home, then I spotted this beauty in the
distance with nice moody skies as a background.’
Instagram: @jonlee2078

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.

www.amateurphotographer.co.uk
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 Technique
Home is where
the art is
You don’t need a studio space full of stands, clamps and backdrops
to create striking still lifes. Tracy Calder talks to two photographers
who have made incredible images using what they find around them
Root veg and
a vintage-style
milk jug give a
farmhouse feel
Angi Wallace
Angi Wallace is an
award-winning photographer
with a passion for macro,
nature, creative portraiture,
landscapes and gig
photography. She recently
turned her hand to creating
and shooting still-life
arrangements in her home
studio. Angi’s work has been
highly placed in a variety of
prestigious photography
competitions. She won the
close-up round of APOY in
2020. To see more of Angi’s
work visit www.
angiwallacephotography.
com
14
STILL-LIFE HOME STUDIO
When Angi Wallace moved in with her partner,
Michael, he soon discovered that he would never be
eating dinner at the dining room table again. Angi
commandeered the room for her photography,
transforming the space into a mini studio. ‘Michael
asked me when I was going to tidy everything up
and I said “never”’, she laughs. It’s hard to complain
about mess when your partner wins countless
awards for her creative still-life, floral and close-up
work. ‘We eat in the living room now,’ she adds,
with a smile. The basic set-up comprises a table, a
series of backdrops on a pole (which Angi flips over),
three lights and walls of shelves packed with vases
and other photogenic props. ‘You can barely get into
the room now and there’s hardly any space around
the table for the lights,’ she confesses.
Angi studied history of art at school and believes
this early training might have fuelled her passion for
still life. ‘I like the Old Masters, but I’m also inspired
by a lot of European and Russian still-life painters,’
Make the most
of seasonal
flowers in your
still lifes
she says. There’s a lot to be gained from looking at
accounts on Instagram, where people share their
behind-the-scenes lighting set-ups, too. ‘These can
be very handy to learn from,’ she says. ‘The set-ups
people use are very much like the old-fashioned
painters.’ When she started shooting still life, Angi
didn’t give much thought to the lighting. ‘I used to
position a light on either side and just point it at the
subject,’ she laughs, ‘I wasn’t very imaginative.’
Now, however, she is ‘obsessed’ with harnessing the
power of light. ‘It’s not just about how it hits the
subject, it’s about how it hits the backdrop and how
it’s reflected back into the scene,’ she explains.
Choosing a theme
When it comes to setting up a still-life arrangement,
Angi sometimes starts with a theme. ‘I might decide
to play with shadows, certain colours, shapes or
textures,’ she explains. ‘I like playing around with
colours that are opposite each other on the artist’s
www.amateurphotographer.co.uk
 Combine Even weeds
opposite can make for a
colours from nice still life
the colour with a bit of
wheel to make imagination
an image pop

Using props
from a charity
shop with
items from
the weekly
shopping

colour wheel – like purple and green.’ Another tip is you make the mistake of washing them!’ With the Angi’s top tips
to use angles to guide the viewer’s eye through the arrangement sorted and the backdrop in place, she ● Set yourself a
scene. ‘You need to watch for lines when you’re then turns her attention to the lighting. challenge. ‘Shooting still
positioning things,’ says Angi, ‘and you have to be life pushes me out of my
careful that elements are not just touching – they Light touches comfort zone, and there’s
need to fully overlap or have a clear space between ‘I tend to use three lights and a couple of reflectors,’ still so much to learn.’
them. If things are just touching it looks wrong.’ she reveals. The set-up comprises one light from the
Angi often adds something to link the elements back (sometimes fitted with a gridded beauty dish), ● Experiment with
together – a piece of fabric, for example, which flows another from the side (often fitted with a lighting. To begin with,
through the picture. homemade gobo shaped like a window) and a third Angi tried to get everything
Angi finds most of her props in charity shops, bounced off the ceiling to lift the shadows. nice and even, which
but also uses eBay and Facebook. ‘I’m very cheeky, It can take hours to get the lighting right and days made things look flat.
and I hardly pay anything for them,’ she admits, for Angi to be satisfied with the composition. ‘I will ‘Play around and include
‘most of the stuff I’ve got cost less than a fiver!’ The be in and out of that room looking at stuff on the shadows,’ she suggests.
backdrops that help to give her work the feeling of computer and going back to tweak it,’ she laughs.
the Old Masters are a mixture of homemade and ‘What looks great on the back of the camera doesn’t ● Paint your own
shop bought. ‘I’ve got some really large boards that always look good on the computer.’ This has served backdrops. Angi uses big
I paint with a sponge or material,’ she explains. her well, and her image entitled ‘Wildflowers’ was boards, which she ‘slaps’
‘I just slap paint on and spread it about!’ Angi also recently awarded 1st place in the Still Life category paint on, spreading it with
uses cheap vinyl backdrops, ‘which are handy until of International Garden Photographer of the Year. a sponge or fabric.

www.amateurphotographer.co.uk 15
 Technique
Tracy Calder
Tracy Calder is a photographer,
writer and former editor of
Outdoor Photography
magazine. In 2018 she
co-founded Close-up
Photographer of the Year
(CUPOTY) – a competition
celebrating close-up, macro
and micro photography. Last
year she was awarded a gold
medal from the RHS for her
Plant Scars series. Her work
has been exhibited at The
Photographers’ Gallery,
National Portrait Gallery and
Saatchi Gallery. Visit
Instagram @tracy_calder_
photo and www.cupoty.com
16
Every Sunday I get up at stupid o’clock and head to
my local car boot sale. Scouring the rows of broken
desk fans and Harry Potter DVDs, I stay alert and
receptive. I know exactly what I’m looking for, and
it’s usually on the ground covered in tat. What I’m
after are old baking tins (the rustier the better),
battered wooden boxes, vintage fabric and, if I’m
lucky, door frames with flaking coloured paint. It’s
an odd wish list and one that attracts attention if
I’m lucky enough to find a good haul. Most of the
time I pick something up, feel a fizz of excitement,
and try not to look excited as I approach the
stallholder, wallet in hand. These treasures, full of
story and history, are about to embark on a new life
as still-life backdrops.
Find your inspiration
Painters have been drawing inspiration from
still-life arrangements for centuries. Morandi,
Caravaggio, Cezanne and Van Gogh are just a few
examples of artists who have grouped objects in
such a way that they become more than a sum of
their parts. Their work can teach us so much about
balancing shapes, lines and colours. What’s more,
each painting is a masterclass in how to use light
to emphasise form, draw out texture and guide the
eye into and around the frame. When it comes to
photography, still life has been a popular genre
Clockwise from left:
Rusty baking trays can
make great still-life
backdrops
A beautiful shaft of
light filters through
the kitchen window
Grouping objects in
threes can strengthen
the composition
Think about shapes
or colours in the
‘negative’ space
since the beginning. In 1845 William Henry Fox
Talbot made a print entitled A Fruit Piece, featuring
baskets of fruit on a tablecloth. One of the baskets
contains a pineapple, which would have been
seriously expensive back then – such a show of
wealth demonstrates how ‘innocent’ still-life
arrangements can be used for storytelling.
For me, a still-life photograph begins with the
right light. As someone who loves to observe how
light changes in my house throughout the day,
I have identified my favourite rooms or, more
accurately, my favourite corners. For an hour or so
on a summer’s morning a beautiful shaft of light
filters through the kitchen window and hits the
table there. It’s here in this harsh, angular light that
I like to place a carefully selected object or vase of
flowers. Glass works particularly well, throwing
reflections across the wood. I will spend a fair
amount of time turning and moving an object,
constantly observing and tweaking. I will consider
the story I’m trying to tell, what I’m aiming to bring
‘Think about how the objects
relate to one another and how
they work in the space that
surrounds them’
www.amateurphotographer.co.uk
out and what I’m hoping to play down. Still life can Tracy’s top tips
be an exercise in restraint and extraction. ● Spend time observing
The objects you choose to photograph don’t have the light. Walk around your
to be exciting – sometimes it’s the relationship house and make a note of
between elements in the frame that make the any interesting light –
composition sing. In fact, it can be rewarding to where does it occur? How
group everyday objects such as cutlery, pots and does it change throughout
pans or stationery. When you’re overly familiar with the day? Where could you
an object, choosing it for a still life can be a great way set up a still life?
of seeing it anew – maybe as a mix of shapes, colours
or textures – rather than becoming fixated on its ● Don’t be too neat.
function. If you have a variety of objects, it can help While it’s true that
to think of one as the star or ‘hero’ and arrange other everything in your still life
elements as supporting cast members. Think about needs to add to the story,
how the objects relate to one another and how they it doesn’t mean that
work in the space that surrounds them. Despite the everything needs to be
name, ‘negative space’ can be a powerful part of the sterile and neat. Try
composition – a place of energy and possibility. scattering crumbs about,
Don’t let the backdrop be an afterthought – it allow petals to fall, let
plays a huge role in the success of your still life. some paint peel off.
Make sure it relates to the subject through tone,
colour, mood, texture or theme. Think surfaces with ● Keep your eyes open.
peeling paint, rust, bark, plain fabric or handmade Not every still life has to
paper. Crucially, the background should never be be staged – sometimes
distracting; it’s there to add to the story, not muddy arrangements can be
the message. Clear some space in the diary for a trip stumbled upon. Stay alert
to the car boot sale and clear some space on the to new opportunities and
shelves for the things you will inevitably bring back! you will be rewarded.

www.amateurphotographer.co.uk 17
 Technique STILL-LIFE HOME STUDIO

These colourful
pears from Tim’s
garden work
wonderfully
against his
green fence

According to Tim Clinch, a studio is a state of mind Three old

rather than a specific place. ‘People think you need a bottles Tim
dedicated space full of equipment, but for most of found in his
my life as a photographer my studio has been in the cellar in
back of my car,’ he explains, revealing that he never Bulgaria,
grouped
travels anywhere without a three-metre length of perfectly
black velvet. ‘You can stand anybody in front of it
and it just works,’ he laughs. ‘There’s no need to
overcomplicate things: if you want to hang a
Tim Clinch background you can use proper stands and clamps
Tim Clinch is an award-winningor you can stick it against the side of a van!’
professional photographer Tim believes there are two big mistakes people
with more than 40 years’ make when they’re thinking about studios: firstly,
experience. Over the years, they think that a studio has to be somewhere and
Tim has worked in most areas secondly, they set up a still life and then pick up the
of the profession, has had hiscamera. ‘You might find that you’ve positioned the
work published in magazines arrangement too low and then you will end up on
worldwide, and has had more your knees!’ he smiles. ‘You might also find that the
than 30 books published light is no good. Think about the light, set up the
featuring subjects as varied subject and then pick up the camera.’
as interiors, travel, food and
portraits. To see more of his Early influences
work, visit www. Tim cites The Taste of France by Robert Freson as one
timclinchphotography.com of his early influences. ‘It’s hard to believe, but back
then food wasn’t groovy,’ he explains. ‘My favourite
photographer in the world is Irving Penn and Bob
ran his studio for 15 years.’ When Freson came to

18 www.amateurphotographer.co.uk
London, Tim was lucky enough to
assist him and was blown away by
the fact that he was using 35mm.
‘You didn’t shoot on 35mm back
then, you shot on Hasselblad or
large format,’ he says. ‘Bob turned
up with his Nikon and broke the
mould.’ The images Freson
produced show food in its natural
state, burnt bits and all. ‘I’m a big
fan of people who change things,
like Bob and Jimi Hendrix,’ laughs
Tim.
Another book that gets Tim’s
juices flowing is Worlds in a Small
Room by Irving Penn. ‘There are
videos of Penn working and he’s
using a tent with a roof that acts
like a diffuser,’ he explains. When
he was shooting on location, Penn
was a big fan of natural light –
particularly top three-quarters –
and it’s a preference Tim shares.

Reflected glory
While Tim rarely uses flash, he
does occasionally use continuous
lighting, and reflectors. ‘I don’t use
flash often, but I get annoyed with
people who say, “Oh, I don’t use
flash,” when what they really mean
is, “I have no idea how to use it!”’
he remarks. While he might favour Roses shot in
natural daylight, he is quick to a Provençal
point out that you still need to Chateau for
know how to use it. ‘People don’t House and
Garden
study lighting enough,’ he says.
magazine
‘Look at Rembrandt, look at
Vermeer, then you will see what
lighting is.’ These days, Tim fears that people have Tim’s top tips
become too reliant on digital technology to solve ● Study still-life
their problems when this should be the role of the painters. ‘Stop looking
photographer. One of the ways to overcome this is at photographers on
to shoot subjects that you find challenging, or Instagram and start
maybe even dislike. ‘Being a photographer means looking at painters like
solving problems and the only way to solve Giorgio Morandi.’
problems is to take pictures you don’t want to take
– that’s when you learn,’ he says. ‘Taking pictures of ● Make the most of
things you like is fun, but you’re not going to learn one object. ‘Put a stick
anything from it and you’re not going to improve as on a black background,
a photographer.’ or get a fork or a spoon,
One of the things Tim has learnt over the years is put it in a plate of stew,
that you often spend more time taking things out of eat the stew and
pictures than putting them in – especially when it photograph it dirty.’
comes to still life. But this restraint hasn’t stopped
him from accumulating props. ‘You just have to ● Consider backgrounds.
have an eye and never, ever discount something as ‘I started painting my own
being too knackered,’ he urges. ‘If you want a nice backgrounds after some
background to lay some cutlery on, go and find your French linen I had been
largest frying pan, turn it over and use the bottom!’ collecting became stained An old
Backgrounds play an important part in still-life when the pipes burst in chopping
photography, but Tim stresses that you should never my barn,’ recalls Tim. ‘I board makes
let them overshadow the subject. ‘Don’t let your looked at the linen and the perfect
photograph become a picture of a background,’ he thought, hell, that looks backdrop for
this zigzag
says. ‘It’s like a painter showing someone a picture, so nice, and that’s how
corkscrew
then hearing them say, “Oh, what a lovely frame.”’ it started.’

www.amateurphotographer.co.uk 19
Specialising in the exceptional

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
 Available in store and online at
Images by Tony Hurst

www.graysofwestminster.co.uk
Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
Instagram: @nikonatgrays LinkedIn: Grays of Westminster
 John believes
photography saved
his life
Totally transformed
For John Parker, photography was a salvation after a serious mental health
crisis. He tells Amy Davies more about it
U
p until fairly recently,
photographer John
Parker was working as
a pensions administrator
in an office. Following a breakdown,
he’d returned to work part time, but
was then offered redundancy; at the
same time he felt he needed more
time to work on his photographic
exhibition. ‘It was as if the planets
had aligned,’ he explains. ‘I clearly
remember the first day after I had
left work. I was wandering through
the gardens of Renishaw Hall in
Derbyshire, the sun was shining
and all I had for company was my
camera and the squirrels. I couldn’t
stop smiling to myself.’
John studied fine art at the Hull
School of Art, graduating in 1989.
At the time, he specialised in
photography, and it was 30 years
later that photography was to play
a major part in John’s journey back
from the breakdown he experienced
in 2019. ‘As part of your recovery,
22
you are encouraged to get out of The Saw Mill
the house, go for walks or exercise.
I mentioned to my counsellor that I
was having trouble with motivation,
and he suggested I combine the
exercise with something I enjoy.
I mentioned I used to be a keen
photographer and it seemed to be
the perfect solution.
‘In the time leading up to my
breakdown, I had gradually lost
interest in photography, to such an
extent that I only used my phone to
take pictures, but I’d even stopped
doing that. Previously I had been
more of a travel and street
photographer, but I always had
wanted to make landscape pictures.
I decided I would slow down and
start making pictures properly. I
began to really re-connect with
myself and the world. I immediately
seemed to have a purpose again and
became highly motivated. I would
get so engrossed that my passion
was totally rekindled. I would go so
 PHOTO STORIES

far as to say photography has totally

transformed my life.’
John is based in Bolsover,
Derbyshire, and it’s here where
he first took most of his pictures,
thanks in part to the Covid
restrictions at the time. As soon as
those were relaxed, he travelled
further afield to historical places
of interest – another passion of his
– such as Hardwick Hall, Chatsworth
House and Renishaw Hall.
He uses filters to create the infrared
photos such as you see on this
spread. ‘I have always liked infrared,
but I had never really pursued that
way of working until recently and
now I’d say about 80% of my work
is shot this way. As infrared filters
are pretty dark, you are into the
realms of extended exposure times,
so a good strong tripod is essential.’

Infrared light
‘When assessing a scene, I look for
elements that will cause movement
– foliage, grass, clouds, that sort of
thing. Although with clouds I tend
to hold back on exposure time so
the movement isn’t so pronounced.
Infrared light behaves quite
differently, so I also look for surfaces
that reflect it, such as stonework.
Most people associate infrared with
bright sunlight, however it works
just as effectively on dull days.
‘A typical exposure is around 20 to
30 seconds. To achieve this I use a
low ISO and stop down to anything
from f/9 to f/22 depending on the
light – I always work manually.’
Much to John’s delight, his hard
work has paid off with an exhibition
at Renishaw Hall – currently on
display. ‘Renishaw Hall is such an
atmospheric and magical place. I
visited several times and posted my
pictures on Instagram. Eventually,
Carrie-Anne Burton, the hall and
visitors’ operations manager, picked
up on them and started to repost
them. I messaged her to say thanks
and she told me that she was drawn
to them as they had a similar vibe
to the paintings of John Piper, of
whom Renishaw Hall has one of
the largest private collections in the
UK. I couldn’t believe it – Piper was
actually my first major influence
and was mainly responsible for me
wanting to become an artist.
‘After a couple of months of
messaging, I plucked up the courage
to ask if they would be interested in
selling prints of my work in their
shop. Following a few meetings,
The Angel of Fame
The Ballroom Garden
Carrie-Anne said she had shown my
pictures to the archivist Chris
Beevers, and that she was interested
in having an original exhibition of
my work in their museum. To say
I was totally gobsmacked was an
understatement as I knew they had
several Cecil Beaton portraits in
there – to be in such illustrious
company was an incredible feeling.’
Hanging the exhibition
It took John about eight months to
pull together the exhibition, titled
John Parker – Following in the Footsteps
of John Piper. It originally opened last
year, exactly 80 years after John
Piper first visited the hall, and
features new images of the hall and
gardens, including areas of the
property that weren’t there when
John Piper visited. ‘Probably the
most exciting part was the hanging
day. There is nothing more satisfying
than seeing something you have
invested so much time and effort in
One of the gates at Renishaw Hall
to finally come to life. However, the
most emotional time was on the
actual opening day. The room was
packed full and it was then that it
finally hit me it was all happening.’
The exhibition has brought
John’s work to the attention of the
Derbyshire Historic Buildings Trust
(DHBT), a charity that is responsible
for the restoration of many
John’s exhibition is historically significant buildings. The
currently on display DHBT has invited John to document
at Renishaw Hall, its latest project, which will later be
near Chesterfield, exhibited, while he’s still taking new
Derbyshire. You can pictures for Renishaw Hall.
see more of his work He has some advice for others
on Instagram @Johiv1 thinking of following a similar
path. ‘Never underestimate the
power of social media. Instagram
and other platforms really are a
window into your world. Think of
it as your own gallery space. When
you post any pictures, treat them
as if you were preparing them for
an exhibition. You never know
who might be taking notice.’

www.amateurphotographer.co.uk 23
INTERVIEW
A new book examines the work of photography
legend William Henry Fox Talbot. Amy Davies talks
to the author Geoffrey Batchen to find out more
I
f you know even just a
smattering of photographic
history, you’ll be aware
of William Henry Fox
Talbot. Generally regarded as the
inventor of photography – in
British history at least – Fox Talbot
was an interesting character. In
this new book, compiled from
extensive archive material held
at Oxford University’s Bodleian
Library, we learn that rather than
it being a single act in a moment,
photography was in fact a medium
that Fox Talbot continued to
reinvent throughout his life.
The new book, Inventing
Photography, takes a look at Talbot’s
work, organising it by themes, rather
than chronologically, to get a more
holistic overview of his motivations
– including the competing
Daguerreotype process that came
out of France at the same time.
To get a better insight into Fox
Talbot’s life and work that went
into the book, I asked the author,
Geoffrey Batchen, Professor of
History of Art at the University
of Oxford, to explain more.
AP: This is not your first book
about Talbot – what about him
do you find so interesting?
GB: William Henry Fox Talbot
is England’s claimant to the
invention of photography and
he produced about 15,000
photographs during his career,
inaugurating many of the
photographic genres that we still
practice to this day. He also had
many other interests, from botany,
mathematics, and the history of
the English language to the
24
translation of Assyrian cuneiform.
So, there is lots to say about him
and much that remains to be
learned and understood. My
own focus tends to be on the
interpretation of Talbot’s pictures,
a process that combines
contextualisation and imagination.
The aim is to reveal the relevance
of Talbot’s photography to the
present. I find this to be a very
stimulating and challenging task.
AP: Why did you organise the Below: Two
pictures in the book by theme, leaves, including a
rather than chronologically? chestnut tree leaf,
This book surveys the collection c.1840s
of 300 photographs by Talbot held
by the Bodleian Library at the
University of Oxford. Other books,
including one of my own earlier
efforts, provide a chronological
overview of Talbot’s work as
a photographer. I tried to do
something different in this volume,
clustering his images according to
loose themes, and thereby allowing
viewers to compare and contrast his
various pictures. You can see how
Talbot thinks through some of these
themes, repeating certain pictorial
conventions over and over again,
or developing more sophisticated
compositional devices as time went
on and his confidence grew.
AP: Why do you think people
continue to be fascinated with
the invention of the medium,
and the inventors?
GB: There’s a lot at stake in stories
of invention. To identify the origin
of something you have to define
that thing and imagine a context in
which it didn’t already exist. Why
www.amateurphotographer.co.uk
 INTERVIEW

Left: Loch Katrine, by a similar announcement about

from Sun Pictures the Daguerreotype that had occurred
in Scotland, 1845 a few weeks earlier in Paris. England
and France had long been rivals, so
All pictures by
the two new processes competed for
William Henry Fox
Talbot, except precedence and attention. As soon as
where stated. they were released into the market
place, efforts were made to improve
them. These efforts were driven by
the needs of commerce more than
by any personal competition
between Talbot and Daguerre.
However, it’s certainly true that the
success of the Daguerreotype as a
portrait medium encouraged Talbot
to continue his experiments and
eventually announce a new and
improved paper-based process that
he called calotype.

AP: What was the overriding

public opinion of this new
form of technology and art?
Was it seen as either/or, or
more as a combination of
both? How did Talbot see it?
GB: The division between science
and art was not as stark in 1839
as it is now, and Talbot took an
interest in both. He announced his
photogenic drawing process as an
advancement in science (and even
claimed it as evidence of the value
of modern scientific methods).
However, he also recognised its
artistic potential and made
Below: Lace, early photographic pictures that were
1840s explicitly artistic in intention.
Photography was seen as a
was photography invented when reconciliation of culture and nature
and where it was? The answer isn’t (the very name combines ‘light’ and
simple. It requires some concentrated ‘writing’) and his own work sought
historical research but also a kind of to demonstrate the advantages of
philosophical reflection on the channelling both simultaneously.
nature of the medium. Who
wouldn’t be fascinated by that? AP: Why do you think Talbot
didn’t make any self-portraits?
AP: It seems that Talbot might GB: Talbot was a modest man and
not have been spurred on so not prone to self-aggrandisement.
vigorously were it not for the Nevertheless, it is a striking feature
Daguerreotype process also of his work that he made portraits
being invented around the of his wife, children and friends,
same time. Without that but never of himself. However, he
rivalry, would we have had photographed careful arrangements
the same rapid advancements of his personal possessions
in early photography? (including, for example, books from
GB: Talbot claimed that he his library that contained essays by
conceived of photography in himself) and we could take these to
1833, while on honeymoon at Lake be the equivalent of self-portraits.
Como. Louis Daguerre traced his
photographic experiments back to AP: Why do you think the
1824. Neither knew of the other’s The Pencil of Nature wasn’t
work on photography until 1839. a commercial success?
Talbot was prompted to announce GB: Talbot’s first photographically
his discovery of a photogenic illustrated book, The Pencil of
drawing process on 25 January 1839 Nature, was published in six

www.amateurphotographer.co.uk 25
INTERVIEW

fascicles between 1844 and

1846. It contained 24
salt-print photographs in total
(although Talbot had originally
planned to include as many as
50). These were made by a
printing business known as the
Reading Establishment, run by
Talbot’s ex-valet, a Dutch
immigrant named Nicolaas
Henneman. Talbot and
Henneman struggled to make
prints of a consistent and reliable
quality, especially in large
numbers. The fading of prints in
The Pencil of Nature signalled this
difficulty and led to diminished
sales (it was offered for sale by
booksellers). Eventually, Talbot
decided to stop issuing further
fascicles. The book wasn’t a
commercial success. It
nevertheless made a strong case
for the range of applications
facilitated by photography and
remains a model followed by
many subsequent photobooks.

AP: You say the archive is

a material witness to the
past, but also an invitation
to imagine photography’s
multitude of possible
futures. Any ideas what
that might include?
GB: If I could predict the future,
I would already be a wealthy man!
What an exploration of the archive
of early photography warns us is
that the future of the medium has
no limits. And yet, equally, one
might say that everything that has
happened to photography was
already there at the beginning.
That’s why it is so interesting to
delve into that history.
AP: What do you think Talbot
would have made of the
current state of photography,
where everybody has a camera
in their pocket, for example?
GB: Talbot was an optimist as far
as photography was concerned
and always assumed that it would
prove useful to everyone who took
it up. As early as March 1839, he
described photogenic drawing as
allowing ‘every man [to become]
his own printer and publisher’.
The incorporation of the camera
into mobile phones has now
made every person of a certain
means into a photographer. We
are, in that sense, all inheritors
of Talbot’s legacy.
Articles of Glass, c. June 1844
William Henry Fox Talbot by John Moffatt (Edinburgh)
AP: Given that you mention in
the book Talbot’s thoughts on
‘the displacement of human
skills by a machine’, what do
you think Talbot’s thoughts
might have been on the
current rise of AI and
computer-made imagery?
GB: Talbot was a friend of Charles
Babbage, the man who designed the
first automatic computing apparatus.
Shortly after his announcement of
photography, Talbot sent Babbage
eight examples of his photogenic
drawings. Babbage went on to
display Talbot’s photographs at his
famous London soirées (‘for the
decoration of my drawing room
and the delight of my friends’),
intellectual gatherings that Talbot
and his family occasionally attended
in person. The other entertainments
included a working model of a
portion of Babbage’s first computing
machine, the Difference Engine, and
an 18th-century automaton that
Babbage had found and repaired.
So, by about 1842, visitors to
Babbage’s drawing room
encountered photographs, a
computer and a robot, all for the
first time and at the same time. As
I was saying earlier, everything that
we think of as new was already
there, at photography’s beginnings.

26 www.amateurphotographer.co.uk

Right: An Ancient
Door, Magdalen
College, Oxford,
1843
Below: Horatia
with harp, c.1842
Below right: Effigy
of Sir Walter
Scott’s favourite
dog Maida, by the
side of the hall
door at
Abbotsford, from
Sun Pictures in
Scotland, 1845
AP: How important is this
collection to the Bodleian?
GB: The collection of Talbot
photographs at the Bodleian is
important for a number of reasons.
The library has representative
examples from every phase of his
career, from his earliest photogenic
drawings to his experiments with
photographic engravings, some
made shortly before he died in 1877.
The Bodleian also owns the Talbot
Family Archive, which contains a
wealth of contextual material, from
notebooks and scientific instruments
to botanical albums and paintings.
So, his photographs can be situated
in a suitably broad personal and
cultural setting. As a library devoted
to books, the Bodleian allows
Talbot’s work to be seen in relation
to a history of publishing and image
dissemination. This has recently
been demonstrated in a pair of
public exhibitions mounted at the
library, an opportunity to present a
www.amateurphotographer.co.uk
view of Talbot that is quite different
from the one usually encountered in
art museums. Finally, the acquisition
of this group of photographs by
Talbot marks the library’s renewed
commitment to the medium of
photography, joining existing
archives of the work of Sarah
Acland, Daniel Meadows and Helen
Muspratt as well as a significant
collection of photobooks donated
by Charles Chadwyck-Healey.
AP: What does the Bodleian do
to conserve the archive, and
keep it accessible to those who
want to see it?
GB: Early photographs are
sometimes fragile objects that
need to be cared for in a suitable
manner. A number of Talbot’s
photographs remain light-sensitive
and would go black if exposed
to light too often. Fortunately,
the Bodleian has a team of
conservators able to monitor the
INTERVIEW
photographs and advise on how
best to store and display them.
Approved scholars are able to
consult them for short periods
under certain conditions. The
Inventing Photography book
reproduces about 80 of the Talbot
photographs in the Bodleian’s
collection and comes with an
illustrated essay giving an overview
of his career. But the Bodleian also
created and hosts the Talbot
Catalogue Raisonné, presenting
almost every known photograph
by Talbot in an online format. All
the Bodleian’s holdings can be seen
there by anyone who is interested.
The Talbot Catalogue Raisonné is
an ongoing project, with newly
discovered images by Talbot being
added whenever possible and any
related data revised and expanded.
It is eventually hoped to add all of
Talbot’s photographic engravings to
the database as well. We invite
people to explore it. A recent book,
The Forms of Nameless Things, looks
at Talbot’s most experimental
photographs, as found in the
Catalogue Raisonné, and has been
issued by Bodleian Publishing.
AP: How has the corresponding
exhibition been going?
GB: The Bodleian Library has
mounted two exhibitions in 2023
that draw on its photography
collections, with a particular focus
on Talbot material. A New Power:
Photography in Britain 1800-1850
traces the development of
photography in the United Kingdom
during its first 50 years and offers a
proportionate assessment of Talbot’s
role in that history. Bright Sparks:
Photography and the Talbot Archive
looks at the diverse material in
the Talbot Family Archive, seeking
Inventing Photography: to put Talbot’s photography in
William Henry Fox Talbot conversation with work by more
in the Bodleian Library recent practitioners. It therefore
by Geoffrey Batchen is includes a generous selection of
available to buy now. Talbot’s photographs but also
RRP £40. ISBN examples by Martin Parr, Cornelia
9781851245963 Parker, Daniel Meadows, Man Ray,
Anne Ferran, Hiroshi Sugimoto,
Bright Sparks: Camille Corot, Humphrey Spender,
Justine Varga, Garry Fabian Miller,
Photography and the
Jo Ganes, and other artists. Many
Talbot Archive is on visitors have commended the
display at the Weston exhibitions for their innovative
Library until 18 June, approach to presenting early
Entry is free. See photography. We hope that
visit.bodleian.ox.ac.uk everyone with an interest in
for more details on photography will come and
opening times. see them while they last.
27
 Photo Stories

Havana
nice time
Peter Dench talks to photographer Ian
Longthorne about his 2022 trip to Cuba

J
oel Meyerowitz, Burt Glinn and Martin ‘I stayed in Guest Houses. Like AirBnB, they
Parr are just some of the many have rooms for travellers or tourists in their
renowned photographers who have houses. There are hotels but this way you get
made the pilgrimage to Cuba. Steve to meet the people a bit more, staying in their
McCurry first travelled there in 2010 and homes, having breakfast with them,’ he adds.
has since made multiple trips, drawn to the Before departing for Cuba, Longthorne was
energetic scenes and people. Declared a unsure whether to shoot in colour or black &
UNESCO World Heritage Site in 1982, Old white. When he arrived, the place screamed
Havana, known locally as La Habana Vieja, is colour. He shot mainly digitally, on a Fujifilm
a time capsule of vintage cars and amazing X100F, but on film as well, using T-Max 400
architecture. Its lens lure is far reaching. and Portra 400 in a Fujifilm GF670 medium-
Based in Berkshire 4,607 miles away, format camera. Mixing digital with film
Ian Longthorne is one of the few remaining allowed Longthorne to take a more laid-back
full-time staff press photographers. He has approach than he usually does as a press
worked for the Maidenhead Advertiser and the photographer. The relaxed manner suits his
Slough & Windsor Express for 14 years, where subjects. ‘The people of Cuba were quite
he has photographed everything from the happy to be photographed, so genuine,
homecoming of Olympic heroes and Muslim helpful and warm,’ he says. ‘I always felt
communities observing Ramadan to the safe there and enjoyed the experience.
funeral procession of Queen Elizabeth II. Photographers are often tied to one particular
Last year, Longthorne set off for three style, so it’s nice to change up the formats.’
weeks photographing the people across the
Pearl of the Antilles; in the cemetery, dance Self-published book
studios, barber shops and boxing clubs. ‘I Longthorne’s pictures capture the smells and
visited the Rafael Trejo Boxing Gym in Havana sounds of those he encountered along the
on three occasions and was generously given way. ‘The music is a big factor. In Havana on
free rein to photograph portraits of the boxers the street corners there’s bands and busking.
and in action,’ he says. ‘I just turned up on The photograph of the clapping chap is a
spec and they were quite happy to be funny one. He was in a doorway and I heard
photographed posing. All they asked for was him before I saw him – he was singing
any medical supplies I had, so I went back Beatles songs, so I stopped and watched him
with things like antiseptics and shower gels.’ for a minute before taking a picture. There
was no-one there to see him, he was quite
Mapping a route happy just singing in his doorway.’
Longthorne started in Havana and journeyed Three weeks of photography was enough for
around the east of the island in a loop, Longthorne to edit 117 images into a book,
stopping at major towns and cities then self-published using the platform Mixam and
continuing west to Viñales before returning to set out following the chronological order
the capital. ‘I met up with a small group, some of the trip. The breaks in the book aim to
Americans and Australians, and travelled a bit separate the locations and to give a pause
with them,’ he recalls. ‘Luckily they weren’t in the viewing of the photographs. Many of
that into photography! Sometimes I travelled the images work well as pairs. Longthorne’s
with a guide, and I wouldn’t have got to a lot passion for photography drifts from the
of places without their knowledge. I had some pages like a lit Montecristo No.4 cigar, the
time on a bus, as driving isn’t a good idea out photographs best savoured as a Vigia
there – the roads aren’t always great. Gran Reserva 18 Años rum.

28
Ian
Longthorne
Ian Longthorne is a
full-time staff press
photographer working
for the Maidenhead
Advertiser and the
Slough and Windsor
Express for over 14
years. DM @
ianlongthorne via
Instagram for details of
the book

Clockwise from top:

Rafael Trejo Boxing

Gym, Shoe Shine,
CUBA book cover, a
man singing Beatles
songs in a doorway, a
tender moment
caught on film,
Cleaning Products,
Dance Studio

29
 Technique ONLINE PORTFOLIO

© UNSPLASH - DESOLA LANRE-OLOGUN

Want to showcase your work online in a professional format but without

a high price tag? Joshua Waller talks us through the best website builders
for photographers, which don’t cost a fortune
30 www.amateurphotographer.co.uk

I
f you’re looking to make money
from photography, and are
starting to build up a portfolio
of great photographs, then
you’ll need a way to share your images
with the world. And of course, you
can set up a Facebook page, but to
add an extra level of professionalism,
a website that showcases all your work
will be the best way to go. For that
you’ll want to find the best website
builder for photographers.
In this guide, we’ll show you
some of the best options available
to share your photography. Websites
that are designed to show off your
photographs don’t have to cost the
Earth and will always look far more
professional in comparison to simply
having a Facebook page.
When it comes to setting up an
online portfolio, there are several
websites that are set up specifically for
www.amateurphotographer.co.uk
photographers (and artists), and no
doubt you’ll have seen advertising for
them. The best way to set up an online
portfolio is to create a dedicated
website for yourself, and in the past,
this would have been an expensive
affair, where you would have had to
employ a website builder to make
something for you.
However, things have changed, as
you can simply pay for a website with
a website-building company like WIX
or Squarespace, and have them build it
all for you, with a ‘What you see is
what you get’ (WYSIWIG) interface,
making it relatively quick and easy to
get going. With these, you’ll also be
able to start selling your photographs
and services, and this can quickly turn
your photography into a paid job!
So, let’s look at what’s on offer, how
much they cost, and why you might
choose one over the other.
WIX
l www.wix.com l From £4 per month with ads,
£7.50 per month without ads
WIX is one of the biggest website builders out there and
makes it extremely easy to create and set up a website.
You can even use your Facebook logon to sign up.
You’ll be able to customise the look of the site and if
you get stuck you can pay for additional support.
The company makes it easy to set up different
sections, such as a portfolio, photo albums you can
share with clients, pricing plans, a blog, events, and
more. In terms of features, WIX is one of the best.
For many people it will be overkill, and the sheer
number of options and settings may be daunting for
those who aren’t tech-savvy.
You can set up a free website, but if you want to start
selling, you’ll need to upgrade.
Squarespace
l www.squarespace.com l From £10 per month
Squarespace is another big player in the website-
building world, offering sites to suit businesses,
retailers, photographers and more. You can quickly
set up a portfolio with Squarespace, and there are
a number of good-looking templates available to
get you up and running. You can log on with your
Google account.
You can start designing your site for free, but you’ll
need to pay after the 14/21-day trial period runs out,
and should you need it, Squarespace offers 24/7
support. There’s also a page that gives details on
how the site can be used by photographers, and it
has numerous specifically designed templates to
choose from. As a result, it’s a popular website
builder with image-makers.
31
 Technique ONLINE PORTFOLIO
Pixieset
l www.pixieset.com l Free option, with
packages starting at $8 per month

Pixieset offers a nice gallery of photographs,

so you can organise your photos into albums,
displaying them in exactly the way you want.
You can also use the site as a means of
sharing your images with clients, allowing
them to download a gallery of photos you’ve
shot. This is managed securely with you
sending a download code to the person you
want to share the images with.
Even with Pixieset’s free account you get
a lot of features, including the opportunity
to create unlimited albums, as well as sell
your images. However, if you upgrade you
can sell your images without having to pay
a commission, as well as using your own
domain name.

Pixpa
l www.pixpa.com l 15-day free trial,
then £4.53 per month

Pixpa gives you a free 15-day trial, and you can

sign up using your email address, or sign in with
Google or Facebook. It offers a range of
templates designed to showcase your
photography and most of these have modern and
stylish designs.
While not as quick and easy to use as Weebly,
there are some good options, and the template
has everything you should need straight from the
beginning, leaving you to simply fill in your details
and upload your images.
With more content on display, it can take a little
longer to get set up, and the 15-day trial means
you can see if you like the design or not, before
deciding whether you want to pay for it. You’ll
need to pay for the upgrade before you can start
sharing the site with other people.

WordPress
l www.wordpress.com l Free option (with
ads), plus £3 per month plan (annual plan)

WordPress is used all over the world by

a surprisingly large number of people.
In fact, several big websites run on
WordPress, and you wouldn’t even know
it. However, it’s also a great option for
people who want to share images, as
well as stories and text to go with them.
The example shown left, ‘Walks of 2021’
includes short stories about the
photographs taken.
While WordPress might not always be
the most obvious choice for creating a
photography website, there are numerous
templates, often with a focus on displaying
images in a pleasing way, making it a good
choice for photographers.

32 www.amateurphotographer.co.uk

SmugMug
l www.smugmug.com l 14-day free trial, then options
from $16 per month
SmugMug offers an easy to set up free trial (for 14
days), but prices are quite high after this. The site
offers a range of stylish templates that are made for
photographers to show off their work.
It also offers unlimited, full-resolution storage when
you do go for the paid option, making this a good option
for those looking to back up their photos online.
www.amateurphotographer.co.uk
Weebly
l www.weebly.com l Free option
(with Weebly banding), or from £4
per month (annual plan)
Weebly is an extremely quick and
easy website builder that lets you
very quickly set up a site that looks
good and can be customised with
your own images. You can use it
for free, and there is very minimal
company branding.
If you want to use your own
domain name, you’ll need to pay
for this, from £4 per month. To sell
your images or other goods, then
you’ll need to go for a paid option
(from £9 per month). If you simply
want to share your images, then the
free option will let you do this.
500px
l www.500px.com
l Free option (21
uploads per week),
from $4.99 per
month (yearly plan)
500px is a
combination of
photography
community and
photography
portfolio. You can
share your images
with the world but
being on 500px
means you’re very
much part of the
community, too.
This way, you can share images and get feedback from other photographers,
as well as be inspired by others.
To set up and publish your portfolio, you will need to upgrade to the Pro
account, and you can earn money from your images, through royalties from
licensing them.
MORE ON SETTING UP AN ONLINE
PORTFOLIO WEBSITE
An important note on paid websites: made from handing out business
You’ll need to continue paying them cards, promoting your website, and
if you want your website to remain sharing links with others will be lost.
online! So, the difference between It’s easy to set up a website
free options, and paying $16/month and then forget about it, but once
(or more) for the next 10, 15, or 20 you’ve set up your website with
years can soon add up. your portfolio, you can use this to
Domain names cost money so once share your best photographs with
you’ve bought one, you’ll need to others, and share with any online
keep renewing it. If you don’t renew communities you’ve joined. Make
your domain name every year, then sure you keep it up to date with your
you can quickly lose your space on latest work and remove any images
the internet, and all your momentum that you no longer like.
33
 Photographica
13 June, 15 August, 10 October

Our fine auction on 18 April offered more than 600 lots of fine
equipment, from mahogany and brass cameras to over 120 lots of
Leica cameras and lenses, as well as Hasselblad, Rolleiflex, Nikon and
Canon and many others. It realised over £130,000 in total. Our next
auctions will offer similar arrays of enticing items, so do contact Mike
Spencer now, whether buying or selling.
01635 580595 or mike@specialauctionservices.com

Special Auction Services

Nexus Park, Plenty Close, Newbury RG14 5RL
 YOUR LETTERS

Inbox
Amateur Photographer
Email ap.ed@kelsey.co.uk governments of all
persuasions.
Editorial
Group Editor Nigel Atherton Jim Fanning
Deputy Editor Geoff Harris
Technical Editor Andy Westlake
Features Editor
Technique Editor
Amy Davies
Hollie Latham Hucker A mickey mouse
Online Editor
Deputy Online Editor
Joshua Waller
Jessica Miller camera
Online Writer Isabella Ruffatti
Staff Writer Musa Bwanali Write to the Editor at ap.ed@kelsey.co.uk and include your full postal address. Please don’t send letters in I’m trying to imagine who
Production Editor
Design
Jacqueline Porter
atg-media.com (Calum Booth) the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated would spend £5,400 on a
Photo-Science Consultant Disney-branded Leica [see
Professor Robert Newman image below]. Presumably
Advertisement sales & production
Head of Investment: Photography
LETTER OF THE WEEK not a professional or even
a man wearing it as male
Mike Pyatt
Production Manager Nick Bond jewellery so I can only
Management
Managing Director
Publishing Director
Retail Director
Kevin McCormick
Oswin Grady
Steve Brown
The upside of AI assume that the 500
copies will go into
cupboards or bank vaults
Subscription Marketing Manager
Nicholas McIntosh
In respect to the letter AI Concerns no shared human experience. as investments, never to
Print Production Manager Georgina Harris (AP 18 April 2023). After trying some There could also be a hidden be seen, probably the
Print Production Controller Hayley Brown of the AI tools, I too suffered an upside to the rise of AI. We were best thing for them.
Subscriptions existential crisis about the future of recently shown the best photos in our It is sad however that
51 issues of Amateur Photographer are
published per annum. photography. annual club’s affiliate competition. As Leica has just become
UK annual subscription price: £152.49 However, soon after, I was fortunate I watched them, it struck me that I another brand to be
Europe annual subscription price: €199
to be able to go to a local exhibition have been seeing the same images rebranded and
LETTER OF THE WEEK WINS A SAMSUNG 128GB EVO PLUS MICROSDXC CARD WITH SD ADAPTER. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

USA annual subscription price: $199

Rest of World annual subscription price: £225
UK subscription and back issue orderline
of art photography. After visiting for the past ten years. The rise of repackaged like the James
01959 543 747 many of the shows and chatting with digital photography and the ease of Bond franchise which it’s
Overseas subscription orderline some of the exhibitors, I was able to photo-manipulation tools has meant also involved with.
0044 (0) 1959 543 747
Toll free USA subscription orderline put my feelings into context. that photography as an art form has Stuart Neville
1-888-777-0275
Photography is about creating largely stagnated in that period.
UK customer service team 01959 543 747
Customer service email cs@kelsey.co.uk
Customer service and subscription postal
images that expand our Now that those same images can The value of DxO
address Amateur Photographer Customer understanding of how people see and be produced by a carefully curated Your review of the latest
Service Team, Kelsey Publishing Ltd, react to the world. Despite its name, phrase, hopefully it will provide the software version of DxO,
Kelsey Media, The Granary, Downs Court,
Yalding Hill, Yalding, Maidstone, there is nothing intelligent about AI. It impetus for photographers to break the previous edition of
Kent ME18 6AL just mixes and reflects back to us the shackles of the mundane and which I turn to when
Find current subscription offers on
our website shop.kelsey.co.uk/AMP what someone else has already instead reward and encourage wishing to squeeze the
Already a subscriber?
Manage your subscription online at provided it. At its worst, it is laughably experimentation and reflection. In very best from a 3,200
shop.kelsey.co.uk/site/loginForm poor; at best, it is just a derivative. doing so, the boundaries of IS0 shot for publication,
Classifieds On its own, it will never be able photography can again be pushed in leads me to wonder why
Telephone 0906 802 0279. Premium to innovate or push boundaries the ways only a human can do. serious amateur
rate line, operated by Kelsey Publishing
Ltd. Calls cost 65p per minute from a BT because it is just an algorithm with Tony Pedley photographers would
landline; other networks and mobiles may spend such huge sums on

Win!
vary. Lines open Mon-Fri, 10am-4pm
Email ads@kelseyclassifieds.co.uk the latest – admittedly
Kelsey Classifieds, Kelsey Media,
The Granary, Downs Court, Yalding Hill, awe-inspiring – cameras
Yalding, Maidstone, Kent ME18 6AL The Samsung EVO Plus is reliably quick, offering and lenses.
Distribution in Great Britain superfast U3, Class 10 rated transfer speeds of up to With their extraordinary
Seymour Distribution Limited
2 East Poultry Avenue, London, EC1A 9PT 130MB/s, 6x Multi Proof protection and a limited 10-year warranty. inbuilt stability I doubt that
Telephone 020 7429 4000 Visit www.samsung.com/uk/memory-storage-devices/ any of your readers would
www.seymour.co.uk
Distribution in Northern Ireland have any difficulty in
and the Republic Of Ireland photographing anything in
Newspread. Telephone +353 23 886 3850
Do not fear AI support and help you to exquisite detail using a
Kelsey Media 2023 © all rights reserved. Kelsey Media I thought that Benjamin improve your photography. camera and zoom lens a
is a trading name of Kelsey Publishing Ltd. Reproduction
in whole or in part is forbidden except with permission in
Holmwood’s letter about (I have been using one The Leica Q2 | Disney: a few years old at f/8 in the
writing from the publishers. Note to contributors: articles AI concerns (18 April) was tool for some time now to Mickey Mouse camera? gloomiest British museum
submitted for consideration by the editor must be the timely in raising some of work on the resolution of
original work of the author and not previously published.
Where photographs are included, which are not the the issues around this images.) And continually
property of the contributor, permission to reproduce them
must have been obtained from the owner of the copyright. emerging technology (it challenge AI use through
The editor cannot guarantee a personal response to all has been around for over cooperation and
letters and emails received. The views expressed in the
magazine are not necessarily those of the Editor or the 40 years or more). collaboration with fellow
Publisher. Kelsey Publishing Ltd accepts no liability for Rather than be afraid of photography enthusiasts.
products and services offered by third parties.
Kelsey Media takes your personal data very seriously. For
the implications for Keep on using
more information of our privacy policy, please visit www. photography, I would say publications such as AP to
kelsey.co.uk/privacy-policy. If at any point you have any confront this development raise the issues. The
queries regarding Kelsey’s data policy you can email our
Data Protection Officer at dpo@kelsey.co.uk. full on. Understand what bigger social, economic
AI in its different forms is. and political implications
Use and evaluate AI-based need to be wrestled with
www.kelsey.co.uk applications that can and resolved by

www.amateurphotographer.co.uk 35
 YOUR LETTERS

smaller market, but one

inhabited by discerning
customers with deep
In next week’s issue

Contrasting views on the Pentax K-3 III Monochrome
or art gallery using
modern software.
I challenge anyone to
replicate, without external
software, on landscape or
portraits the extraordinary
results achieved from
good basic raw cameras
compared to the premium
models now on offer. We
© MARK BAUER
pockets, so I think it is an
inspired move. The top
end of this market niche
may be dominated by the
aspirational Leica brand,
but I think Ricoh/Pentax
has the opportunity to
create its own specialist
enthusiast/artist area to
the benefit of all of us who
love photography. Watch
Nikon, Canon, Sony and
Fujifilm scramble to follow.
I would love to see a
monochrome Ricoh GR III
Margaret Cameron, with an add-on viewfinder.
although rather distantly: Nick Randall-Smith
she was the sister of the
wife of the great- Jumped ship
grandfather of the wife ofPentax has followed in
the husband of my first Leica’s footsteps and
cousin once removed, no released a monochrome-
less! A very tenuous link

as a small source of
only camera. Probably
because tweaking existing
admittedly, but I will use it
cameras and presenting Landscape
special
amateurs, happy to print inspiration in my own them as ‘new’ ones is
up to A3+, are blessed by photography – although cheaper than producing
the plethora of reasonably I don’t intend to abandon actual new cameras. It’s a
priced software packages modern technology for a desperate attempt to
now available which allow plate camera. pretend there is still life in
pictures unimaginable a Stephen Bishop the brand, and in DSLRs.
decade ago – and I speak I jumped ship from Pentax Tips for stunning wildflower
as a happy reader from
1966 when the late Victor
What a nice surprise. Let’s when it became clear that
hope some of Julia’s the firm was never going
images, unusual B&W aerials
Blackman dedicated a prowess and success rubs to go mirrorless. I have no and the best accessories
page and a half to my off on you. regrets – my Fujifilm X-T4

© JUSTIN MINNS
enquiry on forcing Ilford is light years ahead of
FP3 to 1600 ASA. Best Inspired move anything that Pentax can
wishes from a reader for Ricoh seems to be moving offer, with significantly less
55 years. Clive Thorp the Pentax brand away bulk, and I’m confident
from the mainstream that Fujifilm’s wonderful
55 years – that’s amazing! camera market (if such a Acros b&w film simulation
Thanks for your support. thing still exists) and mode will beat anything
aiming squarely at the you can get out of the
Related to a legend enthusiast/art niche [see Pentax K-3 III Monochrome.
I read Catlin Langford’s image above]. This is a Martin Day
interview with the authors
of a new book about Julia YOUR FREE APOY ENTRY CODE
Margaret Cameron (AP 18 A pro’s editing workflow
Enter the code below via Photocrowd to get one Landscape pro Justin Minns talks us
April) with interest. It free entry to Round Three – Macro. Go to
struck a good balance through his Lightroom workflow
amateurphotographer.co.uk/apoy to enter
between her artistic
Readers’ best locations
contribution and the social
APOY78473923
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE

conditions of the time. You share your favourite locations to

But my eye was caught
by a mention of Thoby
Prinsep as a colonial
official, because I have
Enter the code below via Photocrowd to get one
several people with that
surname in our family
tree. After some further
searching I found that I
am indeed related to Julia
36
shoot urban landscapes
YOUR FREE APOY ENTRY CODE Sony Alpha A7 IV field test
Callum McInerney-Riley on why the
A7 IV has become his go-to camera
free entry to Round Four – Landscapes. Go to
amateurphotographer.co.uk/apoy to enter
APOY37766914 On sale every Tuesday
www.amateurphotographer.co.uk
Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1 Dipper on the 2
Waterfall
1 Another of my
favourite birds, this
is a dipper, pictured
with food for its
young.
Olympus E-M1 Mark
II, M.Zuiko 100-
400mm, 1/200sec at
f/6.3, ISO 2500

Great Crested
Grebe Courtship
Dance
2 I was lucky
enough to witness
the mating dance of
these great crested
grebes, only lasting
Favourite lens
a few seconds, it
Mark Sandbach, Staffordshire Olympus M.Zuiko 100-400mm. The
was amazing to
About Mark equivalent of 200-800mm is great for
capture.
Mark is a homemaker. Olympus E-M1 Mark
wildlife photography.
See Instagram @marks_ II, M.Zuiko 100-
wild_walks Favourite accessory 400mm, 1/1000sec
Op/Tech Sling – it’s very comfortable at f/6.3, ISO 2500
How did you get into for carrying a camera all day.
photography?
Following a mental breakdown, a friend Dream purchase Peepo!
suggested it may help me in my I’d love the OM1, paired with the 3 There is a pair
recovery. It gives me a reason to get 150-400 Pro lens. With the built-in of parakeets nesting
out of the house and connect with teleconverter and crop factor that’s a in a tree by a local
nature. Just being out in the fresh air, reach of 1000mm equivalent, and pool here in
around nature, listening to the bird because of the OM1’s excellent IBIS it Staffordshire, this is
song, gives me an instant lift. can be used handheld – wow! one of their offspring
What software do you use for editing? peeking out.
Favourite subjects
Lightroom, Photoshop, DxO PureRAW. Olympus E-M1 Mark
I love to observe and photograph the
Favourite photographers II, M.Zuiko 100-
best of British wildlife.
For me it’s people who have a passion 400mm, 1/800sec at
What do you love about photography? f/7.1, ISO 2500
It allows me to be in the moment and for what they do. So people like Chris
gives me a break from the thoughts Packham and Andy Rouse. Andy’s
that come with depression. I also love YouTube series is excellent – he gives Open Wide
you an insight into how he works. 4 A wren calling
posting the images on social media. out, either in a
Where do you find inspiration? Favourite tips
show of territory
I’m very lucky to live in a semi-rural Find a passion and photograph that, it
or for a mate.
spot on the border of Staffordshire will be reflected in the photographs
Olympus E-M1 Mark
and Cheshire. Here it’s not difficult to you take. Sit by a lake observing the
II, M.Zuiko 100-
step out the front door and be greeted wildlife and playing with the settings
400mm, 1/1250sec
by birds and wildlife. on your camera – the hours will fly by
at f/6.3, ISO 2000
and you will gain a lot of knowledge.
What was your first camera?
An Olympus film camera with the About your pictures
sliding cover over the lens. All photos here are from last spring/
early summer – my favourite time of
Current kit year. You can see the great-crested
Olympus E-M1 Mark II. I walk miles, so grebes doing their courtship dance,
weight and size is important, as is the pheasants fighting for territory and
weather-sealing and fast focus. the birds singing their hearts out.

38
 YOUR PICTURES IN PRINT
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

Reader Portfolio winners receive a one-year subscription to a Gold Submit your images
Portfolio Series website worth £300. UK domain name included. See page 3 for details of how to submit. You
Amazing Internet designs, builds and hosts amazing websites for creative people and companies. It has specialised in creating websites for could see your photos here in a future issue!
photographers since 1999 and has services to suit all budgets. Whether you need a simple template-based site for £60 per year or a fully Please note: the prize is subject to change.
bespoke site, they’ve got you covered. www.amazinginternet.com

5 What a Song
5 This robin is
belting out a
beautiful song
Olympus E-M1
Mark II, M.Zuiko
100-400mm,
1/1000sec at
f/6.0, ISO 1600

39
 Testbench CLASSIC CAMERAS

FILM STARS
Copycat Landmark cameras are
pricey – so why not cut the

cameras
cost with a classic copy?
John Wade looks at the
options available

M
ention landmark camera names such as Rolleiflex,
Leica, Hasselblad, Contax, Super Ikonta and the like,
and a wistful look comes over the faces of some
photographers who hold places in their hearts for
marques like these. What must it have been like to shoot with such
cameras when their popularity was at its peak? Well of course you
still can. The cameras are still available. The problem is that they
have become collector’s items, meaning second-hand prices have
rocketed to levels often far in excess of what they cost new. But if you
crave the classic experience without the pain of the classic price tag,
there is another way.
At the time when many of these cameras were at the top of their
games, rival manufacturers began making their own versions. Some
were merely inspired by the originals, others were little more than
blatant copies. They too are still around, and at far more reasonable
prices. So why not cut the cost with a classic copycat?

Leica II (left) and its

Fed 1 look-alike

Leica versus Fed

The original Leica, which popularised the use of 35mm film
when it was introduced in 1925, was a fairly basic camera. The
Leica II that followed built a coupled rangefinder into a top plate
housing, establishing the shape and style of Leica cameras for
many years more. That was in 1932 and strangely Leitz didn’t register its
patents in Russia, leaving the market open for the Russians to copy the
German classics, starting with the first Fed in 1934.
Put an early Fed side by side with a Leica II and you will be hard-
pressed to tell the difference cosmetically. Shape, size and controls
are identical, only the engravings on the top plate and lens are
different. Both load from the base (a difficult manoeuvre if you are not
used to it); both focal plane shutters are speeded 1/20-1/500sec;
both lenses are retractable and marked in the older f-stop style of 3.5,
4.5, 6.3, 9, 12.5, 18. Both have difficult-to-use squinty little viewfinders
with coincident-image rangefinders in separate windows. The Fed lens,
which is a copy of the Leitz Elmar, is known for its quality, and because
it employs the Leitz L39 screw mount you can buy a cheap Fed body
and mount it with more prestigious Leica lenses.
You won’t get that hot-knife-through-butter smoothness of operation
naturally expected of a Leica, but look at the difference in price.

Today’s prices
Leica II: £350-450 The Zorki 1, made by the Russian Krasnogorsk factory in 1950, was
Fed 1: £35-45 a derivative of the Fed 1, making it another Leica II copy

40 www.amateurphotographer.co.uk
 The M3 (top) and V-35
Leica versus Aires from above, showing
how the Aires added
In 1954, Leica went through a complete revamp with the introduction built-in metering
of the M3, reckoned by some to be the most beautiful camera ever
made. While many manufacturers copied the older screw lens
Leicas, far fewer tried to rival the M series. The Japanese Aires
company was the exception.
Although only in business for about ten years, Aires made a good
range of fixed-lens 35mm couped rangefinder cameras. Then, right
at the end of production in 1958, they produced the Aires 35-V, the
only camera in the line-up with interchangeable lenses. Although
strictly speaking it isn’t an actual copy of the Leica, it was obviously
inspired by the M3 – and in some ways it’s better.
The V-35 is only a matter of millimetres bigger than the M3, but
it adds an in-built selenium meter whose reading on the top plate
needs to be transferred manually to the aperture and shutter
controls. In place of the Leica’s focal plane shutter, the V-35
incorporates a large leaf shutter situated, not immediately behind
the lens as is sometimes the case, but far back almost on the focal
plane. Unlike a focal plane shutter, it offers flash synch at all
speeds. Opening the camera back for film loading makes the
procedure a lot easier than the M3’s base-loading system.
The V-35’s usual standard lens is a 4.5cm f/1.8, but if you’re lucky
you might find one with an f/1.5. The mount is unique to Aires, so
other makers’ lenses cannot be used on the camera. Aires lenses
made for the V-35 include a 3.5cm wideangle and 10cm telephoto.
These are hard to find today. The viewfinder offers bright frames for
the standard and tele lens, and the entire view surrounding the
standard frame might approximate the 3.5cm view.
The Aires 35-V is a quality camera, both optically and mechanically.
It’s not a Leica M3, but it comes close at a fraction of the cost.

Today’s prices
Leica M3: £1,000-1,500
Aires V-35: £90-150 ‘It was obviously
inspired by the M3 – and
in some ways it’s better’

The Leica M3 with 5cm f/2 Summicron

lens (left) and the very similar Aires
V-35 with 4.5cm f/1.5 Coral lens

www.amateurphotographer.co.uk 41
 Testbench CLASSIC CAMERAS
Hasselblad 1000F (left) and the Zenith 80 that copied it
Hasselblad versus Zenith
In 1940, during the World II, the Swedish government approached
inventor and photographer Victor Hasselblad to ask if he could
build a camera similar to one recovered from a crashed German
reconnaissance aircraft. The inventor is reputed to have replied:
‘No, but I can make a better one.’ In this way he began making
cameras for the Swedish military. After the war Hasselblad turned
his attention to the civilian market. He began with the Hasselblad
1600F in 1948, then moved on to the 1000F in 1952.That was the
one that that the Russians copied at the Kiev Arsenal to make the
Salyut, then the Salyut-S which was exported in 1972 under the
name Zenith 80.
Like the Hasselblad, the Zenith adopts a modular design. The body
houses a reflex mirror, focal plane shutter speeded 1/2-1/1,000sec
and a ground-glass focusing screen. A film magazine, with metal
sheath to protect the film when the magazine is detached from the
body, takes 120 roll film, shooting 12 6x6cm images to a roll. A
waist-level viewfinder with a fold-up hood slides onto the top of the
body and the 80mm f/2.8 Industar-29 standard lens bayonets to
the front. Other purpose-made lenses include a 65mm f/3.5 Mir-3
wide-angle and a 300mm f/4.5 Tair-33 telephoto.
Beware of one small idiosyncrasy with the Zenith 80: the film wind
knob must be wound fully before adjusting shutter speeds. Change
the speed before winding the film and everything is likely to jam up.
Today’s prices
Hasselblad 1000F: £800-1,000
Zenith 80: £150-200
Breaking down the Zenith
80: Film magazine, body,
waist-level viewfinder,
standard lens and
collapsible rubber lens hood
42
Rolleiflex Automat 3.5 (left) with a Seagull-4
Rollei versus Seagull
In 1928 the German company Franke and Heidecke introduced the
Rolleiflex, the first compact rollfilm twin-lens reflex (TLR). Five years
later, the same company produced the Rolleicord, a slightly stripped-
down version of the Rolleiflex and built to a lower cost. There were
numerous versions of each camera, and both were copied
extensively by other manufacturers.
The Seagull-4 was made in China by the Shanghai Camera Factory
and distributed worldwide in 1964. It follows the usual TLR style of
having two lenses, one to shoot the picture, the other to reflect its
image up to a large focusing screen under a hood on top of the
body. It takes 12 6x6cm pictures on 120 rollfilm.
The camera uses a between-the-lens shutter speeded
1–1/300sec and the Haiou-31 75mm f/3.5 taking lens is
twinned with a 75mm f/2.8 viewing lens to give a brighter image
on the viewing screen which is marked in a grid pattern of 25
squares. Focusing the two lenses on a moveable panel is by a
knob on the side of the body, which incorporates a depth of field
scale. Film wind is also by a knob which incorporates an
automatic frame counter, echoing the way the Rolleicord was
designed. The Seagull-4A that followed replaced the film wind
knob with a crank similar to that on the Rolleiflex.
Today’s prices
Rolleiflex Automat 3.5: £350-400
Seagull-4: £80-120
Three more TLRs from around the world that were influenced
by Rolleiflex and Rolleicord cameras, left to right: the English
Microcord, French Semflex and Japanese Yashicamat
www.amateurphotographer.co.uk
Contax versus Kiev
Before World War II, the German Zeiss Ikon works
made the Contax I, II and III. Following the war,
under the terms of war reparations, the Russians
took Zeiss equipment and plans to Kiev, where
they made their own versions of the Contax II and III.
Meanwhile, Zeiss relocated in West Germany and
continued to improve on their earlier models with the
Contax IIa and IIIa. With the exception of the Contax
I, all these cameras were copied by the Russians Contax IIIa (top)
under the Kiev name. with the Kiev IIIa
The Kiev IIIa is a 1954 copy of the Contax IIIa. It’s Russian copy
a 35mm camera, usually found with a Jupiter-8 50mm
f/2 standard lens, which is a copy of the Zeiss Sonnar. The lens
is focused by a serrated thumbwheel that protrudes from the top
plate and is coupled to the rangefinder in the viewfinder window.
Shutter speeds run 1/2-1/1,250sec. What sets the Kiev IIIa and
its Contax equivalent aside from the other Kiev and Contax models
is a selenium cell meter built onto the top plate. It is operated by
turning a ring around the rewind knob while watching a deflecting
needle in a top plate window and it’s uncoupled, so readings need
to be manually transferred to the camera controls.
The problem with selenium cells is they tend to die with age. In
which case, cut your losses and go for a meter-free Kiev-II or IIa,
which are copies of the Contax II and IIa.

Today’s prices
Contax IIIa: £250-350
Kiev IIIa: £30-45

‘With the exception of

Contax II (top)
the Contax I, all these
with the Kiev-II cameras were copied
by the Russians under
the Kiev name’

www.amateurphotographer.co.uk 43
 Testbench CLASSIC CAMERAS
Super Ikonta versus Moskva
Super Ikonta cameras were made by Zeiss Ikon from 1934
onwards, and there was a lot of them, all with slightly different
shapes, specs and code names. Similarly, from 1946 onwards, the
Krasnogorsk factory in Russia turned out a range of Super Ikonta
copies. These are sometimes called Mockba cameras, because
that’s what the name looks like in Cyrillic lettering. The correct
name is Moskva, which of course is what the Russians call
Moscow. What we’re looking at here is a Moskva-2, made in 1947
and most likely a copy of the Super Ikonta 530/2 or 531/2
It’s a folding camera that measures 15.5x9x3cm folded, the
smallest dimension extending to 12cm when unfolded and ready
for shooting. The 11cm f/4.5 lens self-erects on bellows and is
surrounded by a shutter dial to set speeds of 1-1/250sec. A direct
vision viewfinder flips up from the top of the rangefinder housing,
which is the Moskva’s most useful crib from the Super Ikonta. It
works not by the usual mirror method but by using twin prisms of
glass, one of which rotates against the other as a small thumbwheel
beside the lens is turned, at the same time focusing the lens. The
camera shoots eight 6x9cm pictures on 120 rollfilm.
With older folding cameras like this you need to check that the
bellows are light-tight and that the slow speeds are accurate, but they
can make a good introduction to medium-format film photography.
Minox B (top) shows its influence on the Yashica Atoron
How Minox film is loaded into the Atoron
44
Today’s prices
Super Ikonta 531/2: £250-400
Moskva-2: £50-200
Zeiss Ikon’s Super Ikonta (left) and the Moskva
from the Russian Krasnogorsk factory
Minox versus Yashica
The first Minox was made in Latvia in 1937.
Then came World War II and, with peace, Minox
production shifted to Wetzlar in West Germany.
Here new versions of the original design were
made until, in 1958, the company’s best-selling
and most popular camera to date was launched.
This was the Minox B, the first of the cameras to
incorporate a built-in selenium cell meter.
It woud be incorrect to call the Japanese
Yashica Atoron an absolute copy of the Minox B,
but it definitely nods in the general direction of
the German camera. It’s only a little larger than
the Minox, and it takes Minox film to shoot up
to 50 8x11mm pictures. The selenium meter,
whose cell is twice the size of that on the Minox,
activates a needle on the top of the body to line
up with an arrow on a rotating dial to indicate
exposure value (EV) numbers from 8.5 to 16. At
the same time turning the dial automatically sets
both aperture and shutter speed in tandem from
1/45sec at f/2.8 to 1/250sec at f/16. This is
as opposed to the Minox, which has a fixed f/3.5
aperture lens with exposure controlled only by
shutter speeds. On the other hand, the Minox has
a focusing lens, whereas the lens on the Atoron,
which incorporates a slide-in yellow filter, is fixed
focus. On Minox cameras, the film is advanced by
a push-pull movement as the two halves of the
body are pulled apart to shoot and then pushed
together again. On the Atoron the body is solid
and a tab is pulled from the side to tension the
shutter and advance the film.
Look for the Atoron in its special kit that includes
the camera, case, chain, filter and flashgun.
Today’s prices
Minox B: £60-100
Atoron: £10-30
www.amateurphotographer.co.uk
Minox versus Kiev
When Minox moved into the 35mm market
in 1974, they did it with the Minox EL, at
that time the world’s smallest full-frame
35mm camera. A little over ten years later,
in 1985, the Kiev 35A arrived. Put the two
cameras side by side and the Kiev turns
out to be a tiny bit larger – by about a
millimetre all round. It is also said that the
Kiev has a five-element lens, against the
Minox’s four elements. But those almost
imperceptible differences aside, the two
cameras are just about identical.
As with the Minox, when folded, the
Kiev is small enough to be concealed in Minox EL (left) with a
the palm of the hand. It unfolds with a bronze body Kiev 35A
flap that dops down from the side of the
body as the lens comes forward into the
shooting position. The 35mm f/2.8 lens
focuses manually and exposure is by
aperture priority only, as it automatically
sets speeds of 4-1/500sec. Four LR-43
batteries (£6.50 on Amazon) fit into a
chamber beside the viewfinder to run the
meter and electronic shutter. Film speeds
are set by a thumbwheel on the base,
film is advanced by a lever and the
shutter release is feather light.
The Kiev 35A can be found in the
traditional black, as well as attractive
grey and bronze coloured bodies.
Strangely, it can be more expensive
than the Minox it copied. Both the Minox and the Kiev
fold to palm-sized shapes
Today’s prices
Minox EL: £30-40
Kiev 35A: £30-50

Polaroid versus Moment

Instant copy: the American Polaroid
Model 95 (left) with the Moment
from the Russian GOMZ factory
Polaroid revolutionised the instant photography market in 1948 with
its first camera, the Model 95. It’s like a large and heavy version of
earlier folding cameras, in which a bed folds down from the body with
the lens panel extending along it on bellows. Exposure is controlled
by a thumbwheel set into the lens panel to give the option of eight
combinations of shutter speeds and apertures from 1/8sec at f/11
to 1/60sec at f/45. Instant pictures, in days past, were produced
by twin rolls of film dropped into each end of the body. Pulling a tab
sandwiched a paper negative from one spool with sensitised printing
paper from the other as pods of chemicals spread between them to
process a monochrome picture.
The Moment camera, made by the Russian GOMZ factory in
1952, is the same but different. The style is heavily influenced by
Polaroid’s Model 95, but exposure is controlled by a more traditional
series of shutter speeds of 1/10-1/200sec and apertures from
f/6.8-22 set on rings around the lens. In theory the camera should
produce instant prints in a similar way to the Model 95. The problem
is that although the Russians managed to make a good working
camera, they failed to make its instant film work as well as
Polaroid’s, and the camera was a failure.
Today, it’s just about impossible to find film for either the Moment
Today’s prices or its Polaroid predecessor. Both cameras, therefore, are more for
Polaroid Model 95: £20-40 collectors than users, and because the Moment is the rarer of the
Moment: £20-50 two, it can be more expensive than the Polaroid original.

www.amateurphotographer.co.uk 45
 My favourite kit
Stephen Powers
The Nikon Nikkor Z 24-200mm f/4-6.3 VR
has quickly become the perfect travel companion
for Stephen’s photography
AP: Tell us about your
photography background
SP: My journey began at the end
of 2019, so I’d still consider myself
new to photography. It all started
simply – I wanted a beautiful shot
of a kingfisher, a bird I’d only ever
managed fleeting glimpses of.
Stephen has been
I decided to go all in and bought
a photographer for a Nikon D500 with Nikon’s 200-
three years and lives 500mm f/5.6 telephoto lens. Two
on the edge of the months later I managed to capture
Peak District near the photo I’d dreamed of and
Manchester. He can cherish above all others.
be found on Instagram The adrenaline rush continued
@stephenpowersphoto for a few more months just before
where he has over the pandemic hit. Lockdown 1.0
2,000 followers. forced me to re-evaluate a few things
and I decided to focus on macro
photography in my back garden
after purchasing the Nikon AF-S
Micro-Nikkor 105mm f/2.8 G VR
lens. When freedom was granted
again, I explored landscape
photography and acquired a Nikon
D810 with Nikon’s 16-35mm f/4
lens. I found that unlike bird
photography, I would always
come away with a photo but not
necessarily the postcard version
I’d imagined. Following various
YouTube vloggers has been
invaluable for learning techniques
as has my friendship with various
photographers online.
46
AP: What do you carry in
your camera bag?
SP: My bag has become extremely
light recently; a Nikon Z 7, the
Nikon Z 24-200mm f/4-6.3, spare
battery, a Black Diamond
headtorch, a stash of Zeiss lens
wipes, Patagonia woolly hat, Rohan
winter gloves, Hoya circular
screw-in filters, a blower, Benro
Mach3 carbon-fibre tripod and
Benro G3 ball head. If I have time,
I’ll also carry a flask of coffee and
a selection of snacks and pastries.
AP: If you could pick one
item of kit you couldn’t live
without, what would it be?
SP: Without question, my Nikon Z
24-200mm f/4-6.3 – an absolute
game-changer of a lens for many
different reasons.
AP: What was it that made
you want to purchase it?
SP: I wasn’t enjoying all the faffing
about changing lenses so I decided
to buy an excellent-condition used good enough for him then it would
lens from WEX in early 2022. I’d certainly be adequate for me.
spent a couple of months
researching it on YouTube. After AP: How do you find the
hearing mixed reviews, I got a product performs?
message from photographer Stuart SP: The best compliment I can pay
McGlennon and he was positively to this lens is that it rarely leaves my
glowing about his. I thought if it’s camera. There’s so much trust that
www.amateurphotographer.co.uk

I can quickly adapt to any given
situation, from wideangle vistas to
woodland photography, distant
minimalist scenes and close-up
abstracts. While I accept the images
may not be as tack-sharp as you’d
get from some of Nikon’s premium
S lenses, the convenience of taking
www.amateurphotographer.co.uk
FAVOURITE PHOTOGRAPHY KIT
Below from left: one lens out, travelling lighter, being
Ancient oaks in more flexible and adaptable to the
evening mist; conditions is invaluable. As is a
Remnants of healthier bank balance. That said,
autumn at a
beech woodland; most of the images I’ve taken with
Rows of silver this lens so far are exceptionally
birch trees sharp, right through the zoom range.
shrouded in fog I’m not a pixel-peeper round the
edges and for my needs it’s just
about perfect.
AP: Is there a standout
photograph you’ve taken
using the lens?
SP: Despite buying this lens partly
because I wanted to shoot more
distant, minimalist scenes it’s a wide
photo captured in the Peak District
at dawn that’s been my favourite
so far. I’ve had it printed at nearly
a metre wide for my dining room
wall and it looks incredible on
Hahnemuhle Photo Rag paper.
AP: Have you identified
anything you’d change to
Stephen captured this
beautiful sunrise using
Nikon’s 24-200mm zoom
Nikon Z 7, 24-200mm at 28mm,
1/50sec at f/13, ISO 63
make it even better?
SP: In terms of its performance,
absolutely none. As I mentioned,
I’m not one for pixel-peeping so
I can forgive a tiny bit of softness
around the edges.
AP: Do you have any plans
to upgrade your kit?
SP: No real plans to upgrade
anything right now. I’d love the
Nikon Z 100-400mm F4.5-5.6 VR S
in my bag and then I’d have the full
focal range from 24-400mm, with
the ability to extend that to 600mm
in crop mode. But then I certainly
wouldn’t be travelling light.
AP: How will your kit bag
look in ten years’ time?
SP: I’d like to hope pretty much
exactly the same. Lightweight
camera and lens combination
(maybe even the same camera and
lens) and quite possibly with the
addition of a long lens for wildlife.
47
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48 www.amateurphotographer.co.uk
 ADVERTISING FEATURE

Photos by Rotolight Masters of Light Terry Donnelly (left);

Jake Hicks (above) and byLumiere (below)

www.amateurphotographer.co.uk 49
 Testbench ACCESSORIES

JOBY Wavo PRO Mic

This high-tech mic is
designed for vloggers. Input
A 3.5mm socket allows
Richard Sibley puts it an additional mic to be
used. Its level can be
to the test adjusted independently, and
● £260 ● joby.com/uk-en the mics recorded mixed
or to the left and right
DESIGNED for vloggers and filmmakers, the channels.
Joby Wavo Pro microphone hides some exciting
features beneath its unconventional design, which
are designed to make it easier to create high-quality
audio without hours of post-production. Firstly, and
perhaps most importantly, the mic automatically
powers on and off in sync with the camera. Anyone
who has ever experienced the pain of forgetting to
switch on their external microphone will appreciate
this. Additional reassurance comes in the form of
LED lights, including a front-facing one, highlighting
that the mic is working.
Additional security comes with the option of
Safety Track recording. This records the audio Bluetooth
on the right channel at 10db less than the left The microphone can
channel, so hopefully, the right channel won’t connect to a smartphone,
suffer from any clipping if there are sudden loud allowing the sound EQ and
noises. Nearly all of the microphone’s features, Active Noise Reduction
including a +10db and +20db level boost, can be to be adjusted.
changed via buttons on the rear and base, but it’s
easier to use the Wavo Pro smartphone app.
The mic is mounted on an in-built Rycote lyre
to help it ‘float’ and prevent noise, but some is Recommended
still present if you are walking around vlogging.
Turning on the Active Noise Reduction does quite
an impressive job of removing the faint boomy Wind
noise that’s created as the microphone moves with Jammer
each step. The ANR doesn’t entirely eliminate it, A furry wind jammer is
but it won’t be noticeable if you are talking to the included to cover the
camera, or adding light background music. microphone when working
I tested the Wavo Pro with a Sony ZV-1 and found outside to reduce
that the included 3.5mm cable was a little short, wind noise.
as the camera’s mic socket is on the side of its
handgrip. However, most cameras place their mic Battery
sockets on the opposite side, so that cables don’t The built-in battery
get in the way of holding the camera. promises up to 60 hours
In terms of audio, its sound is good for picking out of use and is recharged
a voice in a busy scene (and anecdotally similar to
via USB-C.
the Rode VideoMic Pro+). Adjusting the EQ via the
app is helpful for fine-tuning the sound to your taste.

Verdict WAVO PRO APP

The Joby Wavo Pro microphone has several great At a glance
features that are useful for casual filmmakers. Its Connecting to a smartphone via
smartphone connectivity and app help control the ● Condenser Electret Bluetooth allows all the settings,
ALL PRICES ARE APPROXIMATE STREET PRICES

microphone, especially whilst you get to know your
way around the onboard controls and what the
different button combinations do.
The sound quality is good, especially with the
ability to tweak the EQ. However, it is the option to
have a safety track or add a second external mic
that makes it a good all-around choice.
Microphone capsule
● Super Cardioid pickup pattern
● Active Noise Reduction
● 20Hz-20kHz (+/-6dB)
Frequency Response
● 287g
including the levels, safety track, and
Active Noise Reduction, to be adjusted.
There is even the option to apply a Low
Pass filter and change the EQ settings.
This is much needed, as otherwise you
need to remember what the buttons do
and the various LED lights mean.

50 www.amateurphotographer.co.uk
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 In association with MPB

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

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 IN ASSOCIATION WITH
Olympus Tough TG-6
l £399 l www.olympus.co.uk
Olympus’s Tough compacts have habitually
won our underwater camera group tests,
and this latest model is still the best of its
type. It’s waterproof to 15m, shockproof
against a 2.4m drop, crushproof and
freezeproof. The 25-100mm equivalent lens
is paired with a 12MP sensor, and viewing
is via a 3in LCD. This is also one of the few
rugged cameras that can record raw files.
★★★★★ Reviewed Dec 2022
Ricoh GR III
l £949 l ricohgr.eu/en-gb
A favourite of street photographers, the
GR III combines a 24MP APS-C sensor and
a sharp 28mm equivalent f/2.8 lens in a
slim, pocketable body. It offers sensitivities
up to ISO 102,400 and 4fps shooting, while
in-body image stabilisation helps keeps
image sharp. Viewing is via a fixed 3in rear
LCD or an optional optical viewfinder that
slots onto the hot shoe.
★★★★★
Reviewed
3 Aug
2019
www.amateurphotographer.co.uk
A round-up of the AP testing team’s favourite
and most highly rated kit, including both
cameras and all kinds of accessories, across
a wide range of price points
Canon PowerShot G1 X Mark III
l £1,140 l www.canon.co.uk
This unique zoom compact offers excellent
image quality by employing the same
24.2MP APS-C sensor as several of Canon’s
DSLRs and mirrorless cameras, along with
a 24-72mm equivalent lens. A central
viewfinder, fully articulated touchscreen and
comprehensive external controls round off a
superb little camera for enthusiast
photographers.
★★★★★
Reviewed
3 Feb 2018
Sony RX100 VII
l £1,050 l www.sony.co.uk
Sony has somehow crammed a 24-200mm
equivalent zoom, pop-up electronic
viewfinder, tilting screen, 20 fps shooting
and 4K video recording into a body that you
can slip into a jacket pocket. With the firm’s
latest AF technology also on board, it’s
without doubt the most accomplished
pocket camera on the market.
★★★★
Reviewed
5 Oct 2019
Fujifilm X100V
l £1,349 l www.fujifilm.eu/uk
Fujifilm’s charismatic rangefinder-styled
compact employs a fixed 23mm f/2 lens,
APS-C sensor, traditional analogue controls
and a unique hybrid optical / electronic
viewfinder. In this latest version the lens
has been redesigned for improved
sharpness, and the back is now adorned
with a tilting screen. It’s a truly gorgeous
little camera.
★★★★★ Reviewed
25 Apr 2020
Sony RX10 IV
l £1,500 l www.sony.co.uk
This sets a new standard for superzoom
cameras, with a 24-600mm equivalent lens,
20MP 1in sensor, and 24 fps continuous
shooting. Its SLR-shaped body hosts a large
electronic viewfinder and a decent set of
physical controls. It’s the best all-in-one
camera for wildlife or
travel photography
that you can buy
right now.
★★★★★
Reviewed
2 Dec 2017
55
BEST BUYS REVISITING GREAT KIT FROM OUR TEST ARCHIVES

Canon EOS 250D Canon EOS M50 Mark II Fujifilm X-S10

l £650 with 18-55mm IS lens l www.canon.co.uk l £700 with 15-45mm lens l www.canon.co.uk l £999 with 15-45mm lens l www.fujifilm.eu/uk

One of the smallest DSLRs around, the EOS This likeable little camera is simple and Fujifilm’s latest model brings a distinct
250D strikes a great balance between approachable for novices, while offering change in design. It looks much like a
portability and usability. It’s equipped with a plenty of manual control for enthusiasts. Its conventional DSLR, with electronic dials for
novice-friendly Guided Mode, while Canon’s central electronic viewfinder is joined by a changing exposure settings. But you still get
Dual Pixel CMOS sensor provides excellent fully articulated touchscreen, autofocus is Fujifilm’s signature fine image quality, along
autofocus in live view. Image fast and accurate, and it’s capable of with in-body image stabilisation. The result
quality is very good, producing consistently fine is a camera that’s
delivering vibrant images. The updated perfect for
colours and Mark II version APS-C DSLR
plenty of fine adds a few users looking
detail. minor extra to upgrade to
★★★★★ features. mirrorless.
Reviewed ★★★★★ ★★★★★
7 Sep 2019 Reviewed Reviewed
22 May 2021 23 Jan 2021

Olympus OM-D E-M10 Mark IV Panasonic Lumix G9

l £749 with 14-42mm lens l www.olympus.co.uk Fujifilm X-T30 II l £900 body only l www.panasonic.com/uk

With a charismatic retro design, fine l £899 with 15-45mm lens l www.fujifilm.eu/uk The finest Micro Four Thirds stills camera
handling, highly effective in-body This lovely little camera provides excellent Panasonic has ever produced, the G9 backs
stabilisation and attractive JPEG output, performance, while preserving the charm up its sturdy construction with a winning
Olympus has made a camera that’s more and charisma of the X-series. It’s a great combination of high-speed shooting, fast
pleasant to use than its entry-level all-rounder, and handles exceptionally well focusing and effective in-body stabilisation.
competitors. Its 20MP sensor delivers good thanks to an intuitive interface based Boasting a control layout as complete as
results up to ISO 3200 at least, and its around traditional analogue dials. Image most pro-level DSLRs, it’s an
tilting screen can be set to face forwards quality is superb in both raw and JPEG, extremely versatile
beneath the camera. aided by camera that’s
The 16MP Fujifilm’s capable of
Mark III is peerless Film dealing with
also still a Simulation any subject.
great buy. modes. ★★★★
★★★★ ★★★★★ Reviewed
Reviewed 26 Reviewed 27 Jan 2018
Sep 2020 8 Feb 2022

Fujifilm X-T5 Panasonic Lumix GH6 OM System OM-1

l £1,699 body only l www.fujifilm.eu/uk l £1,949 body only l www.panasonic.com/uk l £1,999 body only l www.olympus.co.uk

Fujifilm’s latest X-T model is a great choice Panasonic’s flagship Micro Four Thirds It may be nostalgically named after a
for serious enthusiast photographers. It camera is aimed at videographers, but classic 35mm SLR, but there’s nothing
boasts a 40MP APS-C sensor housed in a holds its own when capturing stills as old-fashioned about this high-speed
retro-styled body covered with traditional well. Its 25MP sensor delivers plenty of powerhouse. It’s capable of shooting at
analogue control dials. Subject-detection detail, while enabling 5.7K recording at 120fps with focus fixed, or 50fps with AF.
autofocus, in-body stabilisation and 60fps, or 4K at 120fps. Pro-spec video AI subject detection recognises vehicles,
Fujifilm’s lovely colour modes functionality and highly effective in-body animals and birds. It’s also rugged, with
round off an stabilisation round off IP53-rated weather-
extremely a fine package sealing, and
desirable for content includes
package. creators. class-leading
★★★★★ ★★★★ stabilisation.
Reviewed Reviewed ★★★★★
3 Jan 2023 26 Apr 2022 Reviewed
15 Mar 2022

56 www.amateurphotographer.co.uk
 IN ASSOCIATION WITH

Nikon Z 6II Nikon Z 7II Sony Alpha 7R V

l £2,099 body only l www.nikon.co.uk l £2,999 body only l www.nikon.co.uk l £3,999 body only l www.sony.co.uk

This upgraded full-frame mirrorless Nikon has delivered a sensible update to its With its 61MP full-frame sensor, the A7R V
all-rounder boasts a 24.5MP sensor, flagship high-res model, with an additional provides class-leading image quality while
273-point autofocus and rapid 14fps burst SD card slot and slightly faster shooting. As adding a whole array of improvements over
shooting. It also gains an SD card slot, before, its 45.7MP sensor gives stunning its predecessor. These include subject-
alongside XQD/CFexpress. Its excellent image quality, backed up by 5-axis in-body detection AF, a larger, more detailed
viewfinder is complemented by a tilting image stabilisation and fast, accurate viewfinder, and a more flexible rear LCD
screen, and both image quality and handling autofocus. The viewfinder is superb, and design. For those whose needs are more
are superb. The older F-mount SLR lenses can be about image quality than speed,
Z 6 remains used via the it’s probably the best
a good buy FTZ adapter. full-frame camera
for £500 ★★★★ you can buy.
less. Reviewed ★★★★★
★★★★ 6 Feb 2021 Reviewed
Reviewed 17 Jan 2023
9 Jan 2021

Sony Alpha 7 IV Nikon Z 9 Leica M11 Monochrom

l £2,399 body only l www.sony.co.uk l £5,299 body only l www.nikon.co.uk l £8,300 body only l uk.leica-camera.com

Sony’s latest enthusiast-focused full-frame Without doubt Nikon’s finest camera yet, the Within its own specialist niche, this
mirrorless model sets a new standard in its Z 9 combines high resolution, breathtaking monochrome-only manual-focus
class. Its 33MP full-frame sensor delivers speed, subject-recognition autofocus and rangefinder is almost perfect. Its build
excellent image quality, and it can shoot at pro-level build. It’s capable of shooting quality is stunning, and the pared-back
up to 10fps. Its practically foolproof 45.7MP raw files at 20fps for 1,000 frames, design allows you to immerse yourself
subject-detection AF can now recognise and 11MP JPEGs at 120fps. It can also completely in the process of taking
birds as well as humans and record 8K video. With its pictures. Most importantly, the 60.1MP
animals. A large, superb viewfinder sensor produces fantastic results,
clear viewfinder and tilting rear reaching a new
and fully articulated screen, it’s pinnacle in
touchscreen round probably the black & white
off the package. most capable image quality.
★★★★★ camera around. ★★★★★
Reviewed ★★★★★ Reviewed
11 Dec 2021 Reviewed 16 May 2023
22 Mar 2022

Nikon D780
l £2,299 body only l www.nikon.co.uk Canon EOS R6 Mark II Fujifilm GFX100S
l £2,779 body only l www.canon.co.uk l £5,499 body only l www.fujifilm.eu/uk
This highly accomplished 24MP full-frame
model shows that there’s life in the DSLR Based around a 24MP full-frame sensor, Fujifilm’s second-generation super-high
yet. It’s superbly built with extensive this brilliant all-rounder will do almost resolution camera places a 102MP medium-
weather sealing, handles brilliantly, and anything you might ask it to. It combines format sensor in a body the size of a full-
gives excellent results in any conditions. It’ll reliable subject-detection AF, rapid frame DSLR. On-chip phase detection
provide top-level service to continuous shooting, and effective image provides rapid autofocus; in-body image
photographers who want to stabilisation in a body that handles well and stabilisation allows the camera
keep using their gives great results. It also to be used handheld
F-mount lenses works well with with confidence. It’s
and still prefer adapted perfect if you need
an optical EF-mount to shoot in the
viewfinder. DSLR lenses. field without
★★★★★ ★★★★★ compromising on
Reviewed Reviewed image quality.
4 Apr 2020 21 Mar 2023 ★★★★★
Review 8 May 2021

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

Tenba DNA 9 Slim Messenger
l £110 l uk.tenba.com
If you’d like a small shoulder bag to carry a
camera and a couple of lenses, this is
among the best you’ll find. Measuring 28cm
wide by 20cm tall, it’s well suited to holding
a mirrorless camera or a compact DSLR.
The quality of materials and construction is
excellent, and there are plenty of handy
pockets for organising accessories.
★★★★★ Reviewed 26 Apr 2022
NiSi NM-180 Macro Rail
l £105 l www.nisioptics.co.uk
Arguably the best macro focusing rail
available right now, the NM-180 combines
excellent quality build with super-smooth
operation. It’s easily capable of supporting a
full-frame SLR while offering up to 130mm
of travel, with a fold-out handle providing
fine adjustment. It also boasts extensive
compatibility with the Arca Swiss quick
release system, with a dovetail profile along
its base and a rotating clamp on top.
★★★★★
Reviewed
24 Oct 2020
Benro Rhino 24C tripod
with VX25 head
l £250 l uk.benroeu.com
Benro has got pretty much
everything right with this sturdy,
well-designed tripod and head that’ll
support a substantial load. This
four-section carbon fibre model
offers a maximum height of
almost 1.7m, while folding
down to 49cm and weighing
1.74kg. It’s easily capable
of supporting a full-frame
DSLR with a telephoto
zoom. Quite simply, it’s a
fantastic kit for the money.
★★★★★ Reviewed
28 Nov 2020

NiSi True Color ND-Vario

Cullmann Rondo 460M RB8.5 1-5 stops
Vanguard Veo Select 46BR l £75 l www.transcontinenta.co.uk/cullmann
l £89-£189 l www.nisioptics.co.uk
l £120 l www.vanguardworld.co.uk
If you want a fully featured tripod kit on a This high-quality variable neutral density
This backpack is capable of swallowing a budget, this is a great filter is ideal for regulating the amount of
substantial amount of kit while retaining a choice. Four-section light entering your lens, without introducing
travel-friendly 28cm slim profile. An array of aluminium legs provide a any colour cast. It’s optically excellent,
access points allow max height of 160cm, while boasts an oil and water-repellent coating,
you to get at your kit packing down to 43.5cm. and includes a
from the back, top or It’s rated to support a 4kg handy and
either side. It’s load, weighs 1.46kg, and accurate density
capable of holding a one leg can be combined scale. It’s available
full-frame DSLR with with the centre column in sizes from
4-6 lenses along with to form a monopod. 40.5mm to 95mm.
a 13-in laptop. ★★★★
★★★★★ ★★★★★
Reviewed Reviewed
Reviewed 21 Mar 2020 24 May 2022
6 Jul 2019

MeFOTO RoadTrip PRO Benro SupaDupa

Wandrd Prvke 31 l £225 l uk.benroeu.com Pro MSDPL46C
l £279 (photography bundle) l eu.wandrd.com Few tripods come close to l £190 l uk.benroeu.com
This spacious backpack offers an excellent matching this one for sheer It may have a ridiculous name,
combination of uncluttered style, rugged versatility. It extends to but this five-section carbon fibre
construction and a selection of genuinely 152.5cm, folds down to model might just be the best
useful pockets. The roll-close 38.5cm and weighs 1.37kg. monopod we’ve ever tested. One
top section is the One leg can be detached for clip leg lock provides easy length
icing on the cake that use as a monopod or boom adjustment, while the lower twist
always seems to allow arm, and there’s even a locks are waterproof. On the top
just one more item to small desktop stand stowed there’s a clever bowl head with
be squeezed in. inside the centre column. an Arca-compatible clamp. It’s a
Crucially, it’s It’s sturdy enough to great choice for those who
comfortable to carry support a full-frame regularly shoot with large
over long distances. mirrorless set-up. telephotos.
★★★★★ Reviewed ★★★★★ ★★★★★
11 Sep 2021 Reviewed 12 April 2022 Reviewed 24 April 2021

58 www.amateurphotographer.co.uk
 IN ASSOCIATION WITH

Nissin i40 Datacolor SpyderX Pro Kase Wolverine K9 100mm

l £159 l www.kenro.co.uk l £159 l www.datacolor.com Entry-Level Kit
A compact flashgun that’s designed for If you like to post-process your images, you l £385 l www.kasefilters.com
mirrorless cameras, the i40 stands out for need to be sure that your monitor is showing With this top-quality filter system, Kase has
its high specification, compact size and colours accurately. Datacolor has carefully rethought every component. The
ease of use. Its auto-zoom head covers designed the SpyderX to slimline, low-profile holder benefits from
lenses from 24-105mm equivalent. With a calibrate your display faster extensive light-sealing, while the 82mm
powerful output that then ever before, with the polariser clips into place magnetically; it’s
belies its size, and process taking about two also easy to adjust from behind the camera.
a built-in LED video minutes. For most All of the filters use top-quality glass, and
light, it’s available photographers the everything fits together
for most brands of Pro package makes into a single case. The
camera. most sense. result is a top-quality
★★★★★ ★★★★★ set-up that’s easy to
Reviewed Reviewed 6 Apr 2019 use and delivers
3 May 2014 superb
results.
★★★★★
RØDE Wireless Go II Rotolight NEO 3 Reviewed
l £549 (Ultimate Kit) l www.rotolight.com 5 Dec 2020
l £309 l en.rode.com
LED lighting technology has advanced in
RØDE’s compact wireless system makes it
leaps and bounds over recent years.
easier than ever to get high-quality audio for
Rotolight’s compact on-camera NEO 3 offers
video recording. This dual-channel wireless
a unique feature set thanks to its full colour
Intrepid Compact Enlarger
mic kit includes two transmitter units and a l £280 l www.intrepidcamera.co.uk
RGBWW LEDs, with the ability to provide
receiver (a single-transmitter set is also
either continuous light or flash in 16.7 For film photography enthusiasts wishing to
available for £200).
million colours. This firm has also make prints at home, this compact and
Key features
programmed in the affordable unit includes lots of handy
include built-in
characteristics features. Based around full-colour LED
rechargeable
of 2,500 colour technology, it supports both mono and
batteries lasting
filters. Power is colour printing. It’s perfect for those who
up to 7 hours,
provided by an don’t have
onboard backup
NP-F type Li-ion space for a
recording, and up
battery. permanent
to 200m range.
★★★★★ ★★★★ darkroom.
Reviewed
Reviewed ★★★★★
5 April 2022 Reviewed
15 May 2021
17 July 2021
Hoya Ultra-Pro Circular
Hahnel ProCube2 Polariser Fujifilm Instax Link WIDE
l £80 l www.hahnel.ie l £47-£179 l www.intro2020.co.uk l £140 l www.instax.co.uk

This dual battery charger boasts a sturdy Hoya’s premium range of circular polarisers This brilliant portable printer produces
metal shell and interchangeable plates that is available in 13 sizes from 37mm to great-looking 6x10cm prints on Fujifilm’s
each accept a pair of batteries. An LCD 82mm. These filters feature 16 layers of Instax Wide film. It connects to your
display shows progress, and a 2.4A USB anti-reflective coatings, high transmission, smartphone via Bluetooth and is controlled
output allows phones or tablets to be and are designed to repel water and oil using an attractively
charged once the while being scratch designed and
camera batteries and stain resistant. intuitive app.
are full. An ultra-thin Powered by a built-in
Versions are aluminium frame rechargeable battery
available for all prevents vignetting and available in
the main when used with white or grey, it’ll slip
camera brands. wideangle lenses. easily into a bag.
★★★★★ ★★★★★ ★★★★★
Reviewed Reviewed Reviewed
24 Feb 2018 3 Mar 2018 25 Jan 2022

www.amateurphotographer.co.uk 59
 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
Current opening times: - Tuesday - Saturday~See Website For Exact Times.
CANON NEW STOCK - FREE U.K. DELIVERY
Canon EOS R8 Canon EOS R50 Canon EOS R3 Canon EOS R7 Canon EOS R10
Body Body Body Only £5879 Body Body
Only Only Canon EOS R5 Only
Body Only £4299 Only
£1699 £789 £1449 £999
Canon EOS R6II

10%
Plus 24-50 F4.5/6.3 IS STM £1899 Plus 18-45 F4.5/5.6 IS STM £899 Body Only £2779 Plus S 18-50 F3.5/6.3 IS STM £1799 Plus S 18-50 F3.5/6.3 IS STM £1349

FOR SAVINGS
On Most Used Equipment - Please See Website
Choose Pre-Owned And Save, Save, Save!
Canon 200-400mm Canon 300mm F2.8 Canon 400mm F4 Canon 500mm F4 Sigma 500mm F4
F4 L IS USM IS USM LII DO ISII USM IS USM LII DG OS HSM Sport
CAF/NAF available

£5999 £3499 £4399 £5999 £3699

Nikon Z9 Nikon Z7II body Nikon Z7 body Nikon Z6 body Nikon 400mm
body Mint box box box F4.5 Z VR S box
box

£4799 £2599 £1699 £999 £2899

Nikon 70-200mm Nikon 80-400mm Nikon 200-400mm Nikon 200-500mm Nikon 300mm
F2.8 E FL AFS F4.5/5.6 AFS VR F4 AFS VRII F5.6 ED AFS VR F2.8 AFS VRII

£1699 £1199 £2499 £999 £2699

Nikon 500mm F4 E Nikon 500mm F4 Nikon 500mm F5.6 Nikon 600mm F4 Nikon 800mm F5.6
FL ED AFS VR AFS VR E PF AFS VR AFS VR E FL ED VR AFS

£5999 £3499 £2799 £4499 £9999

WANTED
YOUR FILM AND DIGITAL KIT
UPGRADE NOW - PART EXCHANGE & COLLECTION AVAILABLE (Subject to postcode)
Sensor cleaning and Pro equipment hire available
ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 20/04/2023. E&OE.
 Website
updated daily
inc. promotions Here to help - just call
QUALITY USED EQUIPMENT. Warranty on most secondhand equipment. See website for full list and details etc.
Used Canon
R3 body R5 body
box box
£4799 £3499
CANON R MIRRORLESS USED
R3 body box ...................................£4799
R5 body box ...................................£3499
R6 body box ...................................£1799
R7 body Mint box.........................£1349
RF 14-35 F4 L IS USM...................£1499
RF 15-35 F2.8 L IS USM ...............£1699
RF 24 F1.8 STM macro .................. £639
RF 24-105 F4 L IS...........................£1149
RF 35 F1.8 IS STM box................... £469
RF 50 F1.2 L USM box .................£2199
RF 70-200 F4 L IS...........................£1399
RF 100 F2.8 L IS USM macro .....£1299
RF 100-400 F5.6/6.8 IS USM........ £579
RF 100-500 F4.5/7.1 L IS USM...£2699
RF 600 F11 IS STM .......................... £599
RF 800 F11 IS STM .......................... £899
Mount adapter EF-EOS R ................£99
BG-R10 grip....................................... £319
WWW.MIFSUDS.COM
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON Z MIRRORLESS USED
Z9 body box ...................................£4799
Z7 MKII body Mint box...............£2599
Z7 body box ...................................£1699
Z6 MKII body box .........................£1799
Z6 body box ..................................... £999
Z50 body ........................................... £599
14-24 F2.8 S box............................£1999
14-30 F4 S box................................. £899
24-50 F4/6.3 S .................................. £199
24-70 F2.8 S box............................£1799
24-70 F4 S Mint box....................... £499
24-200 F4/6.3 VR box .................... £879
50 F1.2 S box..................................£1999
50 F1.8 S............................................. £529
70-200 F2.8 VR S box...................£1997
85 F1.8 Z box.................................... £699
100-400 F4.5/5.6 VR S box.........£2399
400 F4.5 Z VR S box ....................£2899
FTZ MKII adapter box.................... £219
FTZ adapter box.............................. £199
WWW.MIFSUDS.COM
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
GITZO TRIPODS USED
GT3530S + G2272M head ........... £499
GT3533LS .......................................... £599
GT5543LS .......................................... £799
FUJI DIGITAL USED
X-T4 body box.................................. £999
X-T1 body Titanium ....................... £299
X-H1 body ......................................... £549
10-24 F4 XF R box........................... £499
16 F1.4 WR box................................ £599
16-55 F2.8 WR .................................. £799
16-80 F4 ............................................. £599
18-55 F2.8/4 XF Mint- ................... £449
23 F1.4 XF M- box........................... £599
50-140 F2.8 R.................................... £899
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA 645 USED
ETRSi + AEII prism + 75 EII
+ speed grip + 120 back.............. £699
ETRSi + 75 PE + WLF + 120 ......... £749
ETRSi body........£299 ETRS body£199
40 F4 PE.............£499 40 F4 E...... £299
50 F2.8 PE.........£499 50 F2.8 MC£199
60 F2.8 PE.........£399 135 F4........ £299
150 F3.5 E........£149 150 F3.5 PE£199
180 F4.5 PE........................................ £399
250 F5.6.............................................. £199
200 F4.5 PE........................................ £199
2x extender..........................................£79
ETRSi 120 back RWC late ............. £119
Polaroid back box..............................£29
AEIII prism.....£399 AEII prism... £199
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED
EOS 3 body + PBE2 ........................ £499
EOS 3 body ....................................... £399
EOS 5 body ..........................................£99
EOS RT body........................................£99
EOS 600/650/50E body each.........£79
EOS 500/300/30 body each...........£39
CANON FD USED
A1 World Cup 1982 body box.... £249
A1 body.............................................. £199
AE1P silver body ............................. £199
T90 body........£199 T70 body........£99
28 F2.8 ...................................................£99
50 F1.8...............£79 50 F3.5 mac £149
70-210 F4..............................................£99
100-300 F5.6........................................£99
135 F3.5............£69 500 F8........... £299
2x extender B......................................£49
FD auto bellows box ..................... £149
CONTAX USED
CZ 180 F2.8 AE................................. £199
CZ 300 F4 AE .................................... £199
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN WE CAN HELP. CORRECT 20/04/2023.
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
0736 828 8126 (8am-8pm) or 01803 852400
R6 body
box
£1799
CANON M MIRRORLESS USED
M50 body box.................................. £469
M6 body............................................. £329
EF-M 11-22 F4/5.6 IS STM............ £319
EF-M 15-45 F3.5/6.3 IS STM ...........£99
EF-M 18-150 F3.5/6.3 IS STM...... £379
EF-M 22 F2 STM............................... £189
EF-M 32 F1.4 STM box .................. £429
EF-M 55-200 F4.5/6.3 IS STM...... £249
EF-M adapter.......................................£89
CANON DSLR USED
7D MKII body box........................... £699
7D body ............................................. £299
6D body box..................................... £599
5D MKIV body box .......................£1997
5D MKIII body .................................. £699
700D body....£349 600D body .. £249
80D body........................................... £599
100D body....£249 1300D body £199
BG-E20 grip...£149 BG-E16 grip.£149
NIKON DSLR USED
DF body box.......................................£1199
D850 body Mint box ....... £1799/2399
D780 body Mint box ...................£1599
D750 body box................................ £899
D500 body box..............................£1399
D7200 body box ............................. £649
D7100 b/o box..£449
D7000 b/o ......................................... £349
D5100 body...................................... £149
D5300 b/o ......................................... £229
D3400 body...................................... £299
D3100 b/o ............................................£99
D3200 body...................................... £149
D80 body. .......................................... £149
MBD-18 (D850)................................ £299
MBD-17 (D500) box ....................... £199
MBD-15 (D7100/7200) ....................£69
MBD-12 box (D800/810).............. £199
MBD-10 grip (D300)..........................£49
MBD-200 grip......................................£49
MBD-80 grip ........................................£49
55-200 F3.5/4.8 R box ................... £499
60 F2.4 XF macro ............................ £399
80 F2.8 XF WR macro mint.......... £799
100-400 F4.5/5.6 XF LM OIS WR....£899
1.4x XF converter............................ £299
Samyang 12 F2 man focus.......... £199
EF-42 flash......................................... £149
MINOLTA AF USED
20 F2.8 ................................................ £299
28-80 F3.5/5.6 .....................................£49
50 F1.7 ...................................................£99
75-300 F4.5/5.6...................................£49
100 F2.8 macro................................ £299
100-300 F4.5/5.6 APO ......................£99
100-300 F4.5/5.6 ................................£79
Ext tube E14 or E28 each................£69
135N back ETRS .............................. £239
135W back ETRS ............................. £699
Speed grip E...£99 WLF............... £199
Rotary prism E box......................... £199
Plain prism E box............................ £169
Lenshoods various............................£40
BRONICA 6x6 USED
SQAi + 80 + WLF +120 box........ £999
SQAi body...£499 SQA body ...... £299
SQB body........................................... £299
40 F4 PS....£499 50 F3.5 PS box £349
110 F4 mac..£299 150 F4 PS...... £299
2x conv PS.....£199 2x conv S..... £149
SQAi waist level finder.................. £199
SQAi prism late................................ £399
LIGHTMETERS USED
Minolta Auto Meter IVF box ....... £249
Minolta Flashmeter V.................... £299
Minolta Flashmeter IVF ................ £199
Sekonic L308.................................... £149
Sekonic L308S.................................. £149
Sekonic L358.................................... £199
MINOLTA AF USED
9xi or 800Si body each....................£99
7Xi body................................................£69
500Si Super body.............................£39
505Si Super body ..............................£39
VC700 grip Dynax 700Si/800Si.....£59
MINOLTA MD USED
X700 body black ............................. £199
X300s body black ..............................£79
X300 body blk/chrome ...................£99
35-70 F3.5/4.5 .....................................£69
50 F1.7............£99 50-135 F3.5 ... £149
70-210 F4..............................................£99
75-200 F4.5 ..........................................£99
300 F4.5.............................................. £199
Used Canon RF 70-200mm
RF 15-35mm RF 24-105mm
F2.8 IS USM L F4 L IS
£1699 £1149
BG-E13 grip.....£99 BG-E11 grip ..£99
BG-E7 grip.......£49 BG-E4 grip .....£49
CANON AF LENSES USED
8-15 F4 L USM.................................. £899
10-18 F4.5/5.6 IS STM.................... £199
10-22 F3.5/4.5 USM EFS ............... £299
14 F2.8 USM LII................................ £999
15-85 F3.5/5.6 EFS.......................... £299
16-35 F2.8 USM LIII ......................£1199
16-35 F4 USM IS L box.................. £799
17-40 F4 L USM ............................... £399
17-55 F2.8 IS USM box EFS.......... £599
18-55 F3.5/5.6 IS STM.......................£99
18-135 F3.5/5.6 USM Nano ......... £399
18-135 F3.5/5.6 IS USM ................ £199
18-200 F3.5/5.6 IS........................... £299
24 F1.4 USM LII box ....................... £999
24 F3.5 TSE II box..........................£1199
24 F3.5 TSE box ............................... £599
24-70 F2.8 USM LII box...............£1199
NIKON AF LENSES USED
8-15 F3.5/4.5 AFS............................ £997
10-20 F4.5/5.6 AF-P DX VR .......... £239
10-24 F3.5/4.5 AFS box................. £399
14-24 F2.8 AFS box ........................ £799
16 F2.8 AFD fisheye box............... £399
16-35 F4 AFS VR box ..................... £599
16-80 F2.8/4 VR DX ........................ £599
16-85 F3.5/5.6 AFS VR ................... £149
17-55 F2.8 G DX AFS...................... £399
18-55 F3.5/5.6 AF VR DX .................£99
18-105 F3.5/5.6 VR DX AFS.......... £149
18-135 F3.5/5.6 AFS..........................£99
18-200 F3.5/5.6 VR DX MKII......... £399
18-200 F3.5/5.6 VR DX box.......... £279
18-300 F3.5/5.6 VR DX .................. £599
20 F1.8 AFS box............................... £629
24 F1.4 G AFS Mint......................... £997
24 F2.8 AFD....................................... £149
24-70 F2.8 AFS VR box.................. £999
24-70 F2.8 AFS................................. £699
24-120 F4 AFS VR............................ £699
SONY DIGITAL USED
RX10 MKIV box ..............................£1199
A9 body............................................£1999
A100 body............................................£99
SONY A MOUNT LENSES USED
Sony A 18-70 F3.5/5.6......................£69
Sony 1.4x conv box........................ £249
OTHER SONY A MOUNT AF USED
SIG 12-24 F4.5/5.6 II HSM DG..... £399
SIG 50 F1.4 DG Art box................. £399
SIG 105 F2.8 EX DG OS ................. £269
SIG 150-500 F5/6.3 DG OS...............£449
TAM 16-300 F3.5/6.3 Di II PZD ... £349
TAM 28-75 XR Di box..................... £199
TAM 90 F2.8 SP ................................ £199
SQAi 120 back late ......................... £199
SQA 120 back early........................ £149
Plain prism S..................................... £249
Polaroid back......£29 WLF........... £199
SQA speed grip ............................... £149
SQA macro bellows........................ £199
Lenshoods various..................... £20/50
BRONICA GS 6x7 USED
150 F4 PG .......................................... £299
Speedgrip G box............................. £149
HASSELBLAD 6x6 USED
501C + 80 + A12 + WLF box.....£2499
500CM + 80 F2.8 CF + A12 ......£1999
80 F2.8 CF.......................................... £899
135 F5.6 CF + bellows................... £999
150 F4 CF........................................... £699
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...............................£49
NIKON AF USED
F5 body ..................................... £499/799
F90X body......................................... £149
F801 body ............................................£99
F70 or F601 body each....................£79
NIKON MF USED
Nikon F Photomic FTn Apollo
chrome body.................................... £699
Nikon F Photomic plain prism Apollo
chrome body.................................... £699
F Photomic + 50mm F1.4 F......... £699
F3T body..........................................£1299
F3HP body......................................... £799
F3 body .............................................. £499
F2 Photomic + DP-1 chrome...... £499
F2A body black ............................... £599
FM2n body Black ............................ £499
F4 L IS
£1399
24-70 F4 IS USM L........................... £799
24-105 F4 IS USM LII...................... £799
24-105 F4 IS USM L ........................ £499
24-105 F3.5/5.6 IS STM ................. £349
35 F1.4 USM LII box .....................£1199
50 F1.2 L USM box.......................... £999
50 F1.4 USM...................................... £199
50 F1.8 STM box.................................£99
55-250 F4/5.6 IS .............................. £199
65 F2.8 MPE box.............................. £799
70-200 F2.8 IS USM LIII ...............£1699
70-200 F2.8 IS USM LII ................£1199
70-200 F4 IS USM box................... £499
70-300 F4/5.6 USM L ..................... £699
70-300 F4/5.6 IS USM II................. £499
70-300 F4/5.6 IS USM Nano........ £499
70-300 F4/5.6 IS USM.................... £249
75-300 F4.5/5.6................................ £169
85 F1.2 L USM MKII ........................ £899
85 F1.8 USM box............................. £299
28 F2.8 AFD....................................... £169
28-300 F3.5/5.6 VR box................. £699
35 F1.8 AFS G DX ............................ £129
35 F1.8 AFS ED................................. £379
35 F2.8 AFD....................................... £299
50 F1.4 AFS G box .......................... £299
50 F1.4 AFD....................................... £149
50 F1.8 AFS box............................... £169
50 F1.8 AFD..........................................£99
55-200 F4.5/5.6 AFS VR box........ £149
60 F2.8 AFS ....................................... £399
60 F2.8 AFD....................................... £299
70-200 F2.8 E FL AFS box ..........£1699
70-200 F4 VR AFS............................ £599
70-300 F4.5/5.6 E AF P VR............ £499
70-300 F4.5/5.6 AFS VR box........ £299
80-400 F4.5/5.6 AFS VR...............£1199
85 F1.4 AFS ....................................... £997
85 F1.8 AFS box............................... £299
105 F2.8 AFS VR............................... £499
200 F4 macro .................................£1499
200-400 F4 AFS VR II....................£2499
SONY NEX FE MOUNT AF USED
FE 24-70 F2.8 GM..........................£1199
FE 24-70 F4 ZA OSS ....................... £599
FE 28-70 F3.5/5.6 OSS................... £199
FE 35 F1.4 ZA OSS box.................. £599
FE 100 F2.8 GM OSS box.............. £899
OLYMPUS MICRO 4/3 USED
OM-D EM1X body box.................. £999
OM-D EM10 MKII body................. £299
7-14 F2.8 ED Pro box..................... £799
9-18 F4/5.6 ED box......................... £369
12-40 F2.8 MKII box ....................... £799
12-40 F2.8.......................................... £499
12-45 F4 Pro box............................. £499
14-42 F3.5/5.6 ED R MSCII ..............£99
150 F4 Black T* ................................ £499
A12 black latest box ...................... £499
A12 chrome...................................... £299
Early plain prism ............................. £149
PM prism 45 °................................... £399
WLF chrome late............................. £299
Polaroid back ......................................£79
Lenshood various..............................£49
MAMIYA 645 MF USED
Teleplus 2x converter.......................£39
120 insert..£29 Ext tube 1/2/3 ea£29
MAMIYA 7 RF USED
150 F4.5.............................................. £449
MAMIYA RB USED
55 F4.5 ................................................ £299
Metered chimney ........................... £149
FM2n body Chrome....................... £499
FE2 body chrome ........................... £349
F301 body ............................................£99
20 F2.8 AIS......................................... £299
28 F2.8 AIS......................................... £399
28 F3.5 AIS......................................... £169
28 F4 shift.......................................... £399
28-85 F3.5/4.5 AIS........................... £299
35 F2.8 shift ...................................... £399
35 F2 AIS............................................ £329
35-70 F3.5 AIS .....................................£99
35-105 F3.5/4.5 AIS........................ £149
50 F1.2 AIS......................................... £499
50 F1.4 AIS......................................... £329
50 F1.4 AI........................................... £249
50 F1.8 AIS................................ £149/199
50 F2 AI .................................................£99
55 F2.8 AIS micro............................ £199
80-200 F4 AIS ................................... £249
100-300 F5.6 AIS ............................. £299
135 F2.8 AI......£199 135 F3.5 AI ...£99
180 F2.8 AIS box ............................. £499
Used Canon
RF 100-500mm RF 600mm
F4.5/7.1 L IS USM F11 IS STM
£2699 £599
100 F2.8 IS USM L macro box..... £799
100 F2.8 USM macro box............. £399
100-400 F4.5/5.6 LII box.............£1699
100-400 F4.5/5.6 L box ................. £799
180 F3.5 L USM macro.................. £599
200-400 F4 IS USM L....................£5999
300 F2.8 IS USM LII.......................£3499
400 F4 DO IS II USM.....................£3999
500 F4 IS USM LII ..........................£5999
1.4x or 2x extender MKIII each .. £349
12mm ext tube II ...............................£59
25mm ext tube II ............................ £129
SIGMA CAF USED
8-16 F4.5/5.6 HSM DC box .......... £299
10 F2.8 EX DC HSM ........................ £299
10-20 F3.5 EX DC HSM.................. £279
12-24 F4.5/5.6 II DG ....................... £499
15 F2.8 EX DG fisheye box .......... £299
17-50 F2.8 EX DC OS HSM........... £269
105 F2.8 EX DG HSM OS box...... £299
200-500 F5.6 E ED AFS VR box... £999
300 F2.8 AFS VRII ..........................£2699
500 F4 E FL ED AFS VR ................£5999
500 F4 AFS VR ................................£3499
500 F5.6 E PF VR AFS box ..........£2799
600 F4 AFS VR serviced ..............£4499
800 F5.6 E FL ED VR AFS.............£9999
TC14-EIII........£479 TC14-EII box £299
TC17-EII .............................................. £149
TC20-EIII box..................................... £299
SIGMA NAF USED
8 F3.5 EX DG fisheye...................... £349
10-20 F3.5 DC box.......................... £269
12-24 F4.5/5.6 II HSM .................... £499
18-250 F3.5/6.3 DC OS.................. £199
24 F1.4 DG HSM Art....................... £499
35 F1.4 DG Art ................................. £499
50 F1.4 DG HSM Art....................... £499
70-200 F2.8 EX DG OS HSM ........ £499
105 F2.8 EX DG HSM OS............... £299
150 F2.8 EX DG OS HSM box...... £499
150-600 F5/6.3 DG OS sport....... £999
40-150 F4/5.6 EDR.......................... £149
60 F2.8 macro .................................. £369
75-300 F4.8/6.7 MSCII ................... £439
PANASONIC DIGITAL USED
G3 body ................................................£69
GX-7 body black box..................... £299
LX100 box ......................................... £399
7-14 F4 box....................................... £499
12-60 F3.5/5.6 .................................. £299
14-42 F3.5/5.6 .....................................£99
14-45 F4/5.6...................................... £149
25 F1.7 ................................................ £119
45-175 F4/5.6 ................................... £249
45-200 F4.5/5.6 box....................... £199
100-300 F4/5.6 MKII....................... £399
Ext tube 1 or ext tube 2 each .......£59
MAMIYA RZ USED
100-200 F5.2 W................................ £299
180 F4.5 W......................................... £299
Plain prism ........................................ £349
PENTAX 645 AF USED
55 F2.8 D FA box ............................. £499
55-110 F5.6 FA ................................. £599
80-160 F4.5 FA ................................. £399
150-300 F5.6 ED box ..................... £599
PENTAX 645 MF USED
45 F2.8..............£299 80-160 F4.5£299
120 F4 mac.....£399 200 F4......... £199
300 F4 green T*............................... £599
1.4x converter.................................. £199
2x converter ..................................... £199
300 F4.5 AIS ...................................... £199
TC200 conv ..........................................£99
TC300 conv ....................................... £199
Angle finder F fits FE/FM etc.........£69
DG-2 Eyepiece magnifier................£59
DR-4 angle finder ..............................£99
DR-3 angle finder box......................£79
DW-4 finder for F3.......................... £149
DW-2 v/f for F2 ................................ £149
DW-1 WLF finder fits F.................. £199
PB-6 bellows..................................... £349
PB-5 bellows..................................... £199
OLYMPUS OM USED
OM-2N body chrome .................... £249
OM-2 body chrome box............... £249
OM-1N body chrome .................... £249
OM-10 body chrome........................£99
28 F2.8..........£169 28 F3.5..............£99
35 F2.8 ................................................ £149
50 F1.4..........£149 50 F1.8..............£99
80 F4 macro box ............................. £199
135 F3.5.................................................£99
The best stocked
dealer in the
West Country
RF 800mm
F11 IS
STM
£899
150 F2.8 EX DG OS HSM box...... £499
150-600 F5/6.3 DG OS sport....... £999
150-600 F5/6.3 DG OS contem.. £749
180 F2.8 EX DG OS box ................ £799
300-800 F5.6 EX DG .....................£2699
500 F4 DG OS HSM Sport box .£3699
TC1401 1.4x extender................... £199
OTHER CAF USED
TAM 16-300 F3.5/6.3 II VC............ £399
TAM 28-300 F3.5/6.3 VC PZD...... £599
TAM 70-300 F4/5.6 Di VC USD ... £349
TAM 180 F3.5 Di macro ................ £299
FLASH/ACCESSORIES USED
ST-E3 transmitter box ................... £249
ST-E2 transmitter ...............................£79
430EXIII.........£239 430EX II ......... £149
580EX II.........£199 600EX RT....... £299
600EX RT MKII.................................. £399
Angle finder C.....................................£99
TC-80N3 remote.................................£79
150-600 F5/6.3 DG OS contem.. £749
300-800 F5.6 EX DG.....................£2699
500 F4 DG OS HSM Sport box .£3699
TC-1401 extender........................... £199
OTHER NAF USED
TAM 16-300 F3.5/6.3 II VC............ £399
TAM 24-70 F2.8 PZD VC.................... £449
TAM 28-300 F3.5/6.3 Di VC PZD ....£599
TAM 150-600 F5/6.3 Di VC USD G2 ..£899
TAM 1.4x conv.................................. £299
FLASH / ACCESSORIES USED
R1C1 ringflash kit ........................... £599
SB-600.............£99 SB-700............ £199
SB-800 box..£149 SB-900............ £249
SB-910................................................. £299
SU-800 commander ...................... £249
DR-6 or DR-5 angle finder each £139
DR-4 angle finder ..............................£99
DR-3 angle finder ..............................£79
MC-36A remote..................................£89
MC-30A remote..................................£39
SC-17/SC-19/SC-28 cable each.....£49
PENTAX DIGITAL USED
K5 MKII body box ........................... £499
K5 body.........£299 KX body ........ £199
K200D body...................................... £149
16-45 F4 ED DA box....................... £199
18-55 F3.5/5.6 AL...............................£69
18-250 F3.5/6.3 DA ........................ £249
35 F2.4 DA AL......................................£99
35-80 F4/5.6.........................................£49
50 F1.8 DA......................................... £119
50-200 F4/5.6 WR...............................£99
55-300 F4/5.8 ED WR box ............ £299
OTHER PENTAX AF USED
SIG 70-300 F4/5.6 DG macro...... £139
SIG 150-500 F5/6.3 DG OS........... £499
Auto ext tube set............................ £199
Helicoid ext tube ............................ £199
REF converter angle finder box. £179
PENTAX 6x7 USED
45 F4 late ........................................... £599
55 F4 early.......£399 55 F4 late .. £799
100 F4 macro ................................... £699
120 F3.5 soft focus ......................... £399
135 F4 mac....£299 200 F4 latest£399
300 F4 latest ..................................... £349
1.4x converter.................................. £199
2x rear converter grey .................. £199
Chimney............................................. £299
REF converter angle finder ......... £199
Helicoid ext tube ............................ £249
Wooden grip .................................... £299
200 F4 ................................................. £129
300 F4.5.............................................. £149
7/14/25 ext tube each .....................£20
14/25 auto ext tube each...............£29
Converter 2x A....................................£99
PENTAX MF USED
K2 body box ..................................... £199
50 F1.4 PK.......................................... £149
50 F1.7 PK.............................................£99
50 F2 PK..........£69 80-200 F4.5 PK£69
135 F3.5 PK box..................................£79
Bellows M + slide copier PK........ £199
Helicoid ext tube ............................ £129
PENTAX M42 USED
105 F2.8.............................................. £199
300 F4 ................................................. £299
Honeywell auto bellows box ........£69
TAMRON ADAPTALL 2 USED
35-135 F3.5/4.5...................................£99
60-300 F3.8/5.4...................................£99
70-200 F3.5 SP one touch box......£99
90 F2.8 macro .................................. £199
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24.2 61.0
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Give your creativity a full-frame upgrade The a7R V lets you capture your vision
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Body only £1,699.00 Body only £3,999.00
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Offering the ultimate image quality, X-T5 Meet the full-frame mirrorless
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Body only £1,609.00* *Prices shown after £90 cashback

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XF 30mm XF 18-120mm XF 150-600mm f/3.5-5.6 PZ VR
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Our Price Our Price Our Price Body only +24-70mm Body only +24-70mm Our Price
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 Photo Critique

Final Analysis
David Mellor considers…
The Colour Field, Gold Embraces the Pink, 2021
by Gary Fabian Miller

I
’ve been thinking a lot about
what it means to encounter a
photograph. Living as we do in
a ‘society of spectacle’ there are
many ways that images appear to and
approach us daily. Phones are a big part
of this. The rapid growth in the flow of
visual stimuli that saturates our everyday
lives has been facilitated by the ease
of capture and viewing of images that
phones enable. Sure, this is hardly news.
But its mundanity hides something
crucial about attention and experience.
I tend to think of both attention and
experience as created by our encounters
with forms of media. It’s not that we have
a natural reservoir of attention that gets
slowly depleted. Attention is more a ratio
that shifts depending on our media
environment. So apps like Instagram make
our encounters with images fleeting. By
contrast, Gary Fabian Miller’s work,
currently on exhibition at Arnolfini, Bristol,
is like wading into treacle. In a good way.
Gallery space itself reattunes how we see
photographs. Presented at unmatched
scales, images emerge in ways beyond the
scope of pocket tech or magazine page.
Fabian Miller’s work is a timely reminder
of why ‘being there’ at galleries is so vital.

Being together
Phenomenology, the philosophy of lived
experience, emphasises how the ebb and
flow of our encounters discloses what it
means to be human. Fabian Miller takes
us to the very limits of this meaning. In
doing so, he shows us something that’s
post-human. I don’t mean cyborgs or
anything Sci Fi. What works like The
Colour Field, Gold Embraces the Pink show
us is how being human is always a ‘being
with’ rather than a matter of splendid
isolation. Existence is being together,
always collaborating with others. And
those others aren’t just people. We’re
always accompanied by things, by
technologies and techniques that are our
incessant and active participants in life.
Without them, human life just wouldn’t
be possible or make sense.
Fabian Miller’s photographs are studies
on the plasticity of light, of how colour can
be rendered and re-presented through the
‘being with’ of imagination and technique.
His camera-less work is an exquisite
mediation on encounters with light. How
light encounters both natural and synthetic
materials, how the artist-photographer
encounters the effects of time, light and
materials in making their work, and how
the work reveals itself to the spectator.
These works, especially in the gallery, are
as impactful as the abstract expressionism
of Mark Rothko. For me, they eclipse
expressionist painting in their raw beauty.
Heroic brush strokes are replaced by a
contemplative collaboration with materials.
‘Being with’ becomes the method. And
Fabian Miller’s works dwell majestically,
inviting pause, tempting immersion,
evading final qualification. These rare
encounters remind us of quite how
magical the photographic arts are.
Adore is on display at Arnolfini, Bristol, until 28 May, entry
is free. Dark Room by Garry Fabian Miller, which includes
this image, is available to buy now. Published by Bodleian
Library, £40, ISBN 9781851246090

David Mellor is an artist and philosopher with a DPhil from Oxford University. He is currently researching AI and ethics at Coventry University

66 www.amateurphotographer.co.uk
 OUTPACE. OUTPERFORM

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