Amateur Photographer 6 March 2010

A CANON EOS550D
PHOTOGRAPHY HERO BOB CARLOS CLARK

Amateur Photographer For everyone who loves photography

News, views and reviews
5 News
Nikon prepares for PowerShot G 1 1 battle;
Canon releases smallest-ever IXUS compact;
Samsung launches five NX-system lenses
10 Review
The latest books, exhibitions and websites
12 Letters
AP readers speak out on the week's issues
13 Backchat
AP reader Melvyn Dover reflects on the winter's
perfect weather - for photographers
90 The final frame
Photog-aphy isn't be about military precision,
S<JfS Roger Hicks. Try having some fun instead
Technique
14 Photo insight
David Clapp explains haw persistence and a little
improvisation resulted in a religious experience
18 Last resort
RiChard Sibley looks at how to rescue a flat
portrait and turn it into a high-key b&w image
On test and technical
43 Testbench
The Kata Auxiliary Belt System and
onOne Software's Lightroom Presets
45 APS-C vs full frame COVER STORY
Technological advances mean that APS-C-
format cameras produce better quality images
than ever before. Angela Nicholson finds out
how they compare against full-frame models Send US your pictures

To have your pictures published in Gallery, send in a selection

of up to ten images. They can be either a selection of different images or all have the same theme. Digital files sent on CD should be saved in a Photoshop-compatible format, such as

JPEG or TIFF, with a contact sheet and submission form. Visit www.amateurphotographer.co.uk/apgaliery for details. We cannot publish images without the necessary technical details. Each RGB image should be a minimum of 2480 pixels along its longest length. Transparencies and prints are also accepted. We recommend that transparencies are sent without glass mounts and posted via Special Delivery. For transparencies, prints or discs to be returned you must include an SAE with sufficient postage.

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52 Q&A

Our experts answer your questions

Your pictures

29 APOY round 2 COVER STORY

We have prizes worth almost £2,000 in round 2 of Amateur Photographer of the Year 2010. This month's theme is 'Rain and Bad Weather'

33 Gallery

Another selection of superb reader images

56 Appraisal

Damien Demolder examines your imiJ92.$, offering words of wisdom and constructive advice

Features

20 Dawn's early light COVER STORY

Getting your equipment ready prior to a dawn shoot is just the first step Jason Theaker explains haw to use it to maximise your creativity and exploit the early morning light

24 Icons of photography COVER STORY David Clark on the life of Bob Carlos Clarke,

the creative yet tragiC photographer whose provocative work and outspoken opinions concealed a dark side to his personality

38 Monkey business COVER STORY

RSPCA photographer Andrew Forsyth on why

a doaJmentary-style photo essay, rather than simple portraits, suited hiS aim of photographing 9:lOW monkeys. Gemma Padley reports

OUr address and other contact detaDs

Amateur Photographer,

IPe Media, Blue Fin Building,

110 Southwark Street, London SEI OSU

AP Editorial Telephone: 02031484138 Fax 0203 148 8130

Email amateurphotographer@ipcmedia.com AP Advertising Telephone: 0203148 2517 Emaillee_morris@ipcmedia.com

AP Subscriptions Telephone: 0845 676 7778 Email ipcsubs@qss-uk.com

AP test reports Telephone: 01707 273 773 www.testreports.co.uk/photography/ap

From the Editor

1be single image

Even given that we might assume a picture is worth

a thousand words, it is often hard to express all that one wishes to

say on any particular matter within the confines of a solo image. A thousand words is hardly enough to communicate a fraction of the information that might assist a stranger in understanding what there is to know about a single house, such as its architecture, its decor, its layout, its history, who lives there, but we constantly attempt to tell a whole story without providing what is needed.

The differences between amateur and professional photographers are fewer than most imagine, but I have found

one constant that separates the two groups: amateurs tend to work almost exclusively in single images. When we collect even our holiday photos together for the album, they are only a collection by coincidence rather than by design. We don't shoot in series, making a conscious link between one image

and the next to build a sum larger than its parts and with a definite story line. We don't have to, of course, because

we shoot for fun, but I wonder if we'd get more pleasure out of our hobby if our images achieved more. The single image, hung and displayed, is still a powerful tool, but so often it does

no more than scratch a surface.

Our question ftheweek

In AP 20 FebnIary we asked ... Do you broadly agree with our 2010 AP awards?

You answered ... A Yes 10%

B Yes, most 43% ( A few 35%

D None 12% 11'Iis week we ask. ••

Do you tend to shoot single images or in series? A I shoot mostly standalone images

B I mostly shoot in series

C I do a bit of both

Vote online www.amateurphotographer.(o.uk

6 March 2010 I www.amateurphotographer.co.uk I 3

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News I Analysis I Comment I PhotoDiary 6/3/10

Latest news everyday amateurphotographer.co.uk

r?r? We are holding

lJlJ our own and [l[l fighting our ground cVcV Jessops' CEO Trevor Moore speaks to AP, page 6

High-end Coolpix compact on the cards I Canon Gll is benchmark

Nikon prepares for PowelShot 611 battle

CANON can expect its PowerShot

G11 to have some competition in the near future, according to Nikon UK's senior product manager Kevin Egan.

Speaking to Amateur Photographer's Angela Nicholson, Egan revealed that Nikon had planned to unveil

a competitor to the G 11 in its recent refresh of the Cool pix range, but that the camera is not quite ready yet

Egan went on to say

that the G 11 is now the benchmark by which other compact digital cameras are measured, and he anticipates that Nikon will soon have a Similarly specified model that delivers high-quality images.

He was unable to expand upon the feature set that the yet-to-be announced Coolpix model is likely to have, but anticipates that it will combine

some of the technology of Nikon's DSLRs with the build quality of a high-end Cool pix compact camera.

Nikon's recent launch of seven new compact cameras (see page 7) did not include a replacement for the nowdiscontinued Cool pix P6000, which was the company's most highly specified compact camera.

Nikon maintains that a pixel count of 12 million is enough for its DSLR range (with the exception of the D3X), as it allows the APS-C and full-frame cameras to produce cleaner, higherquality images.

However, this is at odds with the company's policy for its SlUb-APS-C -sensor Coolpix range of compact cameras. The discontinued Coolpix P6000, for instance, has 14.2 million photoreceptors on its l/l.7in CCO sensor, and the

The 14.1-million-pixel (anon IXUS 130 measures just 17.Smm at its thickest point

'Slimmest' ever IXUS arrives

CANON has revealed its 'slimmest' ever IXUS in the shape of the IXUS 130.

Priced £279, the IX US 130 is a 14.1-million-pixel model measurrng 17.8mm at its thickest point, says Canon.

Features include a 2.7in LCD screen and HD movies, (at 720-pixel resolution).

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Creative effects include low light, fisheye and miniature.

Canon has also unveiled the 12.1MP IXUS lOS

(£ 189), which, like the IXUS 130, sports a 4x optical zoom with a wideangle focal length of 28mm.

Both cameras are due in shops this month.

new Coolpix S8000 has a pixel count of 14.2 million and an even smaller 1/2.3in sensor

Although the P6000 can record raw files, AP's test (lS November 2008) revealed that the over-populated sensor limits the image quality at higher sensitivity settings.

Canon's decision to give the PowerS hot G 11 a lower pixel

count (ten million) than its predecessor, the 14.7-millionpixel G 1 0, was a surprise

to many, but it allowed the newer camera to produce much better-quality Images

at high-sensitivity settings.

Perhaps Nikon will

follow SUit with its P6000 replacement but, as yet, there is no launch date set

Five new lenses for Samsung NX

SAMSUNG has expanded the lens range of Its NX camera system to eight with the introduction of five new optics.

Announced to coincide with opening of the Photo Marketing Association (PMA) show in Anaheim, USA, the additional five lenses give a boost to the NX1 0 camera even before a fully working body has been released.

Although the new optics were not on display at

the press preview the day before the show opened,

a spokesman was able to confirm that the new lenses

would be a 20-50mm f/3.5- S.6, a 20mm f/28 pancake, a 60mm f/27 macro, an 18- 200mm f/3.5-6.3 OIS and an 18-S5mm f/3.5-S.6.

The company was unable to estimate pridng for any of the lenses, but was able to tell us that the non-OIS version of the existing 18-SSmm

lens would be available next month, while the 20-S0mm and 20mm pancake lenses will be on sale in the second half of the year.

The release date for the 60mm macro and 18- 200mm zoom lenses

has yet to be announced.

China sell-out

A gold-plated Leica, created to mark the 60th anniversary of Communist rule in China, has proved a hit. Leica made 61 units of the camera, which came with a SOmm f/1.4 gold-plated Summilux-M lens. 'This limited edition was available exclusively in China and is now sold out,' said a spokesman for Leica's GermanHO.

Pentax compact Pentax has debuted a new 10J-million-pixel digital compact cailed the Optio E90. Features on board the £79.99 model, which is powered

by AA batteries and due

out this month, include a 31.S-94.Smm zoom (3Smm viewing angle equivalent). It also sports a 2.7in LCD screen and digital filters such as Starburst and Sepia.

Adobe

mobile update Adobe has updated iPhonecompatible Photoshop software to include video playback. Also new is the ability to alter sharpness

by dragging a finger across an image. Apple claims

that the software has been downloaded more than 6.Sm times since it was launched in October 2009. Visit http:// mobile.photoshop.com/ iphone.


PhotoDiary

A week of photographic opportunity

WEDNESDAY 3 MARCH

DONl MISS Mad March Walk - early moming ramble to explore the archaeology of the Stonehenge landscape and spot wildlife, Salisbury Plain, south Wiltshire. Tel: 01980 664 780 VISit www.nationaltrust.org.uk. EXHIBmON Crazy God by Yvonne De Rosa, until 6 March at Diemar/ Noble Photography, London WIT 3PV. Tel: 0207 636 5375. Visit www.diemamobiephotography.cOfll.

THURSDAY 4 MARCH

EXHIBmON by Gina Glover, until 5 Man:h at Hoopers Gallery, London EClR OAA. Tel: 02074903907. V"1Sit www.hoopersgallery.co.uk. EXHIBmON by Malick Sidibe, until 1 April at the Lichfield Studios, london WlO 6N[ Tet 0208 969 6161.

FRIDAY 5 MARCH

DON'T MISS Snowdrop Steps at stowe Landscape Gardens, Bucks MK18 SDQ. Tel: 01280 822850. Visit www.nationaltrust.org.uk.EXHIBlTlON Rock 'n' Roll Animals by Sophie .larry, untn 21 March at Proud Camden, London NW18AH. Tel: 02074823867. VlSitwww.proud.co.uk.

SATURDAY 6 MARCH

EXHIBmON New & Unseen by Terry O'Neill, until 6 March at Chris Beetles Gallery, London SWlY 6QB. Tel: 0207 839 7551. EXHIBITION Deutsche BOrse Photograll1Y Prize 2010, until 18 April at The Photographers' Gallery, London WlF 7LW. Tel: 0845 2621618. Visit www.photonetorg.uk.

SUNDAY 7 MARCH

EXHIBmON kelandic Emotions by Sophie Martin-castex, opens today at The Photo Space, London SW15 200. Tel: 0200 8717090. Visit www. uklandscape.net. DON'T MISS Spring Flower Photograll1Y course (9.3Oam-4.30pm) by photographer Hemand .Iariwala, at Barnsdale Gardens, Rutland lfl5 BAH. Visit www.bamsdalegardens.co.uk.

MONDAY 8 MARCH

EXHIBITION Irving Penn Portraits, until 6 June at the Wolfson Gallery, National Portratt Gallery, London WC2H OH[ Tel: 0844 5791924. VISit www.npg.org.uk.EXHIBITIONParisjefaime: Photography by Ivan Massar, until 28 March at Proud Chelsea,london SWI5XP. Tel: 0207 349 0822. Visit www.proud.co.uk.

TUESDAY 9 MARCH

EXHIBmON Irving Penn Small Trades, until 24 April at Hamittons, London WlK 2EU. Tet 02074999493. VISit www.ilaminonsgallery.com. EXHIBmON Shaped by war. Photographs by Don McCulin, until 13 June at Imperial War Museum North, Manchester M171Tl. Tel: 01618364000. Visit www.iwm.org.uk,

6 I www,amateurphotographer.co.uk 16 March 2010

News

EXCLUSIVE INTERVIEW: PART 2

Jessops (hief optimistic

for trading future

IN last week's issue (AP 27 February), we reported on the plans of Jessops' CEO Trevor Moore to shake up the chain's stores and standards of customer service during 201 O. In this second part of our exclusive interview he tells us of hiS optimism for this year, despite the challenges the company faces.

The recession IS not over for Jessops, says Moore, who was recruited by chairman David Adams from Phones4u last August Along With other UK retailers, the company faces a difficult year. 'While technically the recession may be over, physically the impact and effects of it are still very much going to be out there.'

Although he does not expect to see the industry grow over the coming months, Moore is on a mission to develop 'market share'. 'I think the UK is in

for a really tough 2010, and

I think there will be more businesses in trouble in 2010 than 2009: he told us.

Post-Christmas lull

Jessops suffered a postChristmas lull in consumer spending, althougll January 'started well'. 'Then, of course, the weather hit and the VAT [increase] came in,

'Clearly we haven't been able to sustain the growth we have seen at Christmas. We are holding our own and fighting our ground.

'The media reported that this January was the toughest in retail for 15 years It's certainly not at Jessops, but

it was a much harder January than we thought it would be.'

However, Moore is

CEO Trevor optimistic year ahead

convinced that Jessops is 'well placed to ride out the year', OWing to a stronger balance sheet bolstered by a large chunk [B4m] of its debt having been written off by the bank,

Another cornerstone of Moore's grand plan is a major refurbishment programme, after similar makeovers fuelled growth

in a dozen revamped stores last year. According to the chairman, Jessops' 12-store refurbishment programme boosted sales at those shops by nearly 10%.

'We have arranged the funding of a significant number - significantly more [stores) than we've developed to date - to be rolled out over the course of 201 0 in three phases,' Moore revealed.

He said Jessops will announce the locations of these shops shortly

To help him deliver his business strategy, Moore

has expanded his regional management team from six to eight and hired a new retail director, Chris Yates, also from Phones4u.

~~ Moore is confident the new-look stores will help him adlieve his goal of breaking into profH this year~~

Breaking into profit

Moore is confident that the new-look stores will help him achieve his goal of breaking Into pro fit th is year

'It is in everybody's best interest: he said, 'It's in the best interest of the consumer because we bring choice

to the high street; to the supplier as a window on

their brand and an outlet

for their product; and to the competition because by being there we bring competition'

The master plan will include 'incentivisation' of store managers, and the addition of new products, although

he did not elaborate.

Moore explained that Jessops has built a close link with its existing 'core suppliers', who have supported it through 'challenging times'.

One element not missing from Jessops' 201 0 portfolio is the CEO's enthusiasm for the business - fired, it seems, by a self-declared tasonanon for the product

Moore, who was first

given an SLR aged 11, said

he hasn't been able to stop buying new gear since he took on his new role. Although his interest In photography was only reignited on the birth of his daughter two years ago,

he admitted: 'I am becoming

a real geek.'

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Photos hop

is 20 years old Adobe Photoshop is celebrating its 20th birthday this year. The image-editing software, which was devised by Americans John and Thomas Knoll, first appeared in 1990 for Macintosh computers only. The software is now so popular that there's a blog dedicated to Photoshop disasters, with examples of Photoshop enthusiasts having added or removed people's legs and placed belly buttons in wrong places. See next week's issue for a review of the website.

Maestro competition

Entries are being taken for this year's EISA Maestro national competition, with the chance to win €1,500

if your entry wins the UK event and is put forward for the international round. This year's theme is 'Transport', and entries must consist of a picture story made up of 6-10 photographs. All entries must be in digital format (from a digital camera or scanned film originals) and sent to apcompetitionS@ipcmedia. com by 15 April 2010. Further details are available at www. amateurphotographer.co.uk/ competitions.

The Prince's Positive View Prince William turned photographer when he

took a photograph of Jeff Hubbard, a former homeless man, for the charity Crisis. Hubbard also took a portrait of the prince, and the two images - in the form of a diptych - will be shown together at the charity's photographic exhibition,

A Positive View. This is first time a photograph taken

by Prince William will be on public display. The exhibition will be held from 10 March-

5 April at Somerset House, The Strand, london WC2R IlA. Tel: 0207 845 4600.

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Do you have a story?

Contact Chris Cheesman Telephone 0203148 4129 Fax 0203148 8130 Email amateurphotographer@ipcmedia.com ....... _ .. ~

UK photographers in World Photo shortlist

THE L'lns D'Or title and a top prize of $25,000 could

go to a UK photographer thiS spring, as 27 Bntish photographers have made the shortlist of tile Sony World Photography Awards.

From a field of more

than 80,000 entrants, 17 protessonal and 10 amateur photographers from the UK have been included in the list announced by the World Photography Organisation.

The winner will be announced at a ceremony to be held in Cannes, France,

in April and the finalists of the 12 professional and

nine amateur categories will be shown in an exhibition held during the Festival of

Photography from 22-27 April. The overall amateur winner will receive a prize of $5,000 and Sony camera equipment

Shortlisted entrants

from the UK indude Matt Scandrett (PhotOjournalism

& Documentary: Amateur Documentary), Wendy Smith (Corrmeroat Amateur Music), Andrew Bayliff (Fine Art:

Amateur Landscape, pictured right) and Wayne Shipley (Fine Art: Amateur Architecture).

For the first time the public will be able to buy tickets to the ceremony dinner to be held on 22 April, at which Eve Arnold will receive a lifetime achievement award.

The festival that accompanies the awards

ceremony will last five

days and will encompass exhibitions, seminars and workshops. For more Information VIsit www. worldphotographyawardsorg.

Britain's Vanessa Winship

won the 2008 L'lris D'Or Sony World Photographer of the Year title in the competition's inaugural year, while David Zimmerman

of the USA took the title

in 2009,

Nikon refreshes Cool pix line-up

NIKON has refreshed its Coolpix range of compact cameras with seven new models,

In addition to three entrylevel compact cameras - the eight-million-pixel Cool pix L21 (£69.99),12-millionpixel Coolpix L22 (£79.99) and 12,1-million-pixel Coolpix L 110 (£ 199.99), which are available now - Nikon has revealed a 12-million-pixel Coolpix S4000 With a 31n, 460,OOO-dot TFT LCD with touch-screen control.

Using Touch Shutter technology, S4000 users can automatically focus on and expose for the subject under their finger Subject tracking can also be activated and white balance adjustments are made with a touch to

the screen. Image scrolling is also possible by touching the screen in review mode.

The S4000 (pictured below) features a 27-

1 08mm (35mm equivalent) focal-length lens, four blur-reduction functions, a maximum sensitivity setting of ISO 3200 and 720p videorecording technology. A

stylus is also included with the camera to allow handwritten memos to be recorded.

The P4000, which is available in black, pink or gloss red, is to be sold exclusively through Jessops from mid-March at a price yet to be announced.

The Coolpix P1 00 (above right) is a 10.3-millionpixel bridge camera with a 26x zoom (26-678mm

equivalent) Nikkor lens and

a back-illumination CMOS image sensor that is claimed to improve sensitivity and reduce noise for better image quality in low light

It also features an incamera HDR mode that combines two images taken at different exposures into one picture with greater dynamic range, and lOfps shooting at full resolution, or 120fps at 1,1 million pixels,

Sporting a 3in variangle screen to aid shooting from awkward angles, the P100 also includes Full HD (1080p) movie recording at 30fps with stereo sound.

The P100 has a maximum full resolution sensitivity setting of ISO 3200, plus sensor-shift

and electronic Vibration Reduction (VR) to reduce blurring of images in low light It is set to retail for £349.99 and will be available from mid-March.

Also announced are the 14,2MP Coolpix S8000 (£249.99), which sports a 30-300mm (equivalent) zoom lens, and the ultraslim, 12MP Cool pix S3000, which features a 27-1 08mm (equivalent) zoom lens. The latter will be available in seven colours from mid-March at a price of £ 1 09.99.

6 March 2010 I www,amateurphotographer.co.uk 17

News

Last year's overall winner was Jonathan Berman, who also won the Garden Views category

THE fourth International Garden Photographer of

the Year competition has taken on a new format with the introduction of seasonal rounds. Based on the themes of Spring, Summer, Autumn and Winter, the quarterly competitions allow entrants to accumulate ponts and gain automatic qualification to the main competition at the end of the year. They will also be able to take part in a series of workshops, talks and online picture critiques - as well as the chance to win a top prize of £5,000.

The closing date for the second seasonal round, titled 'Spring into Ufe', is

31 May 2010, while the main competition closes on 30 November 2010. Visit www.igpoty.com for details.

Toughboost Olympus has announced the addition ofthe 14-million-pixel Mju Tough 8010 (£399.99) and Mju Tough 6020 (£319.99) to

its compact digital line-up.

The Mju Tough 8010 is daimed to be shockproof to 2m and waterproof to 10m. Both are due to go on sale this month.

Winner of last year's Edible Garden category was Bapi Chakraborty with his image 'Super Tomatoes'

Kodak announces sheet film

LARGE-FORMAT photographers will have a wider choice of film stock from April as Kodak plans

to introduce Its Ektar 100 negative film in 5x4in and lOx8in-sized sheets. The film, whicll has been available in 135mm and 120 formats since the end of 2008,

is designed as a generalpurpose fine-grain emulsion with moderate contrast,

high colour-saturation

and high resolution.

The fact that Kodak is

releasing a negative emulsion for large-fomnat users, rather than a transparency product. is a reflection of the quality that is now achievable In negative films and the fact that negative films are easier to scan than more highcontrast, traditional slide films.

The news comes as Fujifilm is said to be phasing out some of Its large-format sheet films in the ready-load range

Pricing and pack sizes for Ektar 100 have still to be announced.

8 I www.amateurphotographer.co.uk I 6 March 2010

AP's weekly round-up of club news from all over Britain On 17 Marm Gavin Hoey will deliver a

talk on 'Photoshop Tips and TedlniQues'.

For details visit www. canterburyphotographksocietY.com.

The group is holding an exh ibition at Saddleworth Museum & Art Gallery,

High Street, Uppennill, Saddleworth, OL3 6HS, until 21 March. For more details visit www.4rnostdigital.co.cc or call the gallery on 01457 874 093.

The society will hold its annual awards dinner on 4 March. Members geflerally meet on Wednesdays, from September to the end of April, at the WI Hall, Southam Road, Dunchurch, near Rugby, Warwickshire. For cletails visit www.dunchurchps.com.

The society will host an exhibition of members' photographs until 10 April at the RAC Club, The Hanging Room, 89 Pall Mall, London SW1Y 5HS. The show will comprise 30 photographs by members of the Council, Advisory Board, Distinction Advisory Board and Distinction Panel. Open to RPS members only. Tel: 0207 659 0639.

Send dub news to: apeventS@ipcmedia.com

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Your guide to the latest photography books, exhibitions and websites

Internationally acdaimed South Korean photographer Jungjin Lee does things very much her own way. Having taught herself photography in the 1980s, she then earned a Master of Arts degree from New York University and subsequenHy developed a distinct textural photographic process of brushing liquid emulsion onto the surface of handmade Korean mulberry paper. Combined, these textures and brush strokes give her photographs a distinct painterly touch, and they are part of the permanent collections of institutions like New York's Metropolitan Museum of Art.

In Wind, Lee applies the same technique to a

10 I wwwamateurphotographer.co.uk I 6 March 2010

series of panoramas split between the South Korean wilderness and the desolate American southwest Gritty and stark in contrast, Lee's vast expanses are stalked by foreboding douds and buckled trees, often looking like someone has pressed pause on an old French film. Seemingly otherworldly, often just a small man-made object in the frame, such as a school bus, sewer grating or piano, brings her images back to some understandable reality. While tending towards the artier side of photography, Lee's clear vi~on and DIY ethos to achieve [ should be an inspiration to all. Jeff Meyer


Review

Website www.mlkemcfarlane.co.uk

There are many landscape photographers working today, so how do you make yourself stand out from the rest? One solution is to ensure you have a website that makes viewers want to come back again and again. Mike McFarlane's excellent effort is a good example of how to maximise your website's potential. Not overly complicated, nor filled too full with information, the layout is clear and easy to navigate.

On the homepage there are clearly presented links to Mike's gallery, workshops and articles, as

well as news and events and his online shop.

His gallery comprises the main body of the website. Divided into separate portfolios Including 'Recent work', and then chronologically, the images have technical captions and a quip or sentiment about the location or Image-making process, with each location helpfully shown on

a map. The personal tone of the website and non-fussy presentation make for an enjoyable browsing experience It also doesn't hurt that the landscapes ~"'rI11

are rather good, too. ~

Gemma Padley

Book review Freelance Photographer's Handbook

Success in Professional Digital Photography

By Gift and Nancy Hollenbeck

Amherst Media, paperback. 128 pages, £24.99, ISBN 978-1-58428-266-2

This isn't a book about how

to take

pi ctures. This

is a book about doing more with your pictures. If you're toiling away

at work and dreaming

of something more fun

and fulfilling, freelance photography can be a great way to dip your toe into [he bath

and either begin the journey towards becoming a full-time photographer or simply supplement your income by getting paid for your hobby

The Hollenbecks write thoroughly and condsely on how to prepare portfoliOS, approach and woo potential clients, manage your images and even how to dress. This is an excellent primer for anyone thinking of making the leap, written in a way to inspire confidence in yourself without taking the form of cheesy affirmations. Jeff Meyer

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If you missed our interview with Chris Steele-Perkins in AP 19-26 December 2009, here's a chance to see images from Chris's latest book, England My England,

in the flesh. Chris, who was awarded the Power of Photography award in our 201 0 AP Awards (see 20 February issue),

has photographed all over the world

as a photqourrehst with photo agency Magnum, but has always been drawn to photographing England. The images he has taken in this country are not revelatory in the sense of trying to make broad claims

about the nature of sodety today, but collectively they offer an IntrigUing insight into the customs and idiosyncrasies of a cross-section of English citizens. From quarrelsome punks to lazy beach goers, picnicking families and terminally ill patients, what's striking about these images is their ordinariness but underlying unique warmth and pOignancy. Taken over a 40-year period, the images encompass people from all walks of life, highlighting how innate human qualities can be found in the most mundane situations. Gemma Padley

6 March 2010 I www.amateurphotographer.co.uk 111

LeHerof the week

wins a 20-roll pack of 36-exposure Fujifilm

Superia ISO 200 3Smm film or a Fujifilm 4GB media card (in a choice of CompactFlash, SD or Memory Stick),

FUJ~f=ILM

Share your views and opinions with fellow AP readers every week

Head over heels

Where else in 2010 but AP could you hope to read

a feature on the sublime Olympus OM-1? What a refreshing change it is (0 see a camera other than a Leica being labelled an icon of photography (Icons of photography,

AP 30 January),

In 1983 I was after a new SLR and intended (0 buy an Olympus OM-l 0, After handhng one I noticed the store was selling the OM-l n for Just £ 1 0 more. As soon as I held one I was smitten. Unlike the OM-1 0, whose chunky body harked back to earlier Olympus models, the OM-1 n looked and felt just what it was - sheer class' With Its gorgeous chrome and

black leather finish, it made myoid Praktica look like a house brick

If I'm honest, the Olympus Improved my photography not a Jot The Kodachrome 25 slides I shot on It looked no bener - or worse - than those from myoid Praktica, Yet there's no denYing the pleasure I felt in using such a beautifully compact SLR. Sadly, it met an horrendous fate when I placed it on my mate's car roof in order to get a filter from my camera bag. Whoosh! Off drove my mate, sending my cherished OM-ln bouncing onto the road, Its 'injuries' were, alas, fatal. I've never since used another camera that looked - and felt - so good. An Icon of photography Indeed I

Mick Bidewell, Tyne & Wear

It's a wonderful camera, isn't it? I'm still waiting for the price to come down, and am using an OM-lOin the meantime - Damien Demo/de" Editor

In defence of Pentax

As a Pentax user I can fully understand Mike Gosling's pain over the Pentax lens price increases in 2009 (Letters, AP 20 February) There are a number of pomts to take issue with, however

First, the lenses that have increased in price the most (the DA Limited series) are high-quality products

that for a long time have offered excellent value for money However, Pentax IS a smaller company that

is presumably more susceptible to adverse exchange rates than the

big two of Canon and Nikon, both of which are better placed to withstand short-term losses, So a price rise was perhaps ineVitable. As for the budget lenses, those of perhaps most interest to 'newbies', such as the 18-55mm, 50-200mm and 55-300mm optics, are all still very keenly priced (and

decent quality too). Let's not also forget that third-party lenses for Pentax obviously cost no more than for the opposition, and can offer tremendous value, With Pentax, there is also the reverse compatibility issue, which allows the use of very good second-hand, manual-focus prime lenses from Pen tax's long 35mm SLR history.

Second, Mike says Pentax bodies are too expensive. A casual glance at the advertisements In the back of AP show that the excellent K-x and K-7 are significantly cheaper than their nearest competitors, such as

the Nikon D5000 and D300S.

Third, he says that Pentax DSLRs are 'not qUite good enough' Well,

the Pentax range may be small, but the current cameras have received excellent reviews if you look at a broad section of print and online sources.

Tile K-x is one of the hottest cameras on Amazon.com which is quite an achievement for a company such as Pentax, and proving that the brand

is still capable of providing DSLR newcomers with an attractive mix of value and quality.

While Pentax is probably never going to truly challenge the big two

in the DSLR market place (although

it looks set to shake up tile smaller digital medium-format market with the upcoming 6450), I hope that it continues to provide well-thought-out and well-constructed cameras that provide the amateur with a refreshing alternative to Canon or Nikon.

Will Brealey, West Midlands

A charge that shocks

I'm writing in regard to Leonore Ham's letter about free handbooks for the Canon PowerS hot G 11 (AP 13 February). Having bought a G 11 myself, I phoned Robert Scott as Leonore advised and was told that I'm far from the first person to phone mentioning her letter. However, these handbooks, in fact, cost 5: 121

Adrian Lewis, Bristol

Military propaganda

Sergeant Daniel Harmer and

his colleagues of the Army Combat Camera Team (Point & shoot, AP

23 January) are part of the Ministry of Defence (MOD) public relations department, whose job it IS to dull the horrors of war. MOD photographers are not impartial in the same way as the civilian photojournalist The MOD photographer is bound by military strategy and rank. In other words,

a picture is not put out unless it is approved. You will not see coverage of the Afghanistan conflict with the same eyes and vivid realism that the late Larry Burrows of ule magazine

or Philip Jones Griffiths of Magnum portrayed the war in Vietnam. Instead, you have the placid representation

of conflict as seen in this article, a

http://www.whattheduck.netJ

Write to Letters, Amateur Photographer, IPC Media, Blue Fin Building, 110 Soulhwark Slreet, London SEI OSU fax 1002031488130 or email 10 amateurpholographer@ipcmedia,com

• Please indicate whether you would like 10 receive Fujifilm film or a memory card (please slate type preferred) and include your full postal address

121 www.amateurphotographer,co.uk 1 6 March 2010


A turning point

I was Interested to read Steve Bloom's Photo insight article in AP 16 January, for I too have a chimpanzee to thank for an important occasion in my photographic life. A few years ago I was at Chester Zoo, which is one of my favourite photographic venues, when one of the chimps laid back and put

his hand in front of his face to hide his eyes from the sun. I had been taking

a number of pictures during the day and at this time had only one frame

left to use So I had to be quick, and luckily I released the shutter at just the right moment The accompanying pkture is the result Luck? Maybe. But the importance of this particular occasion is that it led to my picture being used, by Judges, as a postcard. I received a few pounds for my picture,

but more important was the fact that

my work had been recognised as being of a standard that was to be seen by the general public. Don't ask my friends and relatives how many postcards they received from me that year!

Keith Hughes, Surrey

sanitised portrayal of war paid for by the Brinsh public

In all my own dealings with the military over the years, from the French Foreign Legion to the Royal Marines and the Chinese Red

Army, I have always maintained my independence, never allOWing my material to be subjected to censorship before publication. It is vital that the public is made aware of the difference between skilfully placed military material, which for the most part is propaganda, and the unbiased and balanced photographs obtained by dvilian photographers.

John Robert Young, East Sussex

Fun for its own sake

Regarding Roger Hicks' Rnal frame column In AP 13 February, I think

he is missing the pont. There are

two broad categories of amateur photographer: those who enjoy creating photographic images, and those who enJoy the technology for its own sake. I fall into the latter category, and I repair dysfunctional, almost valueless cameras simply because I can and I enjoy doing so.

I have owned almost every type

of camera that has ever existed, going back to the mid-1850s. I have never paid more than a few pounds for any of them because they were wrecked when I found them. If I cannot

get the part, I make it I still use different types from my colledion from time to time, including wet plate, dry plate, rollftlm, 35mm rsnqefmder and SLR. I'm not a very good

photographer, as my photographs would probably not even qualify for

a competition, let alone win one,

but for me that's not the point It's a hobby, something I enjoy because the mechanical engineering technology

is interesting in its own right. Some things are worth doing for their own sake, and not because it makes economic or practical sense to do so. Chris lord, lancashire

My hobby has developed into the enthusiastic and well-intentioned purchase of old junk I never find the time to use. In that way I never discover whether it works or not

- Damien Demo/der, Editor

A world of extremes

We have all seen In the news recently the obscene greed of bankers, politicians and certain industry bosses. Now the photographs of Benjamin Rusnak (Changing lives, AP 13 February) show the other side of the story. Unfortunately, these pictures of starving children will not be seen In the national press. I don't know if the term 'wonderful pidures' is correct for this subject, but they are certainly moving. They brought tears to my eyes an'f\'Iay. How can we live in a world of such extremes of 'have'

and 'have no!'?

Edward Strawson, Pembrokeshire

The world seems always to

have been this way. I sometimes wonder if it can ever change

- Damien Demo/der, Editor

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AP reader Melvyn Dover reflects on the winter's perfect weather - for photographers

ITS been a good winter with plenty of snow, although each bout caused chaos. It wasn't good for drivers, but for photographers it's been fantastic!

Thousands of us have been out taking photographs, recording the 'eight inches of snow' in our locality. Many of these have been sent via email to family and friends, and the internet has recorded increased activity. I received six and sent three. Multiply that by the number of people sending and receiving and that's a lot of intemet traffic. It's not only landscapes indicating the depth of the snow, but cars covered in white stuff, frozen canals, children throwing snowballs, snowmen in gardens or just chocolate-box pictures of villages. And let's not forget those of youngsters and adults on toboggans, enjoying themselves as they hurtle downhill (and a few policemen doing the same). Such scenes were flying around the intemet in their thousands.

Snow became the perfect photographer's putty. Ice sculptures and snowmen of all forms were made and snapped for posterity. Websites, including national TV and news ones, couldn't get enough of them. One or two of the wittiest come to mind: pictures of a hitchhiking snowman by a roadside, and one of a snowman making a phone call, standing in the box with the receiver to his ear. Creativity went up as temperatures went down.

Quite a few people I spoke to on the phone in various parts of the country reported how picturesque it looked with the snow settled on tree branches against a blue sky.

Manufacturers have benefited from all this. GfK and Technology UK reported a rise of 8% in camera sales last December, boosted by people upgrading their current models to new ones, merely to take pictures of the snow. Sometimes users want better quality or a bargain in the sales, but suddenly DSLR models that include weather sealing make a lot of sense.

Daylight film emulsions (remember those?) used to have a colour balance of around 5,OOOK, which is ideal for recording a blue sky at noon on a summer's day - conditions under which we'd expect lots of pictures to be taken. Now digital cameras are being used by the mass market all year round as well as by enthusiasts - and all due to a bit of snow. Thank goodness batteries no longer pack up at the first sign of winter, as they used to do in my early cameras. Thank goodness for easily adjustable colour balance. With so much to capture and constantly improving photographic tools, no wonder there were so many cameras being used this winter. To paraphrase the words of a famous politician, we've never had it so good.

Snow became the photographer's putty. ke srulptures and snowmen of all fonns were made and snapped for posterity J

Your thoughts or views (about 500 \'lords) should be sent to 'Backchat' at the usual AP address (see page 3). A fee of £50 will be paid on publication

6 March 2010 1 www.amateurphotographer.co.uk 113

Photo Insight David Clapp

DAVID CLAPP EXPLAINS HOW PERSISTENCE

AND A LITTLE IMPROVISATION IN THE FACE OF DRIVING RAIN RESULTED IN A RELIGIOUS EXPERIENCE

NOT long ago, while trying to push my photography into new areas, I started a mini landscape project. The idea was simply to take images in driving rain to prove a point to myself that imagery could be born of optimism It's so easy to look out of the window on a wet Sunday

in winter and decide to flick the kettle switch rather than contemplate a potential drenching in the name of


so-called art It's also natural to crave some meteorological favour when shooting landscape images, but rain means grey clouds. Some clouds, though, have silver linings.

I set off for another drive around Oartrnoor While looking for

inspiration to crash into the car, my gawping left another branch scrape

on the paintwork as I corrected my steering. These were the early days

of Oartrnoor shoots, when I naively thought I might just 'spot something' roadside. After 40 miles and still with nothing to show for it, I pulled over, wiped the condensation off the driver's side windOW and played with the wiper speeds. 'This is miserable', I thought to myself. 'Great project, David. There's nothing here to shoot. just dull brown and flat grey. Roll on May, when I can immerse myself in a riot of blues,

soft yellows and fresh green. All thiS drabness will be long forgotten'.

With a blank bracken canvas disrupted by just a few distant hawthorns, one tree in particular seemed to hold some form. I hauled on my wei lies and began kicking

my way up the hillside, thinking that bloody minded ness could perhaps pay dividends if optimism didn't surface. It wouldn't be the first time that a seemingly fruitless road could lead to redemption - well, that's what I often read In photography magazine narratives.

This hawthorn has real shape (see left) It's a bit like a cross between a bird's nest and an overdue haircut, but it certainly has character. With the dull grey starting to lift, I took out my Canon EOS 50, my new 17-40mm f/4L lens and sat on the damp grass, kitchen roll in hand, looking through the Viewfinder. The wider the focal length, the more interesting the sky became, so I worked the camera's height and position to try to make something stronger This looks

like a moody book cover, a tale of abandonment perhaps. I took two graduated filters out of the bag, a

The AP experts

Each week, one of our team of experts of Steve Bloom, David Clapp, Tom Mackie and Clive Nichols will reveal the secrets behind one of their great images. This week it's David Oapp

DAVID (lAPP landscape Our landscape and travel expert. Based in glorious south Devon. David is represented by seven stock agendes worldwide

•

)

0.9ND hard step and another soft step, and tried putting them together. The sky became considerably darker at the top, revealing hidden tones, but it is the vignetting in the upper corners [hat give this scene its fictional look. Walking back I could see it in my mind: quill and ink title, Georgian fonts, a success despite there being no light at all, but It would lean towards digital art for sure.

With my gear in the back of the Skoda, the deluge returned. A quarter of a mile later I pulled over again, thiS time with a rush of anticipation. There on the hillside was the church of Walkhampton, with strong beams of light moving rapidly towards me (see right) I grabbed my 70-200mm lens and sat waiting in the rear seat with the window down. With a lens hood attached I pushed the lens through the window gap, attempting to protect the front element from rain. However. the wind was blowing straight towards me so It splattered rain all over the glass. Sopping kitchen roll pulled

from my coat pocket did nothing but smear, so I got out of the car.

While leaning into the car, it suddenly dawned on me: I could use the boot as a windbreak. I set the tripod up and attached the camera, leaving the boot open. With the beam of sunlight moving across the village, the wet slate roofs began to refled the light. I thought: 'If this beam comes a little closer and lights the church, I will go to Communion, and confession too, I promise.' The ground grew brighter and brighter, and then the beam took a sharp right I shouted 'Nol' at the

sky, reviewed the screen and laughed. There on my LCD was God speaking soundly to his congregation. AP

To see more pictures by David Clapp Visit www.davidclapp.co.uk.

It you're Interested In landscape pilotograplw, David Noton Will be hosIII1g a seflllnar on

17 AplIl Visit www.amateurpholOgrapher. co.uk/tea ures for details


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Technique High-Key Portrait

Richard Sibley explains how to use the digital darkroom to rescue a flat image and transform it

into a high-key b&w portrait

Before you start

Software

Adobe Photoshop, Photoshop Elements or similar software

~ hn· in

High-key black & white portrait effect

System requirements Windows PC or Mac

IT can be difficult to get a completely white background In a small home studio. Often there is not enough room to position two lights on either side of a background, or the small space means that the light bounces around and ends up looking flat. This was the case with a portrait (above left) I shot recently.

With a low ceiling and no room to place a light behind the subject, the light from a ringflash produced flat lighting and a grey background. However, this

Skill required ••

Time to complete 15 minutes

18 I www.amateurphotographer.co.uk I 6 March 2010'

produced a suitable image from which to create a high-key portrait image.

Tradidonally, high-key portraits have few completely black areas, and much of the image is very light A good rule of thumb IS to make sure that the subject's pupil and eyelashes are black, and that the lightest part of the skin is as light as it can be before it goes completely white (a tonal value of 255)

Using a few of Adobe Photoshop's basic tools, I was able to achieve this effect and turn the background

completely white. I converted the Image to black & white with an orange filter effect created using the Channel Mixer, with the red and blue channels set to 50%. Using the blue and green channels too much makes the skin and hair look darker, while the red channel can make the skin look washed out I find the orange Filter effect to be a good compromise.

Once converted, it is a case of using the Levels and Curves controls to create the high-key effect

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High-Key Portran Technique

High-key conversio

Using Levels and Curves to create a high-key portrait

1 The original colour image is quite flat and evenly lit, making it a good candidate to transform

into a high-key image.

~ '?'

~

~. \' ,,' ~";~Wl:=====.J

I 3use the Levels tool (lmage>Adjustments>Levels) to

ensure there are blacks in the image. Select the shadow marker and hold down the Alt key while dragging it to the right. As you do this the areas that become black will be shown. Move the marker until the subject's pupils are black.

2 First convert the image to black & white by selecting Irnage>Adjustments>Channel Mixer and ticking the Monochrome box at the bottom of the panel. The Orange Filter Preset produces the best results, as it lightens hair and skin tones without making them as bright as the Red Filter option.

4TO create the high-key effect, the highlights and midtones need to be lifted. To do this, select the Curves tools (Image>Adjustments>(urves) and lift the line to create a steep curve. Be careful not to create patches of white on the subject's skin.

6 Most of the background should now be completely white, but to make sure that it is select the Dodge tool and change the strength to 8% and the range to highlights. Now use the tool and go over the background.

5 Now go back to the Levels tool and this time select the highlight marker. Hold down the Alt key and drag the slider to the left until as much of the image has turned white as is possible without losing any tones in the subject's skin.

7USing the Levels tool, hold down the Alt key and click on the highlight marker. The background should be completely white. Any small patches that aren't should be black. Make a note of the position of these areas and then go back and use the Dodge tool on them again.

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8FinallY, lighten the midtones of the portrait using the midtone slider in the Levels control.

9 The final image still has black tones, but

the shadows are kept to a minimum. The background is now white and the subject's skin is bright, but with no completely burnt-out white areas

6 March 2010 I www.amateurphotographer.co.uk 119

Landscapes Shooting At Dawn

Dawn's early light

We all know that we need to get our equipment charged and ready before a dawn shoot, but how can we make sure that we choose the right subject and location? Jason Theaker explains dawn's potential and provides a few simple steps to ensure maximum creativity

YOUR phone alarm jolts you from your slumber at S.30am and you struggle to drag your securely hibernated, slightly worse-for-wear body away from the warm holiday cottage bed. Your Immediate instinct is to Silence the din (uncoordinatedly fumbling with eyes still closed) before your partner wakes and banishes you to the spare room for the rest of the holiday.

The previous evening's criticisms - 'You're crazy getting up so early', 'You'd better not wake me' - will have evaporated, because you're secure in the knowledge that you

are fully prepared. Packed safely in your

car boot is sUitable equipment and clothing for the winter conditions, comprising warm waterproof clothing, fmqerless gloves, overtrousers, welhes, hat, torch, compass, whistle and mobile, and neatly waiting for you by the front door is your gear, all clean, charged up and ready for action.

AntiCipating that only half of your sleepy brain will be working the next moming, you will have also made plans to avoid tile classic 'forgot to reset' schoolboy error.

You will have remembered to reset the ISO back to 100, down from ISO 64,000 after the previous evening's 'family on holiday

in atmospheric pub' series of images. You will also have transferred and reviewed the Images to your laptop (despite your partner expecting some conversation), formatted the card, reinstated raw and reset the f-stop to f/11-f/14 in order to maintain optimum hyperfocal crispness, balanced against a slightly compromised depth of field.

If you don't do ths the night before, you're sure to forget when dnving to the pre-scouted location (already ten minutes late from that extra coffee), with your eyes scouring each side of tile road as you watch the subtle changes in colour in the western

20 I www.amateurphotographer.CO.uk I 6 March 2010

skyline. Finally, on arrival, you find yourself in the dark, struggling down slippery obstacles in tile pursuit of perfection; time (and possibly tide) will be against you

During a sunrise, the optimum conditions normally arrive a short time before dawn,

so to make the best of that fleeting window of maximum colour you need to be in

the perfect location at the exact time. EnVironmental and geographical planning using online aids such as maps, tide times, weatller forecasts and the Photographer's Ephemens (see page 23) will partly inform you of the mechanics of what you might face, but tile really complex and ultimately fascinating part of the process is the creative choices you make to realise your vision.

Creative (hoi(es

When shooting a popular photographic subject such as a sunrise, there is a slight danger of following the well-worn path of least resistance and slipping towards the dreaded cliche. To prevent this horror, it's important to visualise the type of image

you are seeking and tIllnk about how to set your attempt apart from the thousands of others. This is by far the most interesting, and biggest, challenge when planning your trip, as there is no 'correct' way of doing

this. Creativity is wonderfully complex, and by its very nature it doesn't fit into formulaic checklists so you're going to have to develop your own, based on your preferred style and vision. This is harder than it sounds and it may take years to formulate your own style

The first tiling you must do is expose yourself to as much photographic - and even non-photographic - 'culture' as possible (yes, even French avant-garde subtitled films are useful). Consuming as much culture as possible is useful as a means of developing deeper subtleties.

I consider my animation training influential

in my love of movement within tile static image, and I would also cite my willingness to experiment to my art-school background. Meanwhile, my wider consideration for

who IS looking at my images comes from working in the commercial animation industry. Experiences such as these become tile texture for your ideas and guide you (sometimes subconsciously) towards a

more meaningful and considered approach. You might, for instance, recall how the

light was used In a particular French film

and try to recreate it in nature. The more possible points of inspiration you

expose yourself to, the more you will /

think about your compositions

Above: Black Nab, Saltwick Bay, North Yorkshire. Jason has taken

a portrait shot

of this often photographed location

Right: Look at cloud thickness and note wind direction, as it

will indicate any coming breaks and predict forthcoming events, says Jason


Landscapes Shooting At Dawn

t" Next comes what I call 'conceptual

I experimentation' This is vital to

creative development, and it's critically important to avoid restraining yourself in any way. Try to dispel the fear of failure and believe in your general conviction to make a great image, even if you're not sure of the outcome (and if you're doing it correctly you won't be)

Too often people have a blockage when

it comes to trying something new, and

they seem to want to Just copy others because they think it will work. This may

be satisfying in the short term, but it will

not produce anything really new. Effective experimentation by its very nature is an Insecure process in that it forces you to break new ground and move beyond

your comfort lone. Maybe you shy away from long exposures, but the shifting

tide is leaving long, white streaks across

the beach at dawn. Framed low, with

lots of foreground, the effect could be

quite intense, but you just don't know for sure. Remember that if you can extract something worth developing from this uncertainty, it's proqress' Create subtle ideas from varying inspirations, subjects and styles. Ignore the so-called 'rules'; they are for people following formulas.

Let's face it: we go to iconic locations for a reason. Try to view these places from a less obvious vantage point For my image

of Saltwick Bay (see page 20), I chose to coincide my dawn visit with the less popular high water. I'd seen many Impressive sunrise compositions of Black Nab at low tide (I've

The difference 30 minutes makes

Timing is of the essence when shooting at dawn, as the quality of light changes quickly and dramatically. With the image below left, I kept slightly in from the east-facing edge of the forest, just enough for the light to filter through the trees. My aim was to use the foliage to cast misty shadows and use the trees as a partial filter to avoid bleaching

out the central detail. I wanted to exploit the

atmosphere of the autumnal dawn, with a feeling of energy seeping through the gloom.

If you consider the same type of shot only half an hour later (below right), you

can see how quickly the conditions developed. The contrast became stronger and the colour faded as the sun moved higher and began

to burn off the mist. This highlights the importance of being in the exact location

22 I www.amateurphotogl'i:lpher.CO.uk I 6 March 2010

at the right time if you want to exploit optimum conditions.

On this particular morning I had an eight-year-old apprentice, who was more interested in finding birds' nests than using the camera and tripod I had given him for his first-ever dawn expedition. You can see my son walking along the path in the second shot.


~ Exercise caution

when excluding popular subjects and composnions. After all, they are classic for a reason ~ 'J

even seen the tripod holes), but this time I suppressed the temptation to bag a classic Nab in the risky attempt of defining the shot as my own.

However, be wamed: exercise caution when excluding popular subjects and compositions, After all, they are classic for

a reason and pushing your picture too far away from the archetype carries the danger of your audience misunderstanding it. You are, after all, trying to communicate with

an audience wider than yourself.

Sunrise vs sunset

As the sun gets closer to the horizon, the intensity of the light becomes filtered by

the increased depth of atmosphere. This subtly changes the strength and the mixture of colours you may experience, which

is why the light around dusk and dawn

is considered of superior quality. Dawn, however, brings a few more environmental and emotive advantages.

Temperature is the main catalyst influencing the quality of light At dawn you're much more likely to encounter dramatic conditions such as frost, mist and dew There is frequently less wind and this stillness adds misty atmosphere, Often

you can see the subtle changes in colour within the sky before the sun dramatically increases the contrast. Look at the cloud thickness and note wind direction, as this will indicate any coming breaks and predict forthcoming events

Yet why are dawn conditions considered so dramatic? There is an understandable human value to painstakmgly crafted imagery, and, let's be honest, crawling out of bed painfully early time and time again in pursuit of perfection favours the persistent (though that's not what my

wife would call it). However, I find it's often more illuminating to analyse the emotions a picture rouses, as thiS gives you a better understanding of how other people see

it. This is, after all, your central objective: attempting to stimulate the viewer's emotional engagement with your work.

As this is your goal, dawn's enormous optimistic potenllal can give your pictures an immediate connection with viewers. Sunrises speak of opportunities waiting

and offer peaceful solitude, untainted by human selfishness. Being on a deserted beach at dawn feels far more congenial than sharing the same dusk beach with parties of Cider-drinking, barbecue-making noise generators, AP

To see more oj Jason's photographs Visit www.jasontheaker.(om

subscribe 0845 676 7778

Shooting At Dawn landscapes

Bamburgh Castle, Northumberland. Jason shot this iconic photograph at a distance during dawn's

low tide

nte Photographer's Ephemeris

The Photographer's Ephemeris is a great application that shows you where and when the sunrise and sunset will be at your chosen location on any day of the year. This tool is invaluable when you're trying to work out where to place yourself for a sunrise or want to exploit optimum celestial conditions. Visit www.stephentrainor.com/tools

to download.


BOB Carlos Clarke's bold, well-crafted images made him one of the most famous photographers of his generation.

He is most often associated with glamorous, confrontational images

of beautiful women, often rubberclad and depicted as dominant and physically flawless Yet his work encompassed a much wider range of subjects, including celebrity portraits and still-life studies. Admired by his peers and popular with the public,

his work is now achieving the kind

of success in the fine-art world that eluded him in his lifetime.

Carlos Clarke, the son of a retired major, was born and brought up in Ireland. He later wrote that '1950s Southern Ireland was a fertile environment for the cultivation

of sexual oddity, rife with papal propaganda, Protestant prudery, bigotry, hypocrisy and ignorance.' He spent ten unhappy years at public schools from the age of eight. This induded several years at Wellington College In England, from where

he wrote frequent tearful letters

to his parents.

After leaving school he went to Worthing College of Art in West Sussex. Sex was a driving force in his work from the outset and he claimed that he took up photography as a way of getting to know a beautiful girl in the year above him called Sue, who did part-time modelling. She soon became his lover and later his first wife.

Carlos Clarke's passion for the medium was immediate; he had found something he enjoyed doing and which also enabled him to meet and photograph attractive women without their clothes on. To generate income he began photographing nudes for publications, including Men Only

and Penthouse, while continuing his education. He undertook a degree

in photography at the London College of Printing and went on to complete

ICONIC PHOTOGRAPHER

Bob Carlos Clarke

1950-2006

Bob Carlos Clarke's provocative work and outspoken opinions concealed a dark side to his personality. David Clark looks at the life of this restless, creative and ultimately tragic character

(3(31 shot the rutlery to stop myseH going crazy, and 1 consider these and the stones to be among my best photographs~

later admitted that he got himself 'thoroughly rubber-stamped with a reputation that became an embarrassment.'

His first book, In whICh he provided images to illustrate Anais Nin's erotic novel Delta of Venus, was published in 1980. This was the start of a decade in which Carlos Clarke became a highly successful photographer. He was commissioned to shoot portraits, advertiSing campaigns for high-profile clients and glamour calendars. In

the studio, Carlos Clarke often

used his larger-than-life persona to provoke a reaction from his models, while his attention to technical perfecuon, particularly lighting, bordered on the obsessive.

He went on to shoot portraits of celebrities including Keith Richards,

,

~ - - --- ------------ -- --- --------

an MA in the subject at the Royal College of Art in 1975.

During his time at college a friend introduced him to rubber-wear and photographing models in fetish gear became a recurring element in his work in the years that followed. He


Dita Von Teese and Rachel Weisz. However, he generally preferred working with unknown models. He would often approach girls in the street and ask them to pose for him, or go out late at night to London nightclubs to search for his next muse.

Despite his addiction to highenergy photo shoots with glamorous women, there was also a completely different side to his work. He enjoyed still-lifes and his subjects were mainly found objects such as stones, flowers and cutlery. 'I shot the cutlery to stop myself going crazy: he later said, 'and I consider these and the stones to be among my best photographs.' After the sinking of the

Mardlioness pleasure boat V on the Thames in 1989,

he spent months scouring


Bob {arias {Iarke Icons of Photography

subscribe 0845 676 7778


Icons of Photography Bob Carlos Clarke

Ie

the river bank in search of relics to photograph. These images were later published

in a chanty calendar,

Carlos Clarke enjoyed many successful years in the business. However, hs high-energy, unpredictable personality and the kind of work he liked to create eventually contributed to his downfall.

Although he had highly creative phases there was also a profoundly dark side to his character. His second wife, Lindsey, has said that towards the end of his life he often talked about suicide or sank into deep depressions. At the same time, the price of haVing a distinctive and successful style was that he was still strongly associated with

It after it was no longer fashionable Commissions became less plentiful.

Although he continued working and published the autobiographical book Shooting Sex in 2003, he was behaving increasingly erratically. In early 2006 he was admitted for treatment to The Priory in south London, where he was declared psychotic and initially put on suicide watch, It seemed that he was responding to treatment, but on

25 March he walked to a level crossing at Barnes, leaped the barrier and

Decisive moments

(S(S Never underestimate

the importance of your unrepealable, irreplaceable, iconic pholographs~?J

jumped in front of a train. It was an end that many of those people closest to him saw as tragic but in some ways sadly inevitable,

Since his death, Carlos Clarke's

work has become highly sought-after by collectors and his images have appeared in the National Portrait Gallery - an honour denied In his lifetime, He himself was aware of the allure that a tragiC death brings to

an artist's work. 'For the purposes of deification, an early and appropriate death is essential: he wrote in Shooting Sex. 'If you want to qualify as a legend, get famous young, die tragically and dramatically, and never underestimate the importance of your unrepeatable, irreplaceable, iconic photographs' AP

1950

1964

1969

1975

1980

1987

19905

1999

Born in Cork, Republic of Ireland

Sent to Wellington College, an English public school in Berkshire

Attends Worthing College of Art, where he develops his passion for photography

Completes an MA in photography at the Royal College of Art

Publishes his first

book, The I/Iustrated Delta of Venus

Produces a series of original portraits of

the chef Marco Pierre White, published three years later in the book White Heat

Writes a regular column in Amateur Photographer. titled Devil's Advocate

Produces the 'Cutlery' photographs, a series of fine-art, still-life studies

Publishes perhaps his most famous book, Shooting Sex: The Definitive Guide to Undressing Beautiful Strangers

Commits suicide at the age of 55 by jumping in front of a train at

a level crossing in Barnes, south london


2003

2006

Carlos Clarke photographing model :

Vanessa Upton, who developed a more outrageous style the more she worked with him

Books

Bob ca~os Clarke produced five books in

his lifetime: The Illustrated Delta of Venu5; Obsession, The Dark Summer. White Heat

and Shooting Sex. All are available at www. amazon.co.uk, either new or used. There's

also an informative and candid biography, Exposure: The Unusual life and Violent Death I of Bob (arias Clarke by Si mon Ga rfield.

I

I

I I I I

I

I

!

- - ---------'

Websites

Carlos Clarke's official website is www.bobcarlosclarke.com. It offers a slideshow of his most famous images. a selection of tributes that appeared in the press after his death, a brief biography and details of print sales.


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Our third-placed winner receives (anon's lOMP PowerShot A495, worth £139. This easy-to-use digital compact boasts a IOMP sensor with 3.3x optical zoom and a Smart Auto Mode, which uses Scene Detection Technology to determine the shooting scene from subject brightness, contrast, distance and overall hue.

After you've read the rules, send your entry to:

Have you ever seen the rain?, Amateur Photographer, IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 OSU

QOSlN6 DATE 26 MARCH 2010

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I earn no more than 10% of my total annual Income Or £5.000 annually from photography (tick to confirm)D Please retum my entry. I enclose an SAED OR: I do not need my entry retumedO (tick one to confirm). This entry has not previously been published In a national UK photography magazineD (tick to confirm). Amateur Photographer. published by IPC Media Ltd (,IPC). will collect your personal inforrnanon to process your entry. If you would like to receive emails from Amateur Photographer and IPC containing news, special offers and product and service information and take part in our magazine research via email. please tick hereD Amateur Photographer and IPC would like to contact you by post or telephone to promote and ask your opinion on our magazines and services. Please tick here if you prefer not to hear from us.D IPC may occasionally pass your details to carefully selected orgamsations so they can contact you by telephone or post with regards to promoting and researching their products and services. Please tick here If you prefer not to be contactedD If my entry is not successful. I would like Oamien Demolder to critique my Image In the Appraisal columnD

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Wildl~e Documentary

Monkey business

RSPCA photographer Andrew Forsyth explains why he chose a documentary-style approach when photographing snow monkeys and

how a series of wildlife images can be far more revealing than a single animal portrait. He talks to Gemma Padley

YOU can tell a great deal about an animal from a single photograph - not least the colours and textures

of its fur or feathers, its behaviour and, if you're lucky, its personality. Yet a series of images portrays far more of an animal's underlying lifestyle, such as its fundamental animal instincts and how it responds to

its surroundings. While no serious wildlife photographer would be WIthout the obligatory animal portrait, there is much to be gained from applying a documentary approach to photographing wildlife.

One photographer who threw himself headfirst into this way of working is chief RSPCA photographer Andrew Forsyth. In 2007, Andrew set out on a six-month trip to India, Gibraltar and Japan. In Japan, he spent a month photographing the snow monkeys at Jlgokudani Monkey Park in Joshinetsu Kogen National Park, located in the centre of Honshu, Japan's main island. 'Although I take pictures for a hving, I have little time to devote to my own photography', says Andrew. 'I decided to hang the cost and take six months off work to do my dream project I left work on the Friday and got straight onto a plane to Japan.'

Theprojed

Andrew's desire to photograph snow monkeys came following a trip to the Kruger National Park in South Africa,

38 I www.amateurphoto9Oc1pher.co.uk I 6 March 2010

where he had been photographing on safari. 'I saw some monkeys scavenging for food and was fascinated by the complexity of their behaViour: he says. 'I wanted to look at how humans live with monkeys specifically, and what this tells us about how we interact With wildlife in general. Urban and agricultural development has had an impact on wildlife across the world and there are very few places that are true wildernesses, so irs important we learn how to live with wildlife.'

Andrew spent six months researching

the snow monkeys' behaviour before the trip. 'I developed a good understanding of some of the important issues, which helped when thinking about the kind of shots I wanted to take: he says 'You absorb bits of information, so when you're shooting you can be more mstncnve If you've done the research and have a thorough overall view of what you want from your project, the shots will click In your mind.'

Staff members at the park were welcoming and grateful for the publicity, says Andrew. 'On the first day I explained in my best pidgin Japanese what I wanted to do: he says. 'I paid the entry fee for a couple of days, but after a while they waved me through. The staff knew I

had a genuine interest and was

there to photograph what I saw r ~

fairly and openly' V


Documentary Wildlife

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A series of images can reveal a greater insight into an animal's behaviour than

a single portrait, says Andrew

6 March 2010 1 wwwemateurohotoorapher.co.uk 139

Wildl~e Documentary

(' Thinking in series

C To create a successful series of

images requires a clear goal before you set out, says Andrew. 'The project has to be something you are personally engaged With. You have to remember that you are relaying a serious message to the viewer, so it's important to keep reviewing where you are with the project to keep on track. There's no harm In taking many photos - you can photograph anything, even if it seems to be conveying the "wrong" message. You don't have to Include it In the final project'

Travelling all the way to Japan to do a month-long project on snow monkeys is a huge undertaking. Surely Andrew had to break the project down into manageable sections or themes? 'It's tricky to do this, as animals will do what they want to do when they want to do it: he says. 'If they choose not to come down to your location on that day, you can't do anything about it You

can put yourself in a position where you're more likely to get a particular shot, but you shouldn't ignore everything else that's going on. If you're constantly trying to construct an image, forcing it to say something, you'll lose that element of spontaneity. The beauty of working on a long project like this is that

you can do the shots again if you haven't quite got them right:

Not wanting to bait the monkeys, Andrew decided to take the role of an observer.

'I didn't want to interfere with what was going on or manufacture my images: he says 'A documentary wildlife project is mostly observational. You're like a street photographer, looking for relationships as they happen There was lots going on, so all the time I was asking myself, "What shots am I missing? What part of this animal's life do I still need to SllOW?" Then I'd think about how I could achieve that When you continuously watch one species, you become in-tune with their behavioural traits.'

While there was a limit to how much Andrew could plan his shots, he did have

40 I www.arnateurphotoqrapher.co.uk I 6 March 2010

certain images in mind that he wanted to take. 'I had to include a picture of a monkey in the pool - the classic portrait: he says. 'There isn't any harm getting these images out of the way first, as this frees you up to explore the brief and let the project unfold'

A low camera angle draws the eye into the scene

live caused Andrew to take shots not seen

in traditional wildlife photography. 'A lot of photographers work in places where the wildlife is to some extent "managed" - there may be people around or fences or gates - but you never see any of that in the images: says Andrew. 'I wanted viewers to look at my images and understand what has gone on

in that moment, which may mean including people in the composition [see above right).

I feel a moral obligation to show an animal's exstence in its entirety'

It was never Andrew's intention to produce a body of aesthetically perfect images. His main concern was to record

the monkeys' behaviour as accurately and vibrantly as he could. 'Beautiful images

that have no depm don't interest me: says Andrew. 'I can appreciate an image of a beautifully lit lion, but it doesn't move me deeply. When shooting in a reportage way,

I look for something that stimulates me intellectually as well as Visually It's important for me to convey a message.'

The whole picture

A desire to produce images showing a more rounded view of how snow monkeys

Andrew captured action as well as classic portraits

Working method

Up at the crack of dawn come rain or shine, Andrew worked outdoors all day, every day, often in very cold conditions. Working handheld using his Canon EOS-1D Mark II N, Andrew used a selection of lenses including 16-3Smm,

1 00-400mm and 35mm optics, making sure he took a selection of wideangle contextual shots and close portraits. 'I had the lenses to hand, so I could switch quickly


if I saw something happening; he says. 'I could get down to eye level in certain places around the pool, and not having a tripod allowed me to be flexible in my choice of camera angles'

Often using high ISO settings of 800

and 1600 to cope with the dull light he encountered, Andrew sacrificed a little in image quality so he could use faster shutter

Monkeys and humans

One of the key images Andrew wanted to capture was a

snow monkey bathing in an artificial thermal pool. He felt it was important to include this image to illustrate the relationship between the snow monkeys and humans. 'There was originally a

guest house where the monkey park now exists and people

would bathe in the thermal pool,' explains Andrew. 'The snow monkeys lived in the mountains and would come down to steal food. After a while the monkeys started

to use the pool. Eventually, one was built for the monkeys [see below].

'Picturing the monkey with a human tells us something

Documentary Wildlife

about the evolution of the species. This is the reality of how the monkeys live. They now spend their winters sitting in hot-water baths instead

of eating as much food as possible to survive the bitter cold. They didn't behave like this before humans came along - their behaviour has been changed by our culture. We have a responsibility to ensure these animals are looked after.

'The monkeys are given food, but there are no fences to contain them. The entry

fee pays for their food. It

is a positive relationship and I don't

see anything wrong with it, as long as the monkeys are treated well.'

speeds and capture the monkeys as they moved. 'I was prepared to work with the light and whatever conditions it threw at me: he says. 'I was more concerned with the content of the images, so a little digital noise was fine. If people were interested in what I was doing, I would stop and explain as I felt it was important to photograph with an open approach. Ultimately, I would go with the

Preferring not to set up his shots or bait the monkeys, Andrew used a candid approach

flow - if something were happening, I would photograph it'

The process of keeping his creative spark going was one of the biggest challenges, says Andrew. 'Constantly looking for moments to photograph was extremely tiring,' he says. 'After two weeks I thought I'd seen everything there was to see, but I forced myself to keep going. It was very lonely at times - you have to overcome a period of being bored and ata low ebb.'

Number of shots

Andrew took more than 2,000 shots each day, so the process of selecting which images to keep was a long and difficult

task. He was conscious not to include aesthetically pleasmq Images if they didn't support his project. 'If you are attached to an image it can be hard to let it go: he says. 'I shot 45,000 images in the field and came back with 15,000, from which I made my selections. You have to set a high-quality threshold and stick to it. I'm stili editing

the images, but when I feel the project is complete I hope to produce a book.'

Working in a documentary style is something Andrew intends to continue doing. 'Applying this approach has improved the way I work: he SiJiS. 'My planning is more thorough and I'm more focused when shooting. I no longer visit a location and photograph animals as they wander by: AP

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To see more of Andrew's Images Visit www.thewildlifephotographer.<o.uk. For Intormation about Jlgokudanl Monkey Park Visit www.jigokudani-yaenkoen.(o.jp


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Dedicated to thorough product testing

Forthcoming tests

In the next few months AP hopes to run the following equipment through the most rigorous testing procedures in the industry ...

Nikon D3X vs

Sony Alpha 850 Mar

Samsung NX10 Mar

Sony Alpha 450 Mar

(anon EOS 550D Apr

(anon iPF5100 Apr

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Welcome to our test, reviews and advice section.

Over the next few pages we will present this week's equipment tests, reader questions and technique pointers

All our tests are conducted by people who understand the product area, as well as photography. We aim to discover any shortcomings, as well as linding those

aspects tIlal deserve praise. All our tests are thorough, honest

and independent

Kata Auxiliary Belt System

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KT AB-302 Auxiliary Belt Harness £54.95 KT AP-321 Auxiliary DSLR Pouch £49.95

KT AP-323 Auxiliary Lens Pouch £49.95

K ATA'S Auxiliary Belt System comprises six differently sized, durable pouches that may be carried separately on the supplied shoulder straps or attached to the AUXiliary Belt. The optional Auxiliary Belt Harness can be attached to the belt via two clips and a Velcro fastening to provide extra support when carrying heavy loads. Photographers can also customise the setup to suit their needs.

I found the belt and harness easy to fit and adjust. With the Auxiliary DSLR Pouch and Auxiliary Lens Pouch fully laden, the system

is comfortable to wear, but a large camera like the Canon EOS 5D Mark II only fits in the DSLR pouch without a lens. Snap closures and Velcro-covered

flaps ensure that stowed gear IS held securely while still providing quick and easy access The Auxiliary Belt System IS a good choice for press, street and action

photographers, provided they don't mind looking like a member of the SAS.

Angela Nicholson

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OnOne Software -ghtroom Presets Free download

ONONE software, the maker of Plug-in Suite 5, has developed more than 140 preset image styles for Adobe Photoshop Lightroom. They are available to download in a single package from the OnOne Software website. and the best part is that the package is free.

Once downloaded, the presets are automatically installed, saving you the need to hunt around your hard disk looking for the correct folder in which to put the preset files. When installation is complete, all 140 settings appear in the Presets window of Lightroom's Developer module. Simply select your image and choose your preset style.

One of the most useful combinations of presets is the Reset Auto, Reset Default and Reset Zeroed options, which set the image to its automatic, default and completely neutral settings with the click of a button.

There IS a huge variety of presets, from white balance and coloor adjustment to vignette and gradient effects.

I found the black & white options particularly useful, and with so many available it is easy to find one for any image.

Some of the image styles may not be to * everyone's taste, but any that aren't useful * can be deleted. If you use Adobe Photoshop * Lightroom, why not download the Lightroorn

Presets colleenon and try them out? Richard Sibley

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6 March 2010 I www.amoteurphotographer.CO.uk 143

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APS-C vs Full Frame On Jest

Progress made with in-camera noise suppression and high-sensitivity performance means that APS-(-format cameras now produce larger, better-quality images than ever before. Angela Nicholson looks at the Ca10n EOS 7D and EOS 50 Made II to see whether full frame still holds an advantage

Angela Nkholson Technical Editor

EVERYONE likes to hear

a David and Goliath-type story where two seemingly unevenly matched opponents

clash and the minnow comes out victorious. For photographers, the possibility thet a small-format camera

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can produce similar (or even better) quality images to a model with a larger sensor is enticing on several levels, not least because the smaller sensor size usually makes tile camera more affordable. As such, there was quite a bit of excitement when our test of the APS-C -format Canon EOS 70 revealed that it produces images that give the full-frame EOS 5D Mark II a run for its money. In this test I'm going to see if the new generation of APS-C cameras really can produce

the type of quality we have come to expect from full-frame models. The EOS 50 Mark II and EOS 70 will be the main focus, but I'll also compare the results from tile Nikon 03S and 03005, and the Sony Alpha 850 and Alpha 550, and look at tile pros and cons of full-frame and APS-Cformat photography

(anon EOS 50 Mark II

Canon's EOS 50 was the first camera to make full-frame digital

photography possible for many enthusiast photographers. It allowed them to use the lenses they had been using on their Canon 35mm film cameras and see exactly the same composition in the viewfinder. The larger sensor also allowed room for bigger photo receptors so, in addition to haVing a greater pixel count, the camera could produce

images with less noise V than Its APS-C -format

counterparts. I rs worth


On Test APS-( vs Full Frame

These two sequences were taken from exactly the same spot to demonstrate the impact of the 1.6x focal length multiplication factor across the 16-3Smm focal length range

E remembering at this pomt that sometimes it isn't the amount of visible noise

that IS a problem for image quality, but the level of noise reduction that is applied to the files. Canon has in the past been guilty of being a little too liberal with its noise-reduction algorithms, and some of the EOS 5D's APS-C -format contemporaries were prone to producing rather soft J PEG flies as a result

As it sat just on the right side of affordability (In comparison to Canon's EOS-1 D-series DSLRs), the EOS

5D was a big seller and was popular With professional and enthusiast photographers alike. However, after around three years it was starting to look a little dated and in September 2008 its replacement, the EOS

5D Mark II, was unveiled. With the possible exception of its HD video capability, this camera's specification was fairly predictable, and the upgrade was primarily about bringing the camera into line with Canon's other DSLR offerings with the inclusion

of Live View technology, a sensor cleaning system, 14-bit processing, Highlight Tone Priority and Auto Lighting Optimiser. The increase In pixel count to 21.1 million effective pixels and the Digic 4 processor could also have been anticipated One significant change from the original EOS 5D, however, was the ability to expand the native sensitivity range from ISO 100-6400, to include settings equivalent to ISO 50, 12,800 and 25,600. This highest setting, whicll is now trumped by tile ISO 102,800 of the Nikon D3S and Canon EOS-l D Mark IV, matched what was possible with high-end Nikon OSLRs at the time.

(anon EOS7D

While the EOS 50 Mark II's arrival had been anticipated for many months, the EOS 7D came as a surpnse to many. It isn't an upgrade or a replacement for an earlier model, but it usurped the EOS SOD's position at the top of Canon's APSC -format line-up and is the First of a


Matching composition

There are essentially two ways of matching the framing of images when shooting with APS-C-format and full-frame cameras. The

first is to have greater distance between the subject and the APSC-format camera than with the full-frame model. The second is to adjust the focal length so that the effective angle of view is the same on both cameras. I used both of these approaches during this test to produce comparable images.


new series of Canon cameras with a single-digit name.

The camera's specification also revealed a few surprises, suggesting that Canon has started to rethink some of its previous policies and was wanting to tackle the challenge raised by Nikon and, to a lesser extent, Sony. For instance, after saying for several years that it was unnecessary because of the existence of the Speed lite Transmitter ST-E2, the manufacturer finally conceded that in-camera wireless flash control is desirable. The EOS 70 also debuted a 19-point

AF system that borrows features

from the EOS-1 D Mark III to allow

the photographer to customise its response to suit the subject, and the new Focus Colour Luminance (iFCL) metering system, which uses subject distance, colour and luminance information In comparison, the EOS 50 Mark II has the same metering and AF systems as its predecessor with Canon's well-established 35-zone evaluative metering system (backed up by centreweighted, partial and

spot metering), and nine selectable

AF points supported by six non-userselectable auxiliary points.

While Nikon is 1irmly sticking to its guns that 12 million pixels is enough on an APS-C -szed sensor (and,

with the exception of the D3X, on

a full-frame device), Canon IS a bit more ambitious in this respect. When the EOS 70 was announced, the prospect of images with 18 million pixels being produced by a camera with a 22.3x14.9mm (APS-C sized)

APS-C vs Full Frame On Test

CMOS sensor was both alarming and exciting at the same time. Although the images might be large, there was also the possibility that they could be very noisy - like the results from the EOS 50D - or suffer from the effects of heavy-handed noise reduction. However, Canon employed a new sensor with less circuitry for the EOS 7D, which allows its photodiodes to be larger, helping high-sensitivity and

dynamic range performance.

Canon also employed a new design for the diodes to allow them to convert more light into an electrical charge for a higher signal-to-noise ratio. The diode's capacity has also been increased to reduce overloading in bright light and extend the dynamic range. As in the EOS 50 Mark

II, the gapless micro lenses over

the photodiodes sit closer to the

photoreceptors. enabling more light to reach the sensitive surface. All these factors combine to allow the EOS 7D to produce significantly larger, cleaner and more detail-rich images than we have seen before from a Canon APS-C -format OSLR.

Image size

At 300ppi, prints of images from the Canon

Our tests show that the EOS 50 Mark II and EOS 70 produce very similar levels of noise across the sensitivity range. However, despite the current climate of competition for high-sensitivity settings, (anon capped the EOS 70 at ISO 12,800. Perhaps any higher was a step too far with the APS(-format sensor, or the company wanted to give the EOS 50 Mark II an advantage.

Of course, it is possible that the company has changed its opinion of what is an acceptable level of noise.

Although the ISO 25,600 setting on the EOS 50 Mark II can produce some excellent results, the shadows otten suffer from banding and this sensitivity needs to be used with caution. At ISO 12,800, the EOS 70's maximum sensitivity setting is lEV

d sensitivity

lower, with obvious implications for the shutter speed, but the images are evenly textured and banding isn't a problem.

Our resolution chart images show that the EOS 50 Mark II is capable of resolving a little more detail than the EOS 70, but in photographic images it is more difficult to distinguish between the results from the two cameras than some might expect.

When comparing default-setting JPEG

files with the same framing taken at ISO 200 with the EF 24-70mm f/2.8l USM lens wide open on each camera, the image from the EOS 50 Mark II is a little softer and less detailed than the shot from the EOS 70. However, when the aperture is closed down the image becomes sharper and the details are much crisper.

These images show 72ppi (100% on a computer screen) sections of images of a resolution chart. We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the beller the camera's detail resolution is at the specified sensitivity selling. Images are taken using the Sigma 105mm f/2.8 EX DG Macro lens

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EOS 50 Mark II measure 4755x31.7on, while those from the EOS 70 measure 43.89x29.26cm. This

means both cameras are capable of producing images that make good A3 (297x42cm) prints When A2 (42x59.4cm) prints are required, the resolution of the EOS 50 Mark II's images must be dropped to 240ppi, while those from the EOS 70 must be printed at around 223ppi. At lower sensitivities it is impossible

to distinguish between images

from the two cameras when they

are enlarged in this way. At higher sensitivity settings, however, the EOS 70's Images are more granular and chroma nose is visible, The amount of noise isn't objectionable, but the EOS 50 Mark II images are smoother.

Opti(s and fotallength

As an APS-( -format sensor is smaller than a full-frame device, it effectively crops the image when a full-frame lens is mounted. The result IS similar to using a longer focal length

optic than the one actually mounted on the camera, so the effect is often referred to as focal length magnification With (anon's APS(-format DSLRs such as the EOS 70, the focal length magnification factor is 16x, but with Nikon and Sony models such as the 0300S and Alpha 550 it is 15x.

For enthusiast photographers who started out with 35mm film cameras, the focal length magnification of APS(-format DSLRs can be a source of some frustration, as a much-loved

The extra magnification of the APS-C-format sensor gives this macro image more impact

24mm optic on an EOS 70 produces the framing that we would expect to see at around 38mm. However, at least APS-(-format cameras use the central area of 35mm-format lenses, and this can benefit image quality

In recent years manufacturers have addressed the magnification issue by producing much wider optics specifically deSigned to work with the

Although it has a full-frame sensor, the Sony Alpha 850 has an effective pixel count of 24.& million, so the imaging device is crowded with tiny photoreceptors. While this enables the camera to record an enormous amount of detail and resolve lines further along our resolution chart than almost any other camera, the tiny photosites only generate a weak signal and consequently high-sensitivity images

are very noisy. However, high-sensitivity images taken on the Alpha 850 still have less noise than those captured by the 14.2-million-pixel Alpha 550. It's not really surprising that Sony has capped the Alpha 850's sensitivity at ISO &400, but the Alpha 550's sensitivity range may be set as high as ISO 12,800. You can expect to see plenty of chroma noise in the Alpha 550's raw files captured at the highest sensitivity

48 I www,amateurphotographer.co.uk I 6 March 2010

850

settings, and although there is also a reasonable amount of detail visible, prints are best kept to A4 or smaller.

Naturally, the lower pixel count of the Alpha 550 means it isn't able to resolve as much detail as the Alpha 850, but it gives a reasonable account of itself in our resolution tests. However, its performance is marred by mirror-slap, which causes blurring even when the camera is mounted on a tripod.


smaller-format cameras. Canon's shortest focal length, for example, appears in a zoom lens for the

APS-C format: the EF-S 10-22mm f/35-4.5. This has an RRP of £990 and it produces images similar to a 16- 35mm lens on 35mm format. A list price of JUst under £ 1,000 is not to be sniffed at, but full-frame users who want the same framing will find they have to shell out considerably more for the EF 16-35mm f/2.8L USM, which Is listed at £ 10400, or

the EF 16- 35mm f/28L II USM at £1.790. Although these two lenses benefit from Canon's superior L-series bUild quality and a wider (constant) maximum aperture, full-frame users may prefer to opt for the EF 17- 40mm f/4L USM, which has a more manageable RRP of 5:940.

At the other end of the focallength spectrum, the APS-C format's magnification factor allows photographers to frame distant subjects more tightly than full-frame photographers can with the same optic. This means that on the EOS 7D, the 5:960 EF 200mm f/28L II USM offers framing not too far off what is seen with the EF 300mm f/2.8L IS USM, which has a list price of £5,630. The shorter length lens

isn't stabilised, but at 765g it's less than a third of the weight of the 2.55kg 300mm optic, and as it's almost half as long it is easier to hold still anyway. It also takes up a lot less space in your bag and is easier to carry, so you are far more likely to take it out in the first place.

The focal length magnification factor is also useful with close-up and macro photography, as subjects appear larger in the frame at the same focusing distance. As such, a lens that achieves 1:1 magnification effectively produces images with 1.61 or 1.5:1 magnification, depending upon the APS-C camera of choice.

Depth of field

When an APS-C-format camera

is used to record the same composition as a full-frame model, the images from the smaller-format camera have greater depth of field at any given aperture The properties of the lens and aperture in use don't magically change, but getting the same composition with an APS-Cformat camera means that it must either be moved further

away from the subject than V the full-frame model, or a

shorter focal length optic

APS-C vs Full Frame On Test

(5~ Images from the smaller-fonnat camera have greater depth of field at any given aperture

Nikon D300S and D3S

The Nikon 0300S and 03S are closely related, and although one has an

APS-C -sized sensor and the other has a full-frame device they have a great deal in common. The 03S demonstrates what is currently possible with a 12.1-millionpixel full-frame sensor; our tests reveal that it controls noise exceptionally well, even at very high-sensitivity settings. Consequently, Nikon has set the highest

native sensitivity setting to ISO 12,800, but this may be expanded a further 3 stops to the equivalent of ISO 102,400. Noise levels are comparatively high at this setting, but it means the camera is able to operate

in light levels that previously required specialist infrared kit.

While the 0300S is an excellent camera, its smaller sensor has almost the same pixel count (12.3 million) as the full-frame

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03S and, as a consequence, noise becomes noticeable lower down the sensitivity range. At ISO 1600, for instance, images from the 0300S have about the same amount of noise as those taken at ISO 12,800 on the 03S. Although their pixel count is very similar, the 03S's low noise levels enables it to record a little more detail than the 0300S, but the difference is not dramatic and the 0300S is very capable.

6 March 2010 1 wwwamateurphotographer.co.uk 149


must be used, Both of these factors result in greater depth of fleld_

The table below compares the calculated depth of field at f/8 with an APS-C -format camera such as the EOS 70 with a 50mm lens mounted and the fullframe EOS 5D Mark II With an 80mm lens at a range of subject distances, These two different focal lengths produce the same framing on their respective fonrnat cameras,

In every instance the zone of acceptable sharpness starts closer to the camera and extends further beyond the subject with the APSe -format camera than it does with

At ISO 6400 the EOS 70 raw image has slightly more chroma noise, but it is still impressive

the full-frame model. This can be extremely useful for landscape and macro photographers who want extensive depth of field or perhaps even front-to-back sharpness In their irnaqes. However, when shallow depth of field is needed to isolate the subject, a wider aperture is required with the EOS 7D than with the EOS 5D Mark II.

When shooting a subject with near 1:1 magnification with both the EOS 7D and EOS 5D Mark II uSing a Sigma 1 05mm f/2,8 EX OG macro lens, for example, I found that the aperture needed to be closed down to f/4 with the EOS 50 Mark II to produce a Similar depth of field to the EOS 7D at f/28 AP

This table compares the depth of field at the same effective focal length with APS-C and 135 format

Subject distance (m)

EOS 7D, 50mm f/8 (effective SOmm)

Nearest Furthest Depth of

sharp sharp point field (m)

point (m) (m)

Nearest Furthest Depth of

sharp sharp field (m)

point (m) point (m)

EOS 5D Mark II, 80mm f/8

1 I' I, I' I' "
1.5 , ,
2.5
3.5
4
4.5
5
6
8
10
15
20 1.79 0,29
2,18 2,94 0.76 2.29 2.75 0.46
2.54 3.66 1.12 2.7 3,37 0,67
2.89 4,43 1.54 3.1 4,01 0.91
3,23 5.26 2.03 3.49 4,69 1.2
3.54 6.17 2.63 3.86 5.39 1,53
3,84 7.15 3,31 4.22 6.13 1.91
4.41 9.4 4.99 4.91 7.71 2,8
5.39 15.5 10.11 6.17 11.4 5.23
6,23 25,3 19,07 7,29 15.9 8,61
7.86 165 157.14 9.62 34.1 24.48
9,04 Infinity Infinity 11.4 79 67.6
50 I www,amateurphotographer_co,uk I 6 March 2010 camera size

Traditionally, we expect professional-level and fullframe cameras to be larger and heavier than those with APS-C or smaller-format sensors aimed at enthusiasts. This is borne out by the differences between the Nikon 0300S (147xl14x74mm and 825g) and cameras

further up the Nikon OSLR

line such as the 0700 (147x123x77mm and 995g) and 03S (159.5x157x87.5mm and 1,240g). Similarly, the

Sony Alpha 850 is considerably larger (156.3xl16.9x81.9mm) and heavier (850g) than the Alpha 550 (137xl04x84mm and 599g). However, there

are only a few millimetres difference between the Canon EOS 70 (148.2xll0.7x73.5mm) and EOS 50 Mark II (152x113.5x75mm) and,

at 820g, the EOS 70 is 109 heavier than its full-frame counterpart.

It is worth bearing in mind that full-frame lenses have to cover a larger imaging cirde than their APS-C-format equivalents, so they are generally larger and heavier. Consequently, it may not be the cameras that determine

the difference in weight

of a camera bag, but the

optics used with them.

(anon EOS7D

(anon EOS 5D Mark II

NikonD30DS NikonD700 NikonD3S

147xl14x74mm 147x123x77mm 159.5x157x87.5mm

Sony Alpha 550 Sony Alpha 850

137xl04x84mm 156.3x116.9x81.9mm

_-L....:":';;

Co

dusion

As this investigation has shown, new developments in sensor technology mean that the APS-C-format EOS 70 is capable of resolving almost as much detail as the full-frame EOS 5D Mark II and the results

have a similar level of noise. However, the 03S and 0300S demonstrate the positive impact that larger photosites can have upon the level of noise in image, Meanwhile, the Sony Alpha 850 and Alpha 550 show how increasing the pixel count of a camera allows it to capture more detail.

When Canon eventually replaces the EOS 50 Mark II, it is reasonable to expect the new camera to have technology that IS at least on a par with, if not ahead of, that found in the EOS 70, and the pixel count could go up. This is purely speculation, but it would mean that the full-frame camera could jump ahead of the EOS 70.

While manufacturers now offer very short focal length lenses to counter the negative aspects of the focal-length magnification factor experienced with APS-C -format cameras, the optics specifically designed for the smaller format don't tend to have as large a maximum aperture as their full-frame counterparts. This isn't a problem for photographers concerned with capturing images with extensive depth of field, but those who like to shoot with limited depth of field may struggle to achieve the degree of blur they want. On the plus side, wildlife and sports photographers are able to frame their subjects more closely with smaller,less costly lenses when they shoot with an APS-C-fonrnat camera than when they use a full-frame camera.

Differences in size and weight have in the past been a deciding factor for photographers choosing between a full-frame and an APS-C -format camera, but the EOS 70 and EOS 50 Mark II indicate this may not always be the case,

Given that the EOS 7D and EOS 50 Mark II are both capable of producing images that make good A2 prints, perhaps we have reached the point where photographers can choose between full-frame and APS-C -format cameras on the basis of the type of photography they prefer, rather than because of significant differences in the quality of the images they produce,


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6 March 2010 I www.amateurphotographer.co.uk I S1

Let the AP team answer your photographic queries

Mint condition

Ivor Matanle replies The Pentax Auto 11 0 was marketed between 1979 and 1983 and was an interchangeable-lens SlR using 110 film, As far as I know, it was always sold as a boxed outfit like this handsome example The outfit came with a 24mm standard lens, an 18mm wideangle and a 50mm long-focus lens, an auto-winder, a flashgun, cases and a set of filters and hoods. An updated version with minor improvements appeared in 1982. The cameras usually turn up 30 years on with the two additional lenses and the winder, somenmes with the flash as well, but usually without the fi Iters and the other bits and pieces. In that form they are common and not greatly sought after. Complete OUtfits, with all tile bits and the original box are moderately scarce, and in almost new condition they are obviously more scarce, However, there is not a major market for them. At the end of January a Penta x 110 with all three lenses, winder and flash, plus most of the other bits but no box, attracted eight bids on eBay and sold for £3050, and a camera and standard lens alone made £ 12.50.

Jonathan Mallett asks My neighbour has a boxed, mint-condition Pentax Auto 11 0 system with many of the filters never having been opened (see below). Is this rare, particularly as it's in mint condition?

Do you have a photographic question that you would like answered?

Be it about modern technology, vintage equipment, photographic science or help with technique - here at AP we have the team

that can help you,

Simply send your Questions to: apanswers@ipcmedia.com

or by post to: AP Answers, Amateur Photographer Magazine, IPe Media, Blue Fin Building,

110 Southwark Street, London Sf10SU,


SD or (F?

Sam Smith asks Having read your news item about the new Sony Alpha 450, I notice that the company has moved

from Compact Flash (CF) to Secure Oigital cards (SO). Is there any reason for this? Is SO better than CF? As a Sony user I have gathered a few CF cards (at some expense) and if I upgrade I will need to buy new SO cards too. Also, can I securely wipe my CF cards if I

was to sell them on e8ay?

Ian Farrell replies I asked Paul Genge of Sony UK about the company's move to SO cards. He replied: 'The main reason for the switch is consumer demand. Alpha was the First [Sony] product group to introduce SO into capture devices, while recent Cyber-shot and Handycam models have followed. We are now marketing SO cards as well.

'Consumers want to continue to use

Is the ability to shoot video on a OstR a good thing or just a gimmick? Since Nikon waded in with video on the 090, and (anon showed how it was meant to be done with the [OS 50 Mark II, the ability to shoot moving images on a OSLR has moved from interesting gadget to must-have feature


FROM THEAP FORUM

Join our online community, and be informed and entertained

Your questions answered

Material for reflection

Willie45 asks I keep reading about Foamcore and its use as a cheap reflecting material for studios. However, I cannot find it in the UK cheaply. It costs a lot, although in the US Walmart apparently sells it for about $3 per 6x4ft strip. Can anyone suggest alternatives they have used successfully?

Hotbla(k replies Although not as cheap, DIY Framing (visit the website at www.diyframingcom) sells it at £3.83 for an A l-size sheet. which seems the going rate looking at other art-supply websites. Alternatively, get a huge piece of cardboard and either paint it white or cover it in tinfOil. If you go down the tinfoil route, scrunch up the foil a bit first before flattening it out and attaching it to the board. This diffuses the reflections and stops hotspots.

Phil W replies B&Q sells Jablite Flooring Insulation Polyboard, costing :S: 16.48 for a 2.4x1.2m piece This should do the rrick.

Willie45 replies I think the B&Q option might be the best bet, so I will follow this up. Many thanks.

their memory cards, but as

the majority of our new OSLR owners are coming from digital compacts, they are using SO cards in the main. SO cards do have the secondary benefit of a reduction in size. This means we can package dual slots

into a tighter space, alongside

the battery.'

When it comes to securely wiping CF cards for second-hand sale,

it's true that Just formatting them in the camera won't do the job; you can

in the OSLR-buying consumer's mind.

Now that the pixel wars are over, features like HO video capture are meant to be the next thing that will tempt us to part with our cash, and indeed there are statistics that prove the camera manufacturers

have judged the mood just right.

~'s not just the amateur movie makers, either. On a recent job in Madrid, Spain,

I met a film crew making a video for American Airlines using a pair of (anon EOS 50 Mark II OSlRs. The diredor could hardly disguise his excitement when telling me about shooting scenes with a tilt-and-

recover images easily with software such as SanOlsk's Rescue Pro.

There are applications that write

data over the top of the formatted card, such as Norton Utilities or, if you use a Mac, by selecting Secure Empty Trash from the Finder menu. Otherwise, the easiest way is to format the card in the camera and fill it up again with pictures or video by

continuously shooting some rubbish.

This should be suffldent.

shift lens. 'I've just never been able to

do anything like this before,' he gushed. Then there are photojoumalists, such as John 0 McHugh, who re<enUy described himself as 'no longer a photojournalist, but a multimedia journalist'. Some of his powerful documentaries from Afghanistan are testament to this.

I know there will be stalwart photographers who see the inclusion

of video on 'serious' still cameras as an 'unnecessary pollution of photography', but I think otherwise.

Ian Farrell

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AP SP 610tARCH 2010

Expert advice, help and tips from AP Editor Damien Demolder

Howto submit Y9ur pictures

Send up to six prints, slides or images on CD (please include the original files from the camera along with your submitted versions on your CD). Tell us a litlie about the pictures and, if you can, include details of equipment used and exposure settings.

Send your photographs to 'Appraisal' at our usual address (see page )). Please enclose

an SAE if you would like them returned.

Venice Ian Slater

picture is a perfect example of that. One building is in the sun and Is very white and pale, and the other is in the shade and is dark. Ian needed to reduce the exposure slightly to make the picture a little darker. The shaded areas can afford to go darker without losing too much detail, and the sunlit building needs to be darker because its detail is bleached out.

While I can't fix tile problem post-capture, I can do a little work to give you an idea of what could have been achieved. Using Photoshop, I have selected the sunlit buildings and darkened them. I've then darkened the whole image slightly (see left). Tile only real way to correct for this problem, tllough, is to make an exposure adjustment in-camera, but it will cause a little loss of detail In the shadows. Of course, there's no real reason why you can't use a neutral density graduated filter on its side for this sort of city shot. People tend to think that ND grads are only for the sky, but if Ian had used one here, placing the graduated area over the right-hand side of the Image, he could have darkened it and created a more balanced contrast.

It is a lovely picture, though, and it reminds me that it has been a long time since I last visited Venice. It's about time I went there again

Canon EOS SOE, 28-80mm, Fujicolor Superia 200

Ian has submitted some beautiful pictures of Venice in northern Italy, and while the city can be something

of a photographic cliche, it is also a photographic wonderland and one of my favourite locations. Unfortunately for the photographer, there are always so many other people who feel the same. That said, It is stili possible to get photographs with a fresh perspective.

This picture shows a gondolier pushing off a wall with his foot as he navigates around a tight bend. It's not the Grand Canal or one of those sights that is instantly recognisable, yet it IS

obviously Venice. The quiet back 'street' and lack of people really transport you to the dty, and that is what photography is all about. Ian's done a great job and it's a lovely composition.

The only issue with the picture is a common one when photographing Venice: the high contrast between buildings that are in the shade and those that are in full sunlight. This



Greenwich Park in spring Tom Frost

Panasonic Lumix DMC-Gl. 14-4Smm. 1/200sec at f/6.3

Photographing trees in a park IS astonishingly difficult because we always struggle to find a pleasing composition that shows the height and shape of the trees, but without looking ordinary. This is because parks tend to be flat and cluttered with benches. people, buggies, paths and so on. However much I enjoyadually being in a park, I always find it difficult to translate those satisfying feelings into a satisfying photograph.

Greenwich Park in London is a place I've been to many times; I love being there and I take lots of photographs. However, I've never come back with

a picture that's as pleasing as this

one. At first, it is perhaps difficult to appreciate what it is that makes Tom's picture so satisfying I find it nice and relaxing, and I think this is down to the following reasons.

The print Tom has sent me is

quite small, probably only 6in long, so everything is very compressed. As the picture is small, we can't

see all those little distracting details that would generally be annoying, such as the people in the distance and the dogs running around on the grass By making it small (and I don't know whether or not Tom has done this on purpose), the picture has become a series of hnes, shapes

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and colours. This is probably exactly what we see and enjoy when we are in a park, which could be why photographs have difficulty doing

it justice Here, though, Tom has recreated that feeling.

He has succeeded in keeping

the camera nice and straight, and upright, and he's included lots of foreground showing dappled sunlight and the shadows of the trees laid

out across the grass, which IS

beautifully green The fresh leaves growing on the trees mean that we have both the angular twisting shapes of the branches and trunks, and a fine haze of a light green colour as the leaves come out. The pattern of the trees, running from the foreground off to the right, seems to curve round and disappear back across the frame, right through the middle. The people who are present are very small and completely Inoffensive, so our eyes

are not drawn diredly to them; we just know that they're there.

There are two people encroaching on the far left of the scene in the middle of the frame that draw my attention a little too much, so perhaps they could be removed, but it's a beautiful scene with very fresh, lovely colours and nice patterns. I think it would look nice on the wall, but again printed smaiL For these reasons, it is my picture of the week.

Pebble face Dave Hill

Exposure details not known

I am not usually a great fan of these sorts of pictures - tree trunks with funny markings or carrots in rude poses - but this pebble picture from Dave really caught my eye, and for a couple of reasons First, the image on the pebble is immediately obvious and, crucially, quite comicaL Second, Dave has photographed it particularly welL 'Pebble face' is all that is in the picture, apart from the ground on which it

is Sitting, and it's perfectly lit with no dstracnons in the background. The pebble has been photographed

in a very matter-of-fact way, as

though Dave is shooting a portrait rather than a stone with a funny

face on it It's as if the pebble IS actually a real person, and the rock

on which it is sitting forms the shoulders. It looks like the sort of ghoul that would chase Scooby-Doo

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and Shaggy, the hapless heroes of the famous cartoon series.

Technically, I think ths would have been a difficult image to capture. Dave had to keep the white of the pebble looking white while making the background very dark, which really

helps it to stand out. It hasn't gone completely black, though, as there's still enough detail viSible to show

that it was shot in nature and not in

a studio, which gives it a very natural look. Sometimes when photographing funny subjects like thiS, we forget all

[5[5 The pebble has been photographed in a very matter-offact way, as though Dave is shooting a portrait rather than a stone with a funny face on it~~

about our technical skills, but Dave

has taken a lot of care over his picture and it's very successful as a result It could be a head from a museum and would work well on a greetings card or postcard It's very simple and has been done very well. Well done, Dave.

6 M"rch 2010 1 www."m"teurphotographer.co.uk 157

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on EOS Sii Mark II

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SAVE£142.00!

SAVE £660.00!

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Prices correct at time 0' coing to press; chedr website for latest prices.

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PSO

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At Premier Ink Suppl es, we stock two types of cartridges for Epson printers - OriginalS, which are made by Epson, and Compatlblos, which are made by a UK company called Jet Tec. Using Jet Tee Compatibles Is a way of saving money, without compromising on the quality of your prints. Here're the results from two Independent Ink tests thaI agree ...

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Cartrldge Cod.: Onglna": Jet TOH: CompaUbl ... :

TOOl CcioLr £26.99 _I £3.991Om1, 3*" £10.99

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T07911213, -" £11,9910",' Check Website,

T0794151I1._ £11.99 'Oml Chock Website.

T080t-l106 SOl 01& £45.99 £19.9931"'10,£57.99

T08011213, _" [La91.",1 £3.99 13mI, 3"" £10.99

T08041516._ £1.991"ml £3.9913m1" .. £IO.99

T087~79 SOl oIa £711.99 Check Webslte.

T0870G_ £7.99 It 4m1 Check Website.

T0871121314, _ £9.99 It AooI Check Webstte.

T08nI819._ £9.9911.... Check Website.

T0961·969 set 01. £71.99 Not Available.

T09611213.-" £9.99 It •• ,1 Not Available.

T096415111. -" £'.99 II ."~ Not Available.

T09671819 • ...," £9.99114m1 Not Available.

T5591~ 501 01 a £81.99 NotAvaii bill,

T55911213, -" £11.99 1"1 Not Available,

T55941516, _" 1:11.99 l:lml Not Available,

Pi .... c.N or eMc. our WEb.J,. .

Ink Test Winner

Suitable EPSON Printers: _1200

_ '190, 110, 880, 885,Il00. D15. 1280 PhoID19O.a7'O.89O.895..915 _Il00,1270,1280

Photo 110, 830 ,..83Ou, 925. 935

C42. C4"',C46

...0, .teO, 660, fltDD 700.. 150, 1200 7~, teO. 800. 850, tIC), 1160 -UO.&tO, em. 740. 7&0. 1!6O

PI>oio 700.150

_950,_

_2100

_RZ40.R241i,

IV<420. IV<425. RX52O. IV<52<i

Ilta DflIl,

IllQ8OOO85O, OX4ZOO"26O, OX.--.4860

620. ~j. SJ(IClO'1_'(Y11S12OOflOM'~5 SK4OQ/'Osr.,M,5, 01&1121120. -. IIl<':lOO OX4001)'_000'1000'1_ _ .. 00

Photo Pfi(J, -s. R281i, R3<!O IV<5iIO. RXM5, RX!8.5

PXMO. PXlOOf11(WV, PX8OMtfOf'W _RI(1()()

Canon Compatlbh •• BCI3e 81od! 28m! BCI3e"""""5m BCi6111C1WY ,5m BCi6 PC/PMIRIG 15m! PG1501""'29mI ClI8o_"",, Cl188ICNIY 15m1 C ll8 PC/Pt.I I SaW PGI5201ll.ock'.., Cll521 BlClMlYIGVImI BCIIO 81od! (3_1 BCI158lack(2_1 BCI15~,(2pot1<) BCI24e_, BCi24~, llIml PG37BI",*I2n< PG50~"'2Bm1 Cl38~12'" Cl51 COOU2 ....

Canon BCI16~,(2pa",) BCllo olod! 28rnI BCI3e"""""Jm BC 16 IIICIWY '3m BCI8 pCJPMiRIQ 13m! PGI50lodt2fiml C ll8 BlCIINY l:lml Cll8 PC/Pt.IIRIG 13", PGJ7 OJodt2Sm1 PGi9cl ... ", PGI9PB/IoIBiCIMI'{t4 PGI9 PClPWRlGlGV "ml PGI520 Ibck 1II1I1I Cll521 BlC/lNYIGV SIm1 PG37 OJ ... 11 PG40~",*'6mI PG50OJ",*22mI PG510 BlocUm! NEW PG512_1 .... 1 Cl38e.....'m! Cl41 CoJ.u 12m Cl51~21<d Cl52P1>oio21mi Cl511 ~""' HEW Cl513~'I3m1 H!VI KP-361 P 1'*. Papa, Kp·l081P Ink&P_

58 1'/-

HP Compatible.

No.15 Btlde_1 £<1.99

No.21 BIe'" I>nI £7.99

No.22 Co\ou'21m! £11.99

No.27 BIe'" _I £9.99

No.28 Co .... 2'm! £12.99

No.45B1a""5m1 £4.99

No.56 8Iode 20Imi £9.911

No.57 Coicu2'''' No.58 Phoio 201m! NO.78CoJoo..'5mI No.88XL _ 56mi

No.88XL CII.I/'I 11m1 No.110 Colour 12m No.33881ac1< IOrni No.337eIacl<2'ml No.338 81"'* 24ml No.339BIad<34ml No.342 CaIoor 12m!

No.343C 21

No.3 .. c 2'

No.348 PI>oio 21 .. No.363 81ad< 2Om1 No.363 ClMlVII'Cn'W 8m! No.363 Set oil

HP Originals

No.2181oo;il5mj E13.99

No.22 CoIOul Sml No.38 PB/MBIGY 21"" No.38 ClMlYII'CIPM 27m! No.56 81.", '!lml No.57 Colour 11m No.58 Photo 11ml No.59 Only 11ml No.100 Groy 15m! No.110 00I0u- !Imi No.300 BI"""ml No.300 CaIoor.mI No.336BIacl<5m1 No.337 81"'* tim! No.338 B_l1m! No.339 81",* 21ml No.342 c ..... Sm! No.343 Colour? No.344c ..... ' No.348 P_I3n< No.350 BIad< '_SnII No.350XL 8iack 25m! No.3SI C ..... 3.5m1

1~ii!!ii~iiiiiiiiiiiii!ii!!iiii!!ii~1 No.35IXLCoIoLIt4m1

No.363 BIad< 8m1

No.363 ClMlVIPCIPM No.363Se1ofl No.3M 81adl IImI No.3M PII/CIMIV 3m! No.901 810cUmi No.901 Col .... ' ..

E12.99 £9.99 £9.99 £8.99

EIO.99

1:7.99 EIO.99 E10.99 E12.99 EIO.99 £12.99

No.1 Co .... NO.2eo_ No.la..". No.16BI .... NO.1701od< No.26~ No.27 Colour NO.31 P'No.l2BI" No.l3 Colour No.34olod< No.35 Colour

Lexmark Originals

No.1 Co.... £16.99

NO.14BI"'" £16.99

No.15 Colour [18.99

No.17 BI.... 1:13.99

No.23 01.... £14.99

No.24 Colour £16.99

No.27 Colour £1

No.28B""'" No.29 Colour No.31 p",*> No.32BI .... No.33c-.. No.34olad< No.35c-.. No.36BIsd< No.37c-.. No.43 Colour NO."BIsd<

Brother Compatible.

lC90081.. £3.99

lC900 C/INY £2.99

lC900Sal oC' £11.99

lC970 OJ"'" £3.99

lCI70 C/INY £2.99

lC970s",0I' £11.99

lCl000 _ £3.99

cc I 000 <:1M/\' £2.99

lCl000 SOIor< £11.99

lC980 11100 bel< £3.99

lC980 11100 C/MIY £2.99

lC980 11100 5eloC' £11.99

S_orlr/lnoJ._ln _

Dell Compatibles

Sartea 1 8*k(T052D) £11.99

Series I Bla<J<(Tll53O) £12.99

Serle. 58I1Ck(M4&oO) £11.99 Sarles 5oiac:k(M4846j £12.99

Illy ........ In .1OcAI

-~"'~M~

lowering the Cost of Photography

Orders are shipped prompUy by Royal Mail 1st class post, [or whicl1 we charge Just £1.76

per order. All prices Include VAT, and a full VAT receipt is provided with every order. Payment accepted ~Y credit/debit card, cheque or postal order. Orders accepted securely online, www.premler-ink.co.uk, over the telephone, 01926 339977. by post, or by visiting our showroom:

Premier Ink & Photographic, Longfield Road, Sydenham 100 Estate, Leamington Spa, CV31 1XB.

01926 339977 www.premier-ink.co.uk

••• p .

III remie

II Ink & Photographic (It:r/t a.~ 01( gtal(I [5

Compact Flash 1GB .... " ...... _ 1GBTra'I~.1~

2GB , ....... _

2GBI ,"""

2GB " £.$?:99"

4GB 1«00.'''''''- 4GB, ....... """ 4GB_u .. " Ua:s9

4GB ", £lr.9!I

8GB,..." _

8GB,......, .... 8GB1" __ '"''

8GB ,

8GB __ III £ii:9!I

16GBK>t '331<

16GB_ .. , .

16GBT..-,""" 16GBOon""' .... ~

KOOD

Japanese OptJcal Glass FilIUS Coaled to reduce /ens flare and reflections.

Skylight Filters

These -.art h a ~ery SImilar way to B IN

Wr~~~edd.

46mm Sl<yllglll £6.1111

52mm Skylight £6.1111

55mmsKyllglll £7.99

58mm Skylight £8.1111

62mm SKyilglll £9.99

67mmsKylight £10.99

72mm Sl<yilglll £12.99

77mmSkylighl £15.99

82mmSl<yilllhl £18.99 ....,

66mm Skylighl £24.99 ...

~.~trt tromJOtD'~

These remove reCIedkms from lMfaces IUCh.~.ndWfl_u 8J ktnq conlr'8i1t And uwrUon.

46mmcl __ "1Ing £17.99

52mmcl __ "1Ing [17.99

55mmclrouIIf_"1Ing £19.99

58mm CI..- _"ling £21.99

62mm CI PdorlDtci £24.99

87mmcl _.... £27.99

72mm CI _"'*'II £34.99

nmm CI _".... [39.99

82mm CI..,.., -ling £44.119 86mm CI"'_ _"'*'II £49.99 __ IIt __ ".,,_

UV I Haze Filters

Used both to proteo: the 1«1. ~ your C*flDta. tlnd ., IbecWb ltnvicl .. ~ trw. CM cause phOaI to~ ... !'lazy.

46mmUV/_ £5.99

52mmuvl..... [5.99

55mmuvl_ £8.99

58mmuv/""'" £7.99

62mm UV 1_ £8.99

67mmuvl""'" [9.99

72mmuvl_ £11.99

77mmuvl""'" £14.99

82mmuv,..... £17.99

86mm UV 1 ""'" £22.99

_.-"' __ 14<0 ...... '

Neutr.l Density FIlters fJseo reduce 1i'l8 BJ"nOt.Wd d.1gN PSS...=3 IhIaiJghti1I_.'"""'*'cI-;r;;;;_

=-~~>=",..,ga'i:"",,)

52mm NO. I NIlI! £10.99

55mmNo./NIlI! £12.1111

58mmNo.JNIlI! £14.99

62mm NO. I "Ill! £16.99

67mmNo./NDtI £19.1111

72mm NO.1 NIlI! £24.1111

nmmNo.lN1lI! £29.99

Clo •• Up Filter Sets Sea~hee WIers.. rated .. .-,. "2, W ~ diopCn.lncf'aeIeI. '*- up/fJllJm)

_itydthelentllhty aratintldk),

52mm 000""", So< £25.99

55mm Cleo""", Sol £28.99

58mm Close-Up So< £32.99

62mm Oooo-Op Sol £37.99 t----------

67mm Ooso-Up So< £44.99

........ ht tad. bvm 4' to "nrmJ

Starburst Filt .... Tbeae.td. dramdC a1s.-c:roa tiara ~

~~z:~w.~=:c:

52mm SUI rat II«ItlJ9. each £11.99

58mm9il "'_" • ..". £15.119

67mm SUlrbu", x4I6IlI. ...... £21.1111 72mmSUirbul.'_._ £27.99

Memory Slick Pro

2GB ....

4GB ....

Smart Madla 126MB_

Scraw.flt Len. Hoods

52mm ""_ ~I'_ £6.99

55mm 5"-1_1_ £B.99

58mm sn_ ~I_ £6.99

62mme_"",,,I_ £7.99

67mmsn_~I_ £7.99

72mm s_ ..... ,_ £9.99

77mms __ ,_ £9.99

"~~=~~~ 82mms __ PoIoI_ £11.99

_lbIowHhc.t,..,.ndNl' .. _ 46mm__ £3.99

ES.062c.tnonSOl1.l £9.99 ~:::== ~U:

ES·7111COnon6Ol.... £9.99 58mm__ £3.99

g!g~=~=!o g:: 62mm__ £4.99

ET.06SIIICanooWl.8 £9.99 67mm__ £4.99

ET.067 COnan,OO/2.l M_ £9.99 72mm - - £5.99

ET.067Bc..-1SM.8 £9.99 77mm__ £5.99

EW-soC""",,, ,_'s £7.99

EW.06311 Crctn 2111.8, ;a.'06 £9.99 Lena Caps

EW·73B canon 11-85 IS £9.99 3Omm. 37mm. 40mm. 43mm. EW·78BII Conon 28.'35 oS £9.99 46mm, 49mm. 52mm, 55mm, EW·78D Canon ''''200 IS £9.99 58mm, 62mm. 67mm, 72mm, EW-83E C_l1~ 0 £12.99 77mm, 82mm, 86mm, 95mm

EW-83J Canon 11066n, £12.99 £3.99_

HB·25Nit<on1 •• 8$.24-'20 £12.99r------------' HB·32 Nlkon '80'00. ,..... £7.99

HB·37 Nlk''''Ii60200V~ £7.99

HB-45Nl1<on '8oIi6VR £7.99

". hi Ifnt • ..,..,.., meN In .me.,

Coin Cell", etc

A UX'npreneollM! r'8I1!ge of speclal8s bIttones· Me OUI 'Wet.te for ~II 'W!gII. CR123A_u","",(,) £1.99

CR2._ 'm(.) £1.iD

2CR5 c,) 0.99

CRV3 " (') £5.119

LR44 __ '_C2I £1.99

CR2025, CR2032... £1.99

- ~

27 -29 Bolton Street Brixham,

Sout", De on TQ5 9BZ

Sh Is Open 10 5p,m Monday-Fnday.

gam 5pm Saturday. , Oam-1 pm Sunday.

Shop & Phones Closed Saturday Only 1pmtlIl1.3Opm Web - www.mifsuds .. com

PHONE UNES OPEN MON -F I 9am - S.30pm. SAT gam - sprn, SUN 10am - 1 pm

MIFSUDS ARE CANON PROFESSIONAL STOCKISTS

10 MKIV body

£4079

EOS DSLRS + KITS

PO~SHOTCAMERAS

Gl1 •.. 1:469 S90 ...••.• £:369 EF·S NON FUll. FRAME LENSES

50 MKII + 24-105 . . .. £2399 ~~~ ~~:~~:~ ~s~~o·ti,;x .g~

70 + 15-85 £1799 n~~~~~I~~~~ti,;X.;dg:

70 18 135 £1499 18-55 F3,515.6IS unboxed .1:147

+ - . . . . . . . . . 18-135 F3.SI!;_8IS Uno box £;349

500 body. . . . . . . . . . .. £727 lt~ ~t~/~,~sun~~~:: :r,~ 500 + 17-85 F4/5.6 IS U £989 ~~~S~croUSM ...... £:347

500 18 200 F3 5/5 6 £1 099 14 F2.8 L USM MKII ..•.. 1:1999

5500+b d- ... £779 ~~~~}~'Mrwi.·usM:::b~~

o y... . . . . . . . . 17 F4TSE L 1:1975

5500 + 18-55 IS £879 ~~·~~.~t~~~::::::::::~~~

5500 + 18-135 IS £1079 ~!~i~~.I~~~.::::::::~~~

5000 bod £52924F3.5LTSEMKII ••.•.. 1:1849

Y . . . . . . . . . . . 24·70 F2.8 L USM •.•.•... 1:1069

5000 + 18-55 IS £599 ~·~rs':UMIS.~~ . .'.m~

Nikon

-------

018

Mail Order: 852400

Email -info@mifsuds.com

28F2.8 1:189

28-135 F3.Sl5.6 IS USM .•. £899 28-300 F3.Sl5.6 IS L U •... 1:2399 35 Fl.4 L U . 1:1199 35 F2 .1:239

45 F2.8 TSE 1:1199

so Fl.2 L USM 1:1329

so fl.4 U .1:339 50 fl.8 II .. 1:79 so F2.5 Mooro •••••.•.••• 1:259 55·200 F4.S/5.6 II USM •... 1:139

65 MPE F28... , 1:899

70-200 F2.8IS U UI 1:2449

70-200 F2.8 1$ L USM •. 1:1489 70-200 F2.8 non IS L USM •..• 1:1079 70-200 F4 L IS USM ••••.. £939 70-200 F4 L USM. _ . •• • .. £509 70-300 F4.S/S.6 00 IS U • 1:1 049 70-300 F4.S/5.8 IS USM •.. £:394

85 Fl.2 LII 1:1849

85 Fl.8 USM £829

90 F2.8 TSE 1:1199

100 f2.8 IS L U mecro ••.. 1:789 100 F2.8 Macro USM ••..•••. .£469 100 F2 USM . .. . .. .... .. £:399 100-300 F4.515.6 USM 1 oriy • 1:219 100-400 F4.5/5.6IS L USM .1:1949

MKII body

£1747

EOS 70 body

£ 247

MIFSUDS ARE NIKON PROFESSIONAL DEALERS

5O-500mm CAF/NAF 120-300mm CAF/NAF 300-800mm Ex Demo 300mm EX DG

£749 £1699 CAF£4299 CAFIN.AF£1999

03S body

£3549

DIGITAL SLR + KITS

DIOITAL ONLY LENSES

10.5 F2.8 ox. N69

10-24 F3.Sl4.5 G AFS ox. . £615

12·24 F4 ox £799

16·85 F3.5.15.6 AFS VA OX. £425

17·55 F2.8 ox " £899

18·55 F3.SlS.6 VA ox no box £129 18·105 Ff3.S.S.6G EDVR no bo)tl!l79 18·200 F3.515.6 VA ox " .1:569 55-200 F4IS.6 VA OX .••••. 1:219 LEH~

14·24 F2.8 G ED />F·s •.. 1:1229 16 F2.8 AF-O Fisf1eye. • £619 17·35 F2.8 0 AFS •..••••. 1:1549 20 F2.!I AF-O. ..... . ... £459 24 F3.S 0 peE.. .. .. ..£1399

24 F2.8 AF·O 1:357

24·70 F2.8 G ED AF-S £1189

24·85 F2.Bl4. • • . . . •. ., • £559 24·120 AFoS VA G ..•••... £549

28 F2.8 AFO.. . £2.49

03X body . . . . . . . . .. £4777

090 body £617

090 + 18-105 F3.5/5.6 G £766

05000 body .

05000 + 18-55 VR. .

£469 £519

03000 body . . . . . . . £315 03000 + 18-55 VR. .... £369

0700 body

£1759

03005 body

£1139

35Fl.BG £l89

35 F2 AF·O £2.89

45 F2.B 0 PCE £1399

so Fl.4 AF·S G £2.89

so F1.8 AF-O £97

60 F2.8 AFS £409

70-200 F2.8 VAil 1:1629

70·300 F4.Sl5.6 VA ...••.. £897 80-400 F4.515.6 VA AFO .• £1149 85 Fl.4AFO ..••.•••.••.• C879 85 Fl.8AF-D ........•.•• £:307 85F2.80PCE .•.•••..• £1399

85 F3.5 GVA '." .£449

105 F2.8 VA macro •.. . .• £597

200 F2GVA .•...•. , 1:2899

200·400 F. VA £4599

300 F2.B AFS G VAil 1:4947

300 F2.8 AFS VA £:3799

300 F4 AF-S £999

400 F2.B AFS VA .•...••. £6249

sao F4 AFS VA £5677

58nJn 62mm

£14 £36
£16 £34 £37 £68
£17 £36 £40 1:70
£19 £38 C47 roo
£24 £44 £62 £85
£30 £49 £67 £94
£39 £55 £72 £114
£47 £59 U'9 £132
£66 £69 £110 £149
£85 £149 £160
£110 Many m:ted II ~ & SIlly fils •

lite may VlrY aa:ord~ to III

4.5 F2.B EX DC IIIAF only .. , £499 B F3.S DG EX CAFINAF ••.• £649

10 F2.B EX DC NAF £399

10-20 F3.5 EX. .... •• £469

10-20 F4I5.6 EX DC CAF/NAF . £397 12·24 F4.S/5.6 EX DG .•••.•• £679 15 F2.8 EX OG NAFlSony .. £449 17-70 F2.814.5 DC OS •••.• 1:369 17-70 F2.814.5 DC .......• £2.79 18-50 F2.8 EX DC Mac •..• 1:319 18-SO F2.814.5 OS CAFINAF 1:149 18-125 F3.815.6 OS DC NAF £199

Family Run Pro Deale hip with Fri ndly, Knowledgable Staff. Open 7 days per weelr. Price inc VAT.

Commission Sale & Part Exchange Welcome. Collection Service Available. PiP Extra. E&OE.

We are happy to reserve new and used stock for customers planning to visit. Prices are based on current stock at time of compilation shown on opposite page. Prices are subject to change without notice so please check availability to avoid dlsappointmenL We keep the website updated dally· latest prices always available on-line.

-

~ 27 -29 Bolton Street Brixham, Sout", De on TQ5 9BZ

Sh Is Open 10 5p,m Monday-Fnday.

gam 5pm Saturday. , Oam-1 pm Sunday.

Shop & Phones Closed Saturday Only 1pmtlIl1.3Opm Web - www.mifsuds .. com

PHONE UNES OPEN MON -F I 9am - S.30pm, SAT gam - 5pm, SUN 10am - 1 pm

018

Mail Order: 852400

Email -info@mifsuds.com

FAMILY RUN SINCE 1954

QUALITY USED EQUIPMENT More on web 3 Month warranty on most equipment Part eJl.change welcome NEW STOCK SPECIALS

ALL INOIIlU. CANON

10 MKIV unUJed • £3799 lOS MKIII box ..• £3399 lOS MKII body ·£2199 10 M II body ... 218911 lOS MKII tIIo box £1799 10 MKitN body •.•. £899 10 MKII body ••. £749 lOS body box •.•. £849 50 body box ..•••. £849

500 body £599

400 body £479

300 body. £349

10000 + 18-55 ••.•• £299 4000 body.... • .. £279 200 body box .•.•. £249 3500 body.. .. .£219

100 body £199

8G·El .. CS9 8G.E3 £59

BG-E2 £99

BG-E4 £119

BG-EOO £69

WFT·E2 box .••.•• £379 MINOlTAISONY

Oynax 70 body .... £199 SOny HVLF56M ••. £229 M notta VC70 grip. £99 NIKON

D3X body £POA

00 body M· box •.. £2399 02XS body box •.• £999

~~~/'~'~::: :~

0200 body £449

060 body box .•... £399

070. body £239

050 body £179

040 body £199

MBD·80 (080190) •.• £99 MB[).200 (D200) .•.• £89 MBO-l00 (0100), ..• £89

EH5 £49

EH6 each £49

Coolwalker •. • .•.• £99 PEHTAX

Kl00 body box •. , £299 18·50 F2.a mini box£679 18·250 F3,5/6.3 box£289 28·70 F2.8 FA Al. ,£849 43 1.9 box ....... £479 TOK 20·35 F2.8 ATX£l99 SIGMAPKAF

4.5 EX M· .. .. • . £399 10-20 F3,5 EX .•.•. £399 10·20 F415.6 .. , .•. £299 17·35 F2.8 EX DG . £199 18·250 F3 5/6.3 OS £299 24·70 F2.8 EX HSM £499 7G-200 F2.8 EX ..... £449 LAAG,E FORMAT

Wist_ 450X Field camera (Sx4) M· " £549 C&mbo SC MonomIl 5x4 (with &1lIndard ra~ ,£199

~~~~5,~ £249

~d'~t~B~~~9

Fuji Quick load Film Holder" .......... £89 PolaroId 545 Pro Film

Holder ...•....... £79

PolaroId 5451 Back, • £79 PoIartlid 545 Back. £69 BROMICA .TR8

ETASi comp 75 PE £279

40 F4 E £149

40 F4 PE ..•.•..•. £249

45·90 F4I5.6 PE £379

SO F2.8 E £99

60 F2.8 PE M· Box £249 SO F2.8 PE., .... ,£199 eo F2.8 F'E Box .•. £199

75 F2.8 PE . , 129

100·220 F4.8 M· •. £549 150 F3.5E ., .... ,.£99 150 F3.S PE M· Bo.£l99

200 F4.5 E £189

200 F4.6 PE M· £249

E-14 Extension Tube £49 All 120 AFH ...... £49 Polartlid Back •.•.•• £39 AEIII Prism • .. • £199

AEII Prism £99

WLF Boxed ..•..••• £69 Plain PrIsm E ...... £69 Wind"" late. .. .. £169 Pro Shade E Box ..• £49

Speed Grip. .. £49

Matz SCA 388 £49

BRONICASQ

SO Body Boxed •.•• £99

SQAI + 80 F2.8 PS 1801'3,5 EXDGbox .. £379 60 F CF ........ £599 leo F4,5 C .... £149 18-200 F3,!iI'8.3 Moo £149 +120RFH+ .£449 OOOf2.B-EXDG .... £1499 61H2OF4.8FEM-,£949 Exttlb>l01'2~.£69 28-70F'2.8non ... £99 50 F3.S eS . .. • £249 300 F2,8 EX, .•.•.• £1399 136 F5.6 CF moao Ext 45 mint box.£911 28-200 F3.8I5.S .•... £49

60 F35 S. .. £99 tiOO F8 £199 bellows , .. £799 Teleplus ax CO"" £89 2&-300 F3,Ml.3 DG •• £149

85F4PSBoxed £199 2X")lwEXOO £169 IS0F4CA £879 IllAMIYARZb7 3OF1.4EX 1:289

,85 f. 1'$ £149 2X conv EX. £129 150 F4 CF £399 RZ Pro II 0 + 110 30 Ft,4 sautIy £179

110 F4 PS Mac (1:4)£279 OTHEA CAF 160 F4.8 ca M-. £399 + AFH M· ....... £1299 50-500 F4I6.3 £549

135 F4 PS M·, ' ••. £279 TAM 17·50F2.8XR Dill £269 250 F5.6 r £199 RZ67 Pro "inc 110 50-500 F4I6.3 scrutry £449

150 F3.S S •••.••.• £99 TAM 1&-35 F3.Sl4.S , £Ill) Earty maao bellows £149 + AFH M· box ..• £799 5>200 F4I5.6 DC Mint £69

150 F4 PS .•• , .•. ,£149 TAM 28-300 XA 01 £169 Teleplu. 2X conv .... £89 RZB7 Pro !I Inc 70-300 APe mac DG £129

150 F4PSM.Box £199 TAM55-200DiII £80 UitCAIUI 9OF3.5+RFH ... £699 ~F4.5156OSDG.£579

200 F4.5 S ....•.. £149 TAM 200-400 F5,B £279 A7 body blk. . £299 RZ Pro "body •.. £349 80-400 F4.SIS,6 OS ,£499

2XExtend""S ...... £99 TAM200-5OOP.il6I.3.W9 A4sbody £149 RZProbody £199 l05F2.6EXOG ... £299

Auto Mac Bellows . £179 TokIna 20·35 ATX . £199 16 F2,B ~ cam £399 150 F3.S ...1:149 lQO.3()() F4 EX DG 1.1.£479

extantion Tube S18 .£99 Teleplus2XMC7 •• , ,£69 28F2.83cam £199 180F4.S •.•..•..• £149 120-400F4,615,6OS ... C489

120 SQAI Back £69 CANON F\.ASH 35 F2 3 cam £379 250 F •. 5 £199 15G-500~AP00G£S99

120 SQA Back £49 300EZ £29 50 F2 3 cam £149 No 1 ext tube £99 300 F2.6 EX DG .£1599

120J AFH (645) £69 38OEX £119 60 F2.8 3 cam C349 ~ early £149 5OOF4.5 EXDGM. £2499

22OSQBacl< £29 540EZ £79 6OF2.83camscrufly£199 01 prlsmAE £299 1.4~EXOG £169

Plain PllSm S Boxed £99 S5OEX £229 135 F2.8 2 cam £129 120 backs £39 2XEXDGconv_ ,£179

45 Oecn>e Prism .• , . £99 580EX .•......•.. £289 UiICA MlCOfIIIPACT MJNOI.TA M 2X EX 00fMlI1er £129

AE POem Eany £149 MR14EX £369 M6 TTlbody.85b1k£799 Oyn 7 BIO M· Box £199 TAMAON NAP .. · ..

CDS ChllTlf18)l, ..•.. £99 Off Cam Shoe Cord 2 .• £30 CL body •...•. , .. £299 Oynax 7 Body, .... £149 17·50 F2.8 XA Oil M.£249

ME Prism Flndor £129 CP·E2 £59 24 F2.8 ASP b!k .• £1499 Oynax 7Xl Body Box £69 18-200F3.5.'B.3 DiU £119

=d~:t8vW::m ~~:".a.:.h40m"" £229 ~ ~,glr::::: ::r~ ~~:~~ytiOciY::~~~ 1&-250F3$.601 .. £249 Len. Hood 50 PS ... £39 Fl N Body + AE Prism CF Flash ..... , ..• £89 Oynax 303S1 Body .. £29 ~::~~ '1t.'~3~, : ~

t==l~~sO'Sgg ~N~.kr~ ~.= ~;~/~.::: :i:i: ~~~,i~F~.ii~~~ 2&.300XADVCM- ... £299

SB~ON crT,!, Q' '8' ••••• £79 Winder FN .• £3491£399 MAMIYA NIJ 28 F2.8 AF •..•..•• £99 ~~ ~/g.6 DIll •.. ~~

RONT. A T90 Body Boxed ... £99 645 Pro TL loe 80 F2,8 N 28-80 F3,515,6 AF .. £39 7S-300 F4i5:e :::::: .£59

GS1R+ 100 F3WLF,S PG!.~ T70 Body •..•.•.• £49 + FE401 Prism + Pro 28·50 F3,515.6 AF 0 £29 200-500FMl.3 01 .••• £449 120 FH + ... """'" AE·l Body Chrome. £49 Wlnder .... , .. , .. £549 28·80 F4/5.6 AF. , .. £39 2X MC £49

~ksrk~x.":".:m~ f~~/~~.~~~.~~ ~~/h~~~2:~J!9 ~~~~i~~:~:::::~ NIKON~H"""

t50 F4 PG M· " £199 24F2.8 £79 645 Pro TL SVX Pac!< II 50 F2.8 MactO 1:1 .£189 ~~:~t:::::::::: :~~

~~~T~Mri.;,. :~~ ~~~t::::::::::~ ~s~:~·~N~~ l~~r:f~~~l~ 58-30 .£69 60mm f2 Oi II Macro

G36 Ext lUbe Box .• £99 35-70 F3.514 5 , •••• £39 Winder Boxed, •••• £449 1.4X 11 Conv Box ..• £219 S6-500X, •..•••..• £69 CAF NAF S

220 AFH (6x7) £49 35·70 F4 £39 645 Pro sv Kit inc 80 2X II Conv Box £219 SB-28OX £129 + ony

PoIartlid Back £39 3S-1OS F3.S £49 F2.8 N +SV Pristn + 120 SIGMA MINAF =\ •. ; £129 £399

Speed Grlp £89 3S-105 F3,514.5 £49 AFH + WJIlder Box £449 17-35 F2.!V4 EX .£199

AEPrismFmderG.£l29 50Fl.8FD ..•.•.. £20 645Pro+80F2.8N+ 2OF1.8EXDG .£279 FM3ABIOBlkBox £299 '- -==

AE Aotary Priam .•. £299 SOF3.S Meao , £99 120 AFH + FE401 .. £479 105 F2.8EX £249 F3HP BIO TIt Box .£349

CANON'" 50 F3.S Mac + Tube£149 645 Super = .... £99 17G-5OO APO .••••• £449 F3 Body ...••...• £199

EEOSOS ',VV MHSlnt1ibox .. £69£5999 77~1500 FF4 £35£39 646455 ?rePro TLBody y .. ~8999 ~1 1.4x12xF EX5I5Ga£l299 WC~ OJ>,' p~

ociear v-21 4......... .,01 ''''''' 1·18 4. ,6",4

EOS IN HS body .• £199 80·200 F4 ..•..••.. £69 24 F4 M· Box •..•• £699 NIKON M + M03 + MB2 ..•.. £349

EOS 1 HS body ... £189 85 Fl.4 + hood £379 35 F3,5 N M· Bo><..£299 F5 body TO ClEAR .. £179 F2 Chr + DP1 Prism

EOS 3/1N bodyea .£129 100 F2.8 £149 45 F2,8 N M· Bo><. .£299 F6 body £799 l.oIIF2Se~k ~'DPiI'Pri,;;,;~~99

EOS 1 + BPEl £149 100 F4 Macro £199 50 F<C Shift M· Box £499 F4 body lovely •.. £379 '-'"

EOS 1 body £99 lClO-200 F5.6 £29 50 F4 Shill £399 Fl00 + MB-1S .. ,.£229 FM2n tIIo chr/blk .. £239

EOS5bodynice ••. £99 lClO-l0D-300F5.6 £99 55F2,8N £t99 Fl00bloTOCI.EAR£149 FE2BodyBlack ..• £149

EOS 5 body scruffy .. £49 135 F3.5.. ..£29 55·110 FA.S N (1lny FF904S bod+ MY.!lClUfty26, .•• ", .££114939 FM2 Body CIlrome £149

EOS lQ1100 body sa .£39 200 F2,8 £149 grtlcal Blemish) ... £199" FM Body Chr Box .. £89

~~.~;;.;,; .. gg ~~Fe~~I~t.~.h~£179 1~1~~4,5'uWCJ: ~~~~-''o.::::~~ ~~F~~~:.:::::.~~ l~~,W'~',: :.,':g: r~~~~~:;'i Fi~'fti49 1~g ~.~~ ~'.~~~. ~~ ~ ~~I~~'eam ~:~~'~~ .. ::.: :~m

17-40 F4 l. .. £499 50mm F3.S Macro .. £29 210 F4 M· .. , .... £169 FlO body . £49 28 F3.S AI ........ £99

17·55 F2,8 EFS £539 1.4x A Extender £99 300 F5.6 N ULO·C F65 body £49 35·70 F3,514.5 AlS .. £99

17·65 F4/5.6 EFS .. £239 2X A Exteoder , ,£99 MInt· & Box £299 F50 body £49 50 F1.8 AIS £89

18·55 F3.515.6 IS .•. £99 2X B Extonder ..•.. £69 ext Tube 1.2. 3S oa . £49 10.5 F2.8 G £399 8()-200 F4 AlS £199

18-55 F3.515.6 •. , .. £49 Angle FInder B .... ,£69 FE401 AE Prism M- £249 12·24 F4 G box £549 85 F1.8 AI Dusty £99

20.35F3.5/4.5U .. £199 AutoB lows Boxed £79 AEPriomBox(Super)£149 14·24F2.8AFS •.. £1099 l00.300F5.6AIS .. £149 22·55 F~.6 U ...... £79 Slide Duplicator 35152R Plain Prism •.••.••• £39 16-65 F3.SIS.6 IIRM·£369 135 F2.8 F Series .. £49 24·70 F2.8 l box. ••. £839 Boxed ••.•..•..•.. £49 Waist Level FInder •• £89 17·00 F2.8 OX .•... .£749 135 F2.8 F Early ..•. £79

24·1OS F41SlU 1.1'. £699 BREEaI LOCK Polaltod Back HP401£49 18-55 F3.SIS,6AFS .•. £79 135 F3.s AlS £69

28 F2.8 M·., .••••.• £129 35-70 F2.813.5 BL .. £99 '20 Insert •••••.••• £29 18-70 F3.5I41i £169 200 F4 AlS Macro willi

28-105F3514,5U ... £149 SOF1.8 BL ... , .... £20 HA401120 AFH Box £59 18-105 F3.515.611R . .£189 tripod Mount Alng .£399 28-135 F3.SIS.6 U IS £249 50 F3.S BL Macro. .. £99 120 Back ••.••.••• E39 18·200 MinI box ..•• £429 300 F4.S AI Box •.. £199

2&-200 F3,SIS.6 U £249 135 F3,S BL .. , .... £29 135 Back ...•..•.• E79 24-85 F3,614.5 AFD M-£199 300 F4.5 AIS + Built In

35-70 F3.5t4.5 £69 200 F5.6 BL ...••.. £29 Mag Eye Piece •.••• £35 2.·120 F3.515.6 IIR •. £299 Hood...... • ...• £149

5OF1,4 U ..... , £249 ""'I MaD 'OHMAT Cable ~elease Manual 50 F1A AFD ...... .£199 600 F4 ED AlS + Hood &

55-200F4.SIS.6 Un £69 250 F5.6 GX660 .•• £249 Adaplllr AC402., • £20 55-200 F4I5,6 •..... £129 case l.oIIely V.Aato£1999

70-2Q0F2.8ISU L .. £1099 GX617 + 90 F5.6 . £2899 645 Su~ Conn N •• £20 60 F2.8 AFSmlnl box£349 TC16A Ccrwerter .•• £59 7G-200 F4 L U M· box £449 Focus scm GX617 • £179 Angle inder .••.••• £99 7G-2OO F2.8 VAIl TC200 Convener .•• £59 1G-3OO"..5IS.6oolS.£679 GW690 MKIII .... £849 Wlnder..... . ...• £79 unused miht box .•. £1549 TC300 Converter .• £149

70-300F415.6IS £329 HASS.LaUD lCPI\N cable Release A Box£25 7G-2OO F2.8 IIRM· £1099 TC301 Convert"" .• £199

BS Fl.2lbOx ' £1299 XPan + 45 box •..•.. £849 Film Crank AC40t .. £20 70-300 F4I5,e AFD •. £199 P8.e Bellows ..... £169

100 F2.6 U macro £369 XPan 1 body £599 MAIIIIYA 7 RF eW7 7G-3OO F4,515.8 G £79 PK1'. 12 or 13 each £39

10G-300F4.515.6U .. £199 OO".kM!Iy £479 7 body ..•..•.... 1:429 8O-2OOF2,8AFON .. £749 AS-l.AS-4.AS-6ea£17

300 F2.8 U IS l "".£3299 HASSELaUD exe 50 F4.5 + VF M· box£899 80-200 F2,8 AFS boX£799 S8-E •. £14 SB-8E £20

~~~~.~LStMliM-c= ~~~~~~'CF£699 ~~:'~x~~:::::J~~ ~~t~~.~ 56-15 £49

400 FA 00. .. .. £3999 + A 12 chr Or blk . C1399 80 FA box... .. .. £429 80-400 F4.515.6 IIR • .£879 ~~:i~::::.::::: : g~

600 F4 l non IS slight S03CW chr + 80 CF 150 F4.5 l M· £399 85 1'1.8 AFD £229 SB- 17 • £99

damages •• web .£2499 +A12+ prlsm •.•• £1499 1501210VF £149 lOS F2,8AF •••..• £299 MDEWindorntsEM £29

2x ext MKII M· box £249 S03CX. 80 CF F2.6 PoIartsll1ll fiRer •... £110 300 F2.B AF , £1499 M8-4 F3 £49

2x oxtendor MKI •.. £179 +A12 chroma .•.. £799 Panorarruc kit .•. £49 300 F4 AFSbOx ..•• £799 1.10.12 FM2n I FE2 .• £49

i=::~':N .. g~ ~or:~~bik"~ ='=:oA+"~135KL m~~~IIIRM'm~ M0-14FA ......... £49

PS-E2 : :£99 SOOCM bOi{y chi ':.'£169 +RFH £599 500 F4 AFS .. :.: :£4199 ~\~~!"'~~ig~

SIGMA CAF PM90 pr1sm ... . £199 Pro SD body. ...£299 500 F~ AFS scruffy£2999 MF.16 FM2N £49 NiMH Batteries ...

12·24F4.515.8EXDG£399 45·pr1smlate., £~ ProSbody £l79 TC20El1 £239 AH.3 £19 45-56 £69

17-35 P.!.8I4 EX DG .. £229 45' pr1sm earty ~ Prism ~ £99 TC2OE £1 89 WLF N kon F + case £89

18-60F2.6DG.DG £239£299 CWLFhlmnev ~9 MegF ~C89 CZ25 F2.B MF £449 F2 Rim Mag Box £15 76-56 £69

2OF1,8EX box... earty 9 37 4.5Iisheye ~449 SIGMANAP TAMRONADAPTALl

~~0~6~&2~ ~~~~Ib~r~~si::r,:~ ~~4~f.::::::::m~ n:~m:~:g~.g1g 3OOF2.6SP ......... £599 WE STOCK IN DEPTH

5S-200F4.515,6OC.£59 A24chr 18 •• , ••.• £99 9OF3,SKllovely .. £279 18·12SF3.815.60S.£199 ~~~boxuJ:9 GlTZO, AHFROnO, TA RAC,

12G-300F2.6EXDG.£1299 PoiaroidBackl00 .. £39 150F4mintbox ... £199 18·125F3.815.6 .... £139 LOWEPRO, HOVA, KATA etc

17G-500F5I6.3 ..••.. £4,i29 .. 4iiO.Fii4.CiiiF.FliiiE ... i· .... £84.9.1.80.F4 •. 5.Kil..mIn.t.·i·ii£2i99 ... 18ii·ii200.F.3·i5f,i6 •• 3.OS •• £229 .... _IT.OC.K .... iii ... iiii- ...... --=---::::==:-''--~iiii;:-_. ~=,

17·35mm f2.Bl4 Oil SP PKAF

£139

18·200mm 13.5/6.3 XR Dill NAF (no motor)

£139

18·250mm f3.5/6.3 01 ii CAF/NAF

£2&9

Fastpack AW

100 £37

200 £45

250 £49

350 £59

CRUMPLER Pretty Bella 2500., .. £34

3000 £44

4000 £54

5500 £60

7500 £64

TAMRAC

Exhibition 3 Rust £45.00

Exhibition 4 £79.00

Exhibition 5x £99.00

Exhibition sx £119.00

°vt,inlti",n 7x £119.99

I::xtlibi1tion 7 " £99.00

Exhibition 8x £149.99

Exhibition 9x (shown) £179.00

Pro 5 £39.00

METZ 45CL4 NiCad

£129

Your good quality cameras, lenses etc • part exchange· cash • commission sale, Collection can be arranged.

5x4 & 6x9, CANON, LEICA, IttINOLTA,

NIKON, PENTAX, BRONICA, MAlttIYA, HASSELBLAD, FUJI OS - OW - GX617 Please email detailsinfirstinstance ... info@mffsuds.com

BUY ONLINE (new stock onlY) - CHECK LATEST PRJCES· UPDATED DAILY:

"""""" _ •• ~ -..= ... cI _ c: C» ... ~ (SECURE 1024 bit SSL ENCRYPTION)

the first to I.am about .peel_1 otfera and

promotion ..... us trw detalJa

Prices correct when compiled 22nd February 201 O. E&OE.

Epson TOOl Blom
Ep:son T007 £17.95 C/M/YIPC/PM
Ep:son 1008 Co our £17.9S BIIKk (2podt) £IS.95 Colour
Coioot (2 podt) £25.95
Epson T009 Colour £22.95 Blodt £6.99 HewisH Palkord No 27 Blade
Epson 1026 BkKk £17.95 Colour £12.95 Hewlen Palkord No 28 Colour £16.95
Epson 1027 Colour £21.95 Conon ru 8 BfUM/YfP(JPM £10.95 Hewien Packord No 338 Blade £15.95
Epson T0331{T0336 B/C/M/Y/LC/UA £13.95 Conan CL3a Colour £14.95 HewieH Padcord No 339 Blade £22.95
Epson TOOl Block £16.95 Conan Ct41 Colour £11.95
Conan (LSI Colour £24.95 Hewlen Padeord No 342 Colour £13.95
Epson 002/3/4/5 B/C/M/Y £8.95 Conon CL 52 Colour £17.95 Hewlell Packard No 343 Colour £16.95
Epson 1'0481 BICKk £12.95 Conan CLSll Colour £14.95 Hewien Packard No344 Colour £24.95
Epson 1'0482/3/4/5/6 All £12.95 Conan (LS13 Colour £17.95 Hew ell Palkard No 348 Photo £17.95
Epson 1'0540 Block £6.99 Conan (L1 521 Bfc/M/Y £7.95 Hmell Palkard No 350 Blade
Epson T0541flJ3/4{5/6I7IB/9 (olouB £12.95 Conan PGI5 Blade £11.95 £11.95
Epson TOSSI BIO(k £7.95 Conan PGI7 Blade £10.95 Hew en Padeord No 35 I (010111 £13.95
Epson 1'0552/3/4 All (olouB £7.9S Conon PGI9 all £9.95 Hew en Packard No 363 Blade £11.95
Conan PG40 Blodt £14.95
Epson 1'0591 BIO(k Conan PGSO Blade £17.95 HewieH Packard No 363 C/M/Y/lC/l1A £7.95
Epson 1'0592/3/4/5/6fl18/9 Colours Conan PG512 Block £14.95 HewieH Packord No 45 Blade £17.95
Epson 1'0611 BIO(k Conan PGI 510 Blom £10.95 He"lell Padeard No 56 Biotic £14.99
Epson 1'0612/613/614 Colours Conon PGI 520 Blodt £8.95 Hewlell Palkord No 57 (olour £23.95
Epson 1'0711 BIO(k Hewlen Padeord No 58 Photo £21.95
Epson 1'0712/3/4 Colours Hmell Padeord No 78A (olour £36.95
Epson 10791 Block Hmen Packord No 8811 Blade £22.95
Epson 10792/3/4/5f6 ColouB Hewlen Padeord No 8811 C/M/Y £16.95
Epson 1'0801 Block Blade
Epson 1'08802/3/4/5/6 Co ours
Epson 1'0870 Gloss
Epson 1'0871flJ3/4/5/6flIB/9 (olouB
Epson 1'089140 Block
Epson 1'089240/340/440 (oloUB Lexmark No 1
Block Lelmorlc N02
Lexmark N03
Lexmark No 14
Lexmark No IS (olour
Lexmark 17 Blade
Lelmorlc23 Blode
Lexmork24 Colour
Lexmark 26 Blade

Lexmark 27 (oioor £13.9S Brother LC9Il0 ClM/Y £7.95
Lexmark 28 Block £12.95 Brother lC9ll0 • Set al4
Lexmarlc29 Colour £13.95 Brother LC970 Blade £11.45
Lexmark 31 Photo £23.95 Brother LC97D C/M/Y £7.95
5042153 Premium Glossy 2559 10xlSOmm 40 Lexmark 32 Blade £14.95 Brother LC980 Biotic £11.95
5042154 PremIum Glossy 25Sg 130xlBOmm 30 LexmorkS3 Colour £16.95
Lexmorlc34 BladE £17.95 Brother lC9BO C/M/Y £7.95
5041315 Premium Glossy 255g A3 20
5042157 Glossy 19D9 loollSOmm 70 Lexmark 35 Colour £23.95 Brother LC980 • Set of 4
5041140 Glossy 1949 M 20 Lexmark 43 Coioul £21.95 Brother LClOOO Blod!
5042159 Glossy 19D9 A4 25 Lexmark 44 Blade £17.95 Brother LC1000 C/M/Y
DeIlJF333 Colour £25.95 Brother LCl 000 • Set of 4
5041061 Molle 102g A4 100 Dell M4640 Blode £25.95
5041068 Malle 102g A3 100 Dell M4646 Colour £34.95 Brother LC1100 Blodc
5041256 Malle 1670 A4 SO Dell 1'0529 Blode £29.95 Brother LCl1 00 C/M/Y
5042178 Gloss 22Sg A4 25 Dell 1'0530 Colour £34.95 2Gb 2Gb 2Gb 4Gb 4Gb 4Gb 4Gb 8Gb 8Gb 8Gb 16Gb 16Gb 16Gb 16Gb

SIZE mE f

Kingston Sandisk

Sandisk Ultro 11 Sandisk Extreme 111 Sandisk

Sandisk Ultra 11 Sandisk Extreme 111 Kingston

Sandisk

Sandisk Ultra 11 Sandisk Extreme 111 Toshiba

2gb 4gb 4gb 4gb 8gb 8gb 8gb 16gb 16gb 16gb

Netoe Supreme £5.99

Netoe Supreme U.

Kingslon G2 £&.99

Sandisk Iruzer U £8.

Netae Supreme £ •

Kingston Dototraveller £1 99

Sandisk (ruzer U6 £15.4

Kingston Dototroveller £29.99

Intenso £24.99

Sandisk (ruzer CZ36 £36.99

4Gb Sandisk O'OPBU D
4Gb Sandisk Ultra 11 PRINTE DWS
4Gb Sondisk Extreme 111
4Gb Kingston Polaroid
8Gb Sandisk EPSON m HEWl..ETT·
PACKARD
8Gb Sandisk Ultro 11 =£26.95
8Gb Kingston
8Gb Kingston Elite Pro

16Gb Kingston Elite Pro Epson Stylus Photo R2880 A3+ £519.95
16Gb Sondisk Ultro 11
................... u •••••••••••••••••• ~ ••••• _.
16Gb Sondisk Extreme (F Epson PX810FW A4 £279.95
...............................................
Epson Photo PX710W A4 £159.95

.~ ............................................
Epson P50 A4 £84.95
..................................................
Epson Photo R1900 A3+ £439.95
...............................................
XD Olympus Epson Pholo R800 A4 £249.95
..............................................
XD Olympus HP Pholosmort 8180 A4 £194.95
XD Olympus Twin (2) ................................................

Sandisk w/odapler (anon Pixmo IP4700 A4 £97.95
MSP Sondisk w/odapt ...............................................
MSP Sondisk w/adopl Polaroid Pogo 2"x3P £26.95 Photo Glossy Photo Glossy Photo Glossy Motte

Photo Glossy Photo Glossy Photo GI~sy Photo Glossy Photo Glossy Photo Glossy

A4

A4

A4

7·xS·

7·xS·

7"xS

6·x4·

6'x4'

BUY WRH CONFIDENCE FROM

ALVE YOU RI I G COS !

Boogeb are light. We all resent the high IDS! of inkjet and tuner mr1ridQel. UIce 1UlQ( bIode5, over !he life of a printer, tllIlSUmobles oI1en IDII much more them the mcxhine il!elt There is an DIIswer. Top quality reqded inIcjeI5 and tuners will often holve !he eDSl of mnsumobles ood always will !live money with no loss of printing perfotmoOOl. quality 01 reprodudion Q( warranty protedion. We ore the Iorgel! speOoIist wpplier of recyded printing produdlln Britain leml19 some 2Il.coo+ bUli_. edlKUlionol establishments IIlKf government bodies nofionwide.

Go to our website far over 500 TONER SOLUTIONS r~ " .. _ ":'

far. all th~ maior brands including HP, Dell, (J~ .: .: ,.. . JI

Konlca, Mlnolta, Epson, Samsung and Xerox! Y ·0....,""

AE Prism fifyJer _ _ _ _E .. £199

1A~.I..." _ .....• .Ettl~ .. £IG9-£249

Po loIagm._ _ E.,~ •• r9H19a

IA581 Ras, l!lacl:el_ _ _ ......• E £199

lWlIIl Rasl_ _ _ _ EH £279

Conta .• G Serle.

Hasselblad H Series

G2. 35-11iIml _ _ _ ...£. £699

Gl· 451m1 Fl •..... _ ...£ .. IIAlnl· £449-£499

8l~~2-:::=._._J:::~!

GI , __ _ ....•• _ __ .EH £249

~i!%~tF~:::::=:::=:::::~

2Snrn fl.1 G _ _ _ J>f"· £159

3S1ml f2 G _ _ •.......•. .E.t 1 Mini· r?l9-£239

!lO:lrn f2.lG_ _ ....!'i IN~, [119-£239

GI Le.lIhErc... _ _ .E·IE £29-£49

1LI14DflasL _ _ .. f.I~"'·£4>r7;

TWIlO RasII .......• _ ..... _ .. .E.t II~rt· £109-£119

Conta. SLR

Hlf BccIi. l'II'm -lAagali .. _ _.EH Wi99

Hl~.Pr;;m.loIagaz"'_ ..J.lilI-£2,4!l)

~~~iOSiid(:==::::=::::::=::t ~::m

HIA 16Gl Magazl" ._ _E.I Ett £1!liH3li9

HWIOOi'oElliid lAilQ_ _ _ .. .E £149

35mm F3S H; .. _ _ _ ...£ .. £1,399

5!l-110mm F3.5-4S nc._ _ _MilI- fl,:!i9

l20mm F4 He IA .. "' _ __ _E .. £1,450

15!Jmm F321iC_ _ _ ...£tt £I,m

Hasselblad XPan Series

)(pan I. 45mm F4 E.IEH [1,499-£1,6!i9

)lj)an. 45mm f4 _ -Elt I E. £999-1:1,099

OOmm F5JiAs!ll, An,", _ •.....•• Alit- fl,E49

9IJmm F4 _ _ _ Et+ I Milll· rJe9

49mmCe<trefilEr .....•....... _ ......••.......• E· £149

)(pan lI! CO~ _ _ _ ..IAinl· £19

I..!rgeFrrma ·P""Phooo

Leica M Series

BronioaRFE45·P_Phooe Bronica S1AEC1L· Please Ph""

Bronlea SQA/AI

Lelea Screw

0"" SOIl'Od< EdOCtl ~o 900 _ ~ £1 ,250

IhF R,1liaJ DlA Cflrome Scd{ •....... _E. i:1m:349

IUF R,Di.1 Chltmo [l<df_ __ _ .. .E. 1:299

IUFa'Di~C,..meS:Jr!j_ ......• .E. IE .. I:2I!H2!i9

m CMIrne + iJJmm r2_ _ ...... _ .... Exc r:2e5

IU CMlm. So<iy ••.•... _ _bJ: I Et 12l:-£275

IIF ~1liaICh"""~_ _ _ .. .E.£350

IIF SOOI. &lmm ,as _E. £449-£'50

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&lmmflCciIojl!l]je. _ _ As SeCtl£l!i9

&lmm 1 S1Jmmllar _ ......• _ _ •... E. 1:249

OOmm ,4 EInar_ _ __ .. As S,r,. I E:<: £4S

l;);mm f4.5Hei<ttt _AsSe<nIE. £39-1125

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2lIJmmF4BTeM·_·····_·····.E"'E.m~£24S Rio:Il2&rrnF2.lGR'Rncf"_ ..... _ .. .E.£6!i9 Canoo 135mm F4 Sermar .,,,,,,_,,,,,,_,,,,,E- [95

1,1100 Cbse Up SoI _ _ _E.· £95

eoowucowS<t _ _ ..r .. [3~149

FIKlfSHoaI.~ _ _ _ _ .. ~linl·l79

FISO~ Hoal _ _Ett £29

IUFOO Hood __ _ _ _ E. £30

ROSCt Frame ~nd" .. _ ......• _ _ E, [19

S&lOI5<rn Ftr<Ior _ _ _ _E.· £95

Si100 _ Rroer _ _ _ .E, 179

SGVOO 9cmFmder.. ..._ _E.· £75

M.miy. 6/6MF

6,!iln'1llnm1&l!mt. .... _ ... , t.IEtt~iI!'I!l,IIIl

~~~~Xf(!l!i.l~=::::=:::=£;:gli

Mamiya 645 AF/DIDII

&4lAFDIII COmr:A<te .. _ ........• _ .E, Drm 1:2~

f>I5AFDili ~.On~ _ _ E' Demo 11,999

&4lAFD CO;~"'_ ... _ _ ...• ..E .. [!!i9

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;);mmF3.5", _ _ _ B Dom.£649

55mm r2.8 Kr __ _ ... fx Dam I E-++ £499

56-110mm f4.5 AC _ _ .E++ f:i99-lI99

OOmmF2.8K- _ _ _ .E,Dom.£2fi9

IIIlmm r?a Ai D_ .....• _ _ E' Dom.1499

11I5-211111m f4.5Af 1A.D_ _ _E .. 16!i9

l:IImm·4 M",.MF __ _ E" 11,099

l&lmm fJ5 A' _ .,.E' Demo l~eN L>I~£449

210mm -4 AF ULD •...... _E' Domol E ... £699-£749

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121~10~~~64W4)_ _Et Illinl-179·11!i9

IJJtJ E>.1ORSI'Jl Tube NA40t _ _E.·I99

IJJtJ E!1ensm Tube NI\4CI2 _ _E., £!i9

AJJ!J E~~nsm Tube HAA03 _ _E reg

I~ SqJ!lrll'g_ _ E .. lllinl·m·t8ii

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PIai,P'sm 615._ _ _ _ ..... E. £49

F\asIll~ IOl~2~ _ _ ..Ett £29

Po.."Dri .. S45_ _ _ E.E49

Iu.lo e. .... ,'" Tube 1 .. _ ...E.IEtt £2~£2S

Iu.lo Ere,,'" Tube 1 .. _ -.£.1 Ett m·El9

Iu.lo .""''''' Tube JS __ _.L. Illim· £25

Pro Shade_ ........ _ _ _ _Ltt EJ9

SCAm ",ill Ad,pIer _ _ ..Ett t45

Mamlya1/711

Mamiya AZ67

PmCor!!> .... Af.Pnsm __ ...... _ .. .E.£!9!I

~~~ .. ~.: .... :=.· :{;;~t:~r1~

:lJmm f4.S Ulll _ __ _ .Nu 1699

SOmm ·4,SW_ _ ,_ £ £l49.£J69

65mm -4l..l _ _ __ _ Net' £549

65mm '4 W __ _ ,_ _, .E. £l99

1'5mm -4.5 SSIllI. Space. .. _ ..Ett £949

i5mm,4,5 ShmW ,_ _ ,_ .. .E+ £549

10IJ.2IJil'nm F5.1W _ _ _ ... E.!Jl'9

I40mm f4,5 Ilacm Ill·A _ _ ,_.E .. £l99

140mm F4.S W tAa:ro ""_~"""_."""'H£tt 1:259

l:lJmm fl.S II ....... _ ...Ett I ~ •• l:35G-t499

llI'Jmm<4 Vf'J' IDl ,_ ,_ ...... ,Eri £499-£m

llI'JmmF4.SW .... _ ...... _ ...... EICIE. £1~£199 lOOmm <4.5 II'N .. ,_ .. E, 0<t1rJ 1 hI,JHI4HJ95

2Y.Imrrt F4.5 .. __ _ _ _ ..E~ £1i'9

:15Ilmm F4.5 ~lA_ ,_ _ _ .. ,E. £199

:15Ilmm F4~ W ..... _ _ _ ..E .. tllS

~~~ ~~'~::::::::::-::::::':::::.:::~~'::t~~

1SIimm F,_ .. "'_ _ ...... _ ,_ .. .E. £l99

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11O I'nlIAag _ ,_ 10 s.oo 1 E .. ESIH145

11O I'nlIAog 1!'4,5) _ _ ........ _ ..... .E. £145

llO I'nlll Mag _ _ _£.1 Ett £111-£89

PIII'roidhl'g _ _ ...E.1 Ett EJ~N5

Af.11'iIm Fino. .. _ 10 SeenIE .. £149-£149

PO Prism Falor _ _ _ _ ... E. £125

Prism !'ind~ ,_ ,_ ,_ _Ltt Em

FlasI1lGr\1_ ,_ .. "'_ ,_ , .. £09

Ma~!r:,!l:Rpj!I:~~~e

Hikon AF

f~ ~Only_ __ _ .. ,..IJlnl. £1,199

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foo ~o.;y: ..... _ _ .. ,.EtIEH rs9.£1lS

f~~~~~~niY.:::=:~,~~~J~ f~:~~I~===j:~

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IG.5"" Fl!.SG EO DX _ _ .... Wnl,!399

14mm Fl!8 AFD"""",_" .. ""._""",_"..IJlnl· E.'W li-5Omm Fl!.8G AFSOX IFED.E.I E .. £E39'£&<iI

18mm Fl!8AFD". ..IIJi,l, £799

18·i'Ommr3..5-4.5 IEHr9!H159

18-lo;mm fa5-5,D "."..IA,I· £149

18·2IJ1l'nm F3.5·5.! _ .. I .. [393

lll-J5mm Fl!~ AFD, ... """"_"",,_ .. ,,,_E" 1449 14·5(lm111 F3M~AFD """ __ """_,,,,,,_E- [119

24·5(lmm F3J,-1.5 AFN ...... _ ..... _ ...f. £IC$

14·5iImm F3,5·45AFD""",_,,",,_ EH £149

14~mrn Fl!.&4 AiD ........ _.I.1 E •• £199-£299 14·llOmm f3.5-S. ED N'D .. " ... _"""...f. £159 24·120mm F3,;.s~ GAFS ED VR .. E .. fJ:ll-r449 281m1 Fl!.8 AF _""". __ """_"." .. _ ...... E .. £llS llHl1lmm F3,;.s~AFD",_,As SeeoIEH £49-[79 26-IGIl'nm F3.~5.8 AFG.. ..... _ ....... _ ...... EH rs9 16-I05mm F3';'!.5AFD "",_"""_",,IH £159 J~I05mm F3.5,4.5 ,IF _ ...... __ ...... _ ..... EH 1'$ »<iI:rnm F3 5-5.! AFS OX G".E, o.m, 1 En £119£129

~~mf}~.t~:~,:,:::'.,V.~~.:I.~~

71).J1Jil'nm '45.6EOAFD.. __ ....... .E .. £169-£119 8~2OO1lm F2,8 ED ,IF " .. ",_"""_",,,_E- £393 8~1IIil'nm ·4,5-56 AFlL .. " __ ""."_,,,,I .. rs9 81).4G(trun i4.5-5.e AF1l YR ...... _.I. I E+. £89iI

85run FI.4 AFO .. """._"",_"""._".E [&19

85rrrn Fl!.8 AFD PC .... _ ...... _ ...... _ ... E £&19

l8UmmFl!.8EOAFD"""."" .. ""...E"IIJlnl·£4B9 TC1CfO Coo' .. rIr1 ...... _ ...... _ .... ,,_ ... E .. [249 Stlm, I.". Fl,8 0 £X DO F"""I',_".",_E; f::>19 Sgm' 1&~5mm F35-451oplL ....... _ .. .E •• [119 Slgm.lOmm FI.8 DO RF""" .• " .. "._".E+- £m

23-lOlimm F3B-5.lX: .. """_,, .. .EH [79 30mm FI.4 DC EX HSII... ...... _ ... E+, £2l9 59mm ;2.8 D EX M"" ... "_"",, .. E .. tl19

rt:~~l&~~~l,~'::ii;:i'~

iO-31limm F4-5c6Apo OO ... _ EH £100

iO-:IJum." F4·51i-'l>91.".. _ ".E .. £109

• 6 A;n 00 OSEtIE" rn<lH6:8 Sgm, I~il'nm F4 0 Apo EX HSM."" . ..E. £&<iI Tarrron 1m F2,8 SP AF _"",,,,,,,,,,,,,, ew [5l<I

T,,,,,,n 1J.51l'nm F2.SXR [) n ....... _ ..... I [199

Tarrron iO-21!lnm F2.8SPAFLD ", __ "I [393

Telepfus 2x OJmr:rtfr _ _ _ Et-; £S9

TeIe~us" I'rollGCoo\OrI<I_ .. """_,, E ... [79

Tokila HH7mm FJ.5-4~ATX FEhe)e ... "Ner/ £4110 Tokila 12·14mm F4 PIll OX _ ... " .. _" .. lJinl· f::>19 ToI!ila 51HJ5"" F2.8 ATX I'nl OL_ .. I .. !399 Z~" 250m 12.8 7i ._ ...... _ ....... _ .. ..IJi~, £549 18ss 5t1!rn F1.41F _"""_"",, __ ,, .. IJi"I· [449

~~~$.1~~fl':;;;:,=::::,=::,:~~~

01'14 V'listl"'" Fino. ...... _ ..... _ ..... ..IA'I·1'SS IIBIOG", [9000 ",_"""_,,,.E.IEH r.s-£SO

IIBI5 G", ~IOOI ........ _ ......... __ ...... _ EH £llI

IIB160rJ' I 801._"""_",,As SeEllIE £19-!29

11B40~p ..... _ ..... _ ....... _ ...... _ .E .. £169

~~~~~I~:=::::=:::::=:::~JI\WJl

>-1:1111 H£llI .f5!I Hrn5 .. IH£i8-I19

~kcn U!IIwl· Please Phone

Olympus

011411 BlW<, StI!rn FLS ...... _ ..... E. £299-f::>19 0114 Black Bottt _ ......... _ .. "" __ "",,,_EiC £129

OI11N Cl'rom~ Body .. _ ,1, Seen I E. E$-I'SS

OM2C~_ Bottt .. _ ,_ ...... _ ....... ...f. [79

Sensor dust is caused by the build up of static electricity in the mirror box, in the last 2 years new digital designed SLRs have an anti-static coating to minimize static charge build up, however, it does not always eliminate all charges and weak residual charges can still remain on the sensor surface. Visible Dust Senor brush in conjunction with Kenair give you the Ultimate dust lift capability.

1.0x Full Frame Sensor Brush 24mm

Corner BrushThe fight against dust shadows

on your images does not end at the sensor alone. Throughout the chamber area of any DSLR there are a variety of places for dust to accumulate some of which will end up on the sensor, I1rO\ (QYQ1

SRP £29 Ffordes Price ~~

Pemax Af • Please PhotIe PeIl1aX Manual· Please Phone

Chamber Clean

I

~.

Specifically developed to aid in the reduction

t: m~~~~~,:"'=":t,;;,. ~m of dust within the chamber area. It not Bessa R2 OIi,eBodyOn~_ ..... _ ...... E .. !299 only cleans away dust ,oils lhat ac-

l:: ~Att =:;:::::::::~:n~~: ~~ cumulate on the walls and mechanisms 2!mm ,4 Cob! "'O!'l_ ..... _E. I Mil· rI9~£249 but also provides anti-static properties

= ~st:~fii~-:::::::==-".'.~,! gji to reduce further build up,

~~~~k~~.r=:=:=1.~ SRP£15 ~

'iil!Jff\rmer." ..... ,_ .. "'_ .... "'_ ....... ...f .. £99 Ffordes Price liYi'\

Zeiss· Please Phone 10 swabs + liquid ~

Voigliander

Visible Dust

Kenair 360ml cartridge + actuator valve (re-usable). Safe, dry

gas, CFC & HCFC free, complies with all EC regs.

Kit 00i?.mD Refill~

[h~.

Hard travel case Normally £19

but when purchased with any of the ~~ above ~

~

NICHOLAS

NIKOII 200mm F2 AIS .. _._ ... _ £1345·£2275 NIKorI30_ F2.8 AIS .. _ .. _ .. _ ... _._ .... £as< NIKorl400mm F2.8 AIS .. _ .. _.12950·[3575

NIKorl F3T. BLK.BXD.UIIUSED .£1395

NIKOII DW31 - F5 £3~5

NIKOII F.Prlsm.Chrome,asnrN _ £495

NIKorl PHOT TN. ~. 50 .. snew _ .. _ .. _ .. £IIEG

NIKorl F2~l.Ve'1Clean _ _ £375

NIKorl F2ASoMD3.Nice £795

~:~g:: ~CDt4~~M".tJSed_:~:::~::::::::::g~

NIKorl-slV65mm14 COPAl _._ _ .. _ .. £795

NIKorl135mm 15.6COf'AL .. _ _ £445

NIKOI121iJ1lm 15.6 COf'AL ,£495

NIKOl1240mm 15.6COf'AL .. _._ _ £695

NIKOII ~5Omm 19 m COPAL .. _._ _ £995

NIKOtj EN·El7banery,nel'l._ .. _ _ .. _f::J9

NIKorIMB·18.F75. n''' _ .£69

NIKOII MB'16,FOO, 110" £89

NIKOII EH·62A ac ad,~er _ £69

NIKOII 050 b,",'1 grip - H'nn'I _ £89

NIKorILS30Co,isc.ln 111._ ... _._ _ .. _ .. £295

NIKorl EN·El2 Cip' 35-!500 _ .. ..£39

N1KXOR 85·481el1s tll ~rex '''''' ... £169 OLYMPUS l00mml~8 ........ _ ... _.£445-£575 OlYMPUS 35mm 12 .. _ .. _ .. _ .. _ .. _..1"m£145 OLYMPUS 35mm shift lens ...... _.£395-£495

OLYMPUS 500mm lB. 3S nf'tl_._ _ .. _ .. £475

OLYMPUS 601i0mmPEIHT oaf495

OLYMPUS 90mm f2 MACRO _._ _ £795

OlYMPUS OM4 _ .. _ .. _ .. _ .. _ .. _ .. _.£175-£345

OLYMPUS PEN-O .£99-£195

OLYMPUS XA.SERVlCEO _.£125-£115

OLYMPUS XAMA1UI"h £225

OLYMPUS PEN·FT. blaclc .. _ _._ _ £395

OlYMPUS T45 flASH 'U1f~ .. _._ _ .. _ .. £295

OLYMPUS FL50 flASHGU11 £195

OLYMPUS TCOIH7.AIJI>T. m5

OLYMPUS TCOIIUB p" VOller ._._ ras<

OLYMPUS lI·30B ba",ry. n,,, _ £29

PAIIORAMA 35mm CAMERAS _ £AS<

PErITACON 6TL • BOmm £175

PEIITACON su Lenses fASl(

PEIIIAX Z lalP £95-£145

PEIITAXAF SI(lMA 50 MAKRO._ _ ...... £169

PErIlAX AF SI(lMA 1116MAKRO ._ _ .. _ .. £295

PErITAXSUPER-A MOTORDRIVE £145

PEIIIAX 2DOOmm 113.5 ASNEW £PeA

PEIIIAX SpOlmatlc F. BI • 55mm _ £225

PEIIIAX24mm 13.5 SUe","" _ _ £295

PEIIIAXSipma 14mm12.B AF ._ _ .. _ .. £475

PErITAXAFSIGMA 17-J5mm £215

PEIIIAX LX MOTOR DRIVE £24H4~5

PEIIIAXSMC·A 2So135mm .. _._ _ £295

PErIlAX671045mmI030_ .. _._ .ras,

Prcjeetors.conveners.rasesnans. Flashguns., EnlilTgers

PHOTON B IIOO'f\I redhead kit, .", .. " £.395

PHOION B.MIIIO DIVA IIghl _ ... _._ _ras<

POtAAOID 10.<8P","ssor _ .. _ .. _ .. ..£ASK

PERIFt£X GOLO' .5012.8 _ _ £295

REIO 3.oCITI TTH.SUPER8 ..£1795

RICOH GR111s11' £16H3~5

RETINA VI, _ £69-£115

RETINA REflEX 4 _ .. _ .. _ .. _ .. _ .. _.£275-£425

ROllEl-35.GERMAII _.t245-£315

~&~: r8~GtL~~:A~&~~.D .. ::.::: .. ::ci'~!

ROlLEI6DOO HIGH'() SCREN_._ _ ...... £145

ROLLEI6001/l1f1 cDmp ._ .. _ 15M995

ROllEI601J6 COMP.ASIIEW .. _ _ ...... £699

ROlLEI60116i [87Hl195

ROlLEI60116Io~r~ II" ,"'N .. _._ tneg

ROlLEI PO IS 41Jto250mm ensss.; _ras<

ROLLEI PO 14().28iJ1lm ._ .. _ .. _ .. _ .. _ as<

ROllEl Pll 6K6cm PROJECTOR .. _ £595

ROlLEI S1.66 METERED HOOD £295

ROlLEI S1.6lIEiSE 45' Prism _.£195·£325

ROlLEI lilm. ROlLEINAR 1·3 _._ ..£as,

ROllEI6K£; ~roj.lens 110·16_ £345

SEKONIC lII8 SPOT METER _ ...... _ £445

~:~~~j2::~ill"aJ.C";.'}U~:_:::_::::1~l!

SIGMAApo 400mm 15.6 CAF _._ _ .. _ .. £295

SIGMA60iJ1lm MF.OM.MD.IIIK £345

SIGMA lBOmm Mac" CAFrlJAF _ £415

SIlIAR P 10.<8, SINAR P2 10x8 Cl~,

SIIIAR P2 5x~,,, ne" ... _ ... _._ _ £.fl'fS

SIlIAR P2. 10.<8 & 5<4 ._ .. _ .. _ .. _ .. _ .. ..£1995

SIIIAR·C 5<4 _ £795

SIIIAR NORMA 5<1 & 5'4. user _ £J95

SUIII'AK DX12R PRO RING FlASH £225

SUPER SYTlIMAR BOmm 14 1:1275

SUPER IKONTA IV (6Kfi) ... _ _._ _ .. _ .. t399

IAMROII28-111612.8 CAF.NEW £495

IMlROII AF 300rnm 12 811AF £995

IMIROl15OOmm MIRROR ..... _ _._ _ras<

IMIROI1200~00 MlnoH. AF _._ _ £495

TOKIIIAATX 28·7012.8 NAF .. _._ _ .. _ .. £325

·VISATEC Soft Box ..£as,

VOIGMNDER BESSA R2 M £375

VOIGTlANDER BESSA 116,9 £245-£495

VOIGTlANDER R2lrtRAPIOWIlIOER .... ras< VOIGTlANDER Prominenl.50 12 _ .. _ .. £475 VOIGllANDER 54mm UVlFocar lenses £ask

VOIGMNDER 150 "". Lanlhar £695

VOIGTlANDER 240 mm HElIAR _ £595

VOIGTlANDER 1~,75mm M39 .. _._ ..£as,

VOIGMNOER VIRTtJS-j;45 .. _ ...... _ £415

VOIGMNOERVIJOMATIC II a ,., .£75-£145

VlALtJ,CE HEATON 6).9 carnera £275

VlIDELUX 150 PANORAMA. 1:1995

VlRAYFLEX 1 MIUTARYbody borrorf ..£aS<

YASHICA AF35-10I28·85IID-210 .fASK

YASH ICA 500mm 18(Conta, I~) £J95

YASHICA H5lei" 1' £lIH225

ZEISS 35mrnl2.bLCONIAREX ._ _ ...... £999

ZEISS COIITAREX250mm ._ ... _._ _ .. _ .. £995

ZEISS BIOGON 75mm US MiI1a'1_ ..£ask

ZEISS PtJ,IIAR OOirrCOIllPUR £IIEG

ZEISS SOIINAR 25~OMPUR £IIEG

ZEISS COIIIAX300mm 12.BAE £IIEG

ZEISS IKONTA 6<4.5·6).9 _ ...... _ .. _ .. _ .. ..£ASK

ZEISS IROPEN[TROPICAl)AOORO £IIEG

ZEISS IENIIAX 1 seN"od £169

ZEISS CONIAX 1·II~ar~)Us _ _._ _£a$<

m~~ f~d~,;}~~~:~~p~s~s::::{;fs

ZEISS SUPER IKONTA·1V.cased .... _ ...... £415

WHAT'S _01 U$lEO?

Filters flom 22mm - ll3rnm.CAMEAAS· Otll.VERYOLD.OOD.VllIRD. UGlY,BEAUTIFUL Lenses 10 fit mest cameras.Pindars.

PRICES???-IIOTltING IN LIFE IS FIXED. ANO THIS APPliES TO OUR SECOllOHAtlD PRICES!!!

WHAT YOU EXPECT FROM NICHOLAS - KNOWLEDGE, EXPERIENCE, EXTENSIVE STOCKS

BUY BY POST WITHI TOTAL CONFIDENCE. IF FOR ANY REASON YOU ARE NOT ENTIRELY SATISFIIED (DON'T TELL US WHY) RiETURN GOODS WITHIN 7 DAYS FOR IMMEDIATE REFUND LESS POSTAGE. 3 MONTHS GUARANTEE. EQUIPMENT SIMILAR TO ABOVE WANTED FOR CASH.

Ayr Bath Beverley BrighouH Bristol Burton on Trent
VENNAL CAMERAS BATH PHOTO OPTICS BEVERLEY CAMERA CENTRE LORDS PHOTO DIGITAL ACE CAMERAS CHRIS GOODHEAD
01292610370 01225 446 S99 01482868243 01484 713 869 01454325302 PHOTOGRAPHIC
01283 56 I 894
Chorley Colchester Colwyn Bay Croydon Darlington Farnborough, Hants
WILDINGS PHOTOGRAPHIC LONDON CAMERA CAMBRIAN HIGH STREET RADIO DARLINGTON LONGWORTH
01257274224 EXCHANGE PHOTOGRAPHY & PHOTOGRAPHIC PHOTO CENTRE PHOTOGRAPHIC
01206 573 444 01492532510 020 8688 9015 01325359744 01252541 756
Folkestone Glasgow Gosforth Newcastle Hexham Hythe Lancaster
SEYMOUR HARRISON MERCHANT aTY CAMERAS D&P PHOTOGRAPHIC PATTINSON THE CAMERA SHOP Gl. ROBERTSON
01303 253 328 0141 5526823 0191 213 0060 PHOTOGRAPHY 01303266706 0152432045
01434608419
lerwlck London, Elth.m London Tot, Court Rd Manchester Middlesbrough Newbury
THE CAMERA CENTRE PERCIVAL CAMERAS HI-FI SURPLUS WILDINGS CAMERA MART T4CAMERAS
01595694345 0208 859 7696 0207 255 1394 PHOTOGRAPHIC 01642210814 01635528788
0161 8322656
Northwkh Perth Perth Scunthorpe SwaMtla Swlndon
WILDINGS JRS PHOTOHARDWARE THE CAMERA SHOP TOM DENNIS CAMERA CENTRE SWANSEA T4CAMERAS
PHOTOGRAPHIC 01738 633 500 01738441995 CAMERAS 01792476099 01793523332
0160641110 01724 867 302
Trowbridge Ulverston West Norwood London Wilmslow Woklng York
CLIVES CAMERAS PHOTO EXPRESS IVOR HOWELL CAMERAS WILDINGS HARPERS YORK CAMERA MART
01225753 120 (LAKELAND) 0208 670 0450 PHOTOGRAPHIC PHOTOGRAPHIC 01904 642 491
01229583 050 01625 526 422 01483 756601 CANON - £OS. FO NINOLTA/SONY

EOS 10 MKIIn E++ £1099 85mm fl.4 Af M. £699

~g~~gO:::; E~~ rg~ 28-700.5-4.8MO f++ £59

~~~~:~::~~~~: ~: ~~~O~~;~~:.5~: £~~

NIKON AF, AI, • AIS

LEICA - Screw & M Sysoom 14mm 12.80 M· £899

M8.2 Otrome Body M £2749 20mm 12.8 AIS f++ £329

M8 Blade 80dy E++ £1599 35mm 12.8 Shirt M- £349

M70.72xChtOtTl. M £1999 SSmm 12.8 Moc AIS f + £179

M6 'RPS' d,llO" M £2999 10Smm 12.80 Micro E++ £379

M6 0,58>< TrL Black M· £949 8O.40Omm VR M. £849

NINOLTA OLYMPUS-

X300 & SOmm 12 f++ £69 16mm (3.S FI,hey. M· £699

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17'5512.8 IS USM L839

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level + Back £899

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RZ fit 1.'1, Tele"" '" ,£155 8ronic. ETAS. 7512.8

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Penl", 6,7 Iii 13514.5 Macro £350 Russian Arsa131l13.5 """,."".,£125

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Olympus OM2N 11,8 " .. ", £110

Min Dyna< 40 T 28180 £79

Olympus OM25P Fl,8 '" ",£149

1.lrnoIla X7oo. Ft.7 " £149

Fuji ST6()N, F2.2 £79

Canon E05 30 bfN" "",£275

Ca10n E05 50E b/w " £85

Minalla SRTl016 FIA/50 £1 SO

Canon FT GL +Fl.8/50 ""'" ",,£90 Olympus OMIO +FI.8/50 ",.,,£60

Minalla)(3oo £99.99

Exak:a VX2B 2.8 Tessar "",.,,£135 Penla< Spo:malic 12150 "" ,£99.99

Penla, Prog A .F2150A £120

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Canon T50 +FI 8/50 "" ",,£50

Penla< MZ7 +28·80 ",., " .. ,,£89

Minalla'lH .F1.415O £1 SO

Canon AI .FI,8/50.", ".,,£140 Ol,/mpus OM250 +FI,815O , .. £140

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3G +F2/S0 8ummic!On '" '" £1299 3F RD F215O, " .. £399

2 Chrome bNi £299

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SO/F2.8 Elmar .,," " .. ,£275

9Q/F4 Chrome £190

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Scm Xbook vn £100

NIKON LATEST SELECTION

Fl00 -28·70 Am £450

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55·200 DX AFD ,.. "" £129

301JIF4,5 NIAIS "'" """'''' ,£270

I3SlF2 NlAI 35/2,8 NAIS

, .. £440 £100

105lF1.8 Nikkon A 15 " £379

75·300 F4.515.6 NAF £229

105/2.8 Macro AlS. " £150

28·85 3514.5 AIS "" .£150

18·200mm VA ED IF,,, £399

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281tt.8 Sigma D·AF,,, , .... £150 FM2 Black bio . £200

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Nikon 0500tl/ll300D AFS ;18·200 Mk2 AFS DV 3Sn 1.8 G AFS 14·24 2.8G

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USED BARGAINS

"""""" __ ",,,,~I;;· £2100

.. " ".,,,.IIi1-f1!1OO

..................... _._E:c...-+-+ £1750 ..................... _E»e+.£'1299 ..... _ __£xc+ EI~991tllm ............. -----.fxc.. £969 ...................... _E~c++£893

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................... __ ........ 1.1i1- £300

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. Ext •• el93 3500 + EFs la.S6m US),t ..... _____£;cc++ £323: 4000 + EFS la-56Ir.m""""""""El~+ C3~t393 EoS OiGITAL ACCESSORIES BG-Eti(5Il14KIf) 1~",1:2OO

BG-E~ (50 14KI) Bot __ .b' .. f149

BG-E3 (3511'1o:10~) So"< """"""" Ex,,, OOt9l BG-El (2<10, 300, 40~.!£O) eo. __b". t!9 B(7E2~t6P511ABol:", Mnt-.£I19

BG-ED3110~) __ _ __b". £J9

CPS400 Oua Bill Pack Box '" ,'Aint [93

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LP-E4(1O "'''''i t:!lI

BP5t1A_BP511. FnlmE2S

NBllH (071G9, 3511!l'4Ol)) """"""""From [10

22DEX Sp!!1lIte Mnl- £93

WFH2 I cse I Scft¥,'ile '" tAint (449

Focus Streens EFoS. EF-O _ _AI £Z3

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EF~35m",f2.81." E~C'IE649 ~~:m~al~1ifIr ~·=~Ir~:

EF2 100n-.mUl.!sBc-~ 111·£8.49 F02&r.mrz.a_ ____£xcll£5,5

EF23-70121l. _ ---E:cc •• m FD28rrm:2.3_ __ fxCH£S9

EF 35-351Jrr,mIJS5.6L EIt £nG rn JStr.m 1l1l+ShHll2.B Bll

EF 7(l·2OOn'.m fl.8L 11i:od ...JAlnt£929 • hood I 00,"", "Asoe .. £899

EF 3Smm 111l tAKII ~lH:- E14fiS FO JStr 1l1l+Shift 12.8 Bllcc:k _.____Ext"! £493

EF ~5mm f1.21.. ,.00 __ ifft· £900 FD S&rm iI, ." ...... " .. Minl· £293

EF DIFFRACTIVE OPTICS FO 5ttr,n; 1..4 _ _._._bCH £&9

EF10-JOOm OO.ust.t8a<_ .. "".11;;.1:893 Fll5l:mmiU'Do< ........ ,UE\YIIUIl

EF 2Umm f2.8 USl.1 Bar --_." J.ff1- £393 FO l!fum '1.8 , £1[1 £75

EF 1_ 128 """,,~II'I· £249 Flll00.r",'1~ • Do< .. " .. " .. " .. ,, __ -.IoIrt-r1l9

EF2&nmf2..8,_ --Ex!:++fl"9 FOI35rr.srf2,8.tm __ .I.Iinl-Ofi

EF lOOmm 128 Marro USIA " .. " _IAlnl099 FlllJ5rr.mt3~ """ .. " .. , .. .E.o:. 09

EFS 17-85mm IS ltSM i tlcoo _.t~inl £W FO 20Cfl; rz.a + tm ~._ . .r.tl111 ~

EFS 17-85mm Is lISM ---E:cct. £279 fO 200mm f2.a Mkl _._._._ Exc. £129

EFSI7-85m IsUSM ~.bci£2ED F02~mM b:.£49

EF2-'-8&r.m0.51.4.5UStl __ ........ 1Ill1·.EZXl FD~U' U'IpOddatrp .. __ Jw' £200

EF'2&-!05rr.mfJ,s,l.4.5t-b::1d.. tAint£.100 FDJOC!m t4 .~ Asnglttl99

EF2a.1C&r.mU,15.fi . __ 111"'.£149 F03~m~.6... .. .. .f.lJ:+ta9

EF28-3I)r.m0.515.6-USI"_ .I,If».£m FD40Ctr. t4.s·tiDddarr,p._ .......... .1Alm-fM

EFZ3-13&nmtsU5tAiliood __ ilrt-mS ~=:=::: __ _!~::;:

EF2a·2IXlmmf3..5!5,6usr~.. tAinlt2i'O FD5OOrrm!'3l.1illQ"+hood .. .E:rt+(I79

EF75-3OOn-.m~I.5.fiMKlII _llllint·£119 F050Cni tas.gna _. L:t:+£19

EF9O-3C&r.mU.5I.5.6Bc-x _ ...... j,in·flll FO 4J;\tt;EAt:tEcOO'+Ci5!+l!at .1.llllt-f2I9

EoS FILM SYSTEM Fll1xA"""d" __ ,_f49

EOS5BOOySol: t~n(CI49 F02X1\~tenl!er ._ .£79

EOS 5 Dal!: Bcdf . Exc++ £119 FD 2xBtlle,'lOe! • care + oox __ -'Allli £100

EOS5 ~'{2) Ext" £1~ MAMIYA TWIN LENS REFLEX

EOS A1f. BoI) _ ____b". "" 6X6 SYSTEM

EOS 10 Bcxty.... . .. "".""",E»;c. cro C330 P'Ofes!iooal-S

E~30Bodl'B:n: iti1-tl-19 :In:!~:= ::.:::.:::.:::.::::3~::~~

EOSJOI>&eBo:!yBo< """",\1;;·[179 _m~J .Excu[149

EOS5llEBo:!y -- _ __b".."" BRoNICA ETRS SYSTEM

EOS 53E I EF 28-OOm1 " E:cc'l £149 Zenzara'l4Umm f4 Me "... .Exc++ lOO

E~lDIlIJ Body_ __ ___br:++ t15 8mca SQ-AiS)'Sll!m pnsm nndef

EOS300IJIEF3S-3GtxJ:r"" tAinl(100 4SOSBo'( "-111£00

E~5OOtl f er 23-&C1mm _,~inlrti9 LIGHT BoX

EOS600.EF3So7Cfr.m"". E.lct£79 47tmxI4tm. _£39

EOS6~ + EF 3f>.1llmm • .. Ere+ £79 5Iktn x 3Jan , --.!79

EOS650 I Ef 35-1tC6mm -ExCtl £129 CONTAX G SYSTEM

EC5 i5D + Sigma 28-1Dmm __ __!;c~+ E49

EOSIOlllJFBo:!y" bt.t:3l EOS I(lOOFN Bo:!y , .. """"""" .. __ ,..E,,,..!!Il EOS JIIOOV Body Box _ """"""""",_I~nl £15

Sip>a 7!1-21Chm Uffi.6 """,..1,1,* t:3l

AF TAMRON EOS FIT XR.()i1-8-7llrrrn12.a+ ti:JDd _ ...... J.lrt-£275 AF TOKINA EOS FIT

SO 12-2"mrr; 14 ATX Pro _P.linl £340

19-35m. n.~4,5 "".11;;. f193

EF EXTENDER

EF UH1Kil Bax __ """""""",,_I~nl E119 EF1"'X},1KII~se ...... __ ....... j,in·£Zti3 EF/EFS LENSES

AF SIGMA EOS FIT

EX 30mmtlA Bci"!: ..... ~fi1·£319

EX5IJmma!Ms01l. __ j,in·N49

EX 10-1amm Uffi.6 .. , "",,;,1;;· r.l49

EX 17-3Smm 12.814 &Xl ...... j,I"- £289

EX 16-1Ornm f2~4 tJC """"", .. _fx". [59 EX 1So200mm ij,,~ 3 OG """".11;;. f193

CANON FO SYSTEM

fl11AEBo:!ySo"< " ..... MI'I[it!!l

Fl11AE Bo:!y" ... " .. ,Ex" f219

Fl 8<JIty _. _ __Ex~+ !249

i9iJBo:!y ",bt'[I93

i1(18od~ __ ._ _._._tlt-l+ ral

A'+5{lrnmfI8 .. bc+£I49

LB +5Dmmtl! ......... J.IInI· £149

FI S(leed Rrnter' C;;5e"M Exc' [129[149

Boos1Btl Finder + Case _._ .1.11111·£193

3OO'l S~tle " bC'1 £59

AI BoI) 80, Mlnt- 019

I!111ASoeerll1e8a< , """"""I,li,,[-[I29

CANON FO ZOOM SYSTEM

FO 24·3!i'llm 1l5SSC Bt __ __£xc++ ~

FD 35-105mm flSM.1rro _. _ __Exc.1 £149

FOWlOOmmf45L __ l.Im.r14~

FO To.~na 7l).21Dmm f4lS.6 __ £'0:1 £46

FOKnIl170-2Hlmm~_._ E»:.£29

FO 7l).I50rnm f4 L. Exc" £59

FD7f>.2lI01Imf4.5Ma!ro ........ £)(Ci+ £99

FOSorg«WZ20'Tl'Tlf35... fxCH£93 FO VI-.1Iar 7O-300mm t4.2JS.8 .. __ --.Ew+ 09 FOTarn'On8.l-200lrmCA!4.. ExCII £45 FD l00-J00mm 15.6 M . __ ......... .IAIm- £1~ FD 1OG-1OO'lIm f5,6SC ....... Mnl t69

FD l00-.Di'TIm fS.60 __ ..IAinI·£I79

CANON FO PRIME SYSTEM

FO 7.5tri t5.6 fl!Jteye t ecr.. ........ __ .JAlnl E793 FllI5mm '<8 tisI-"", """"",,1,1 .. · f115

FD21A'nmi'2.81 Hood fw. £200

F050rr.mtl.5MaO't}+':iux _ Uinl·£149

FD5(jr;mC3,sM&t.'fO ",l.Ii11-£99

FD8~JljI1.8_ ...fxc++£U9

FO Irfu all I.Iin1- UB

FD l00mmf2.a ._.fxC.1 [89

GII45m:'!l f2. Hoed .......... l.Iilll· om

Gl BDdy __ ...ExcH £3.19

G2135·7Cmtn. nA-200 _. _ __ExcH r7m

35rr.sr12P~THood _tlilll£l!f1

GH~ """""" .. """"""""._la'I

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TRIPOD

P.lar.fro1lu07-1Tn,:m 141RCIi:OO MINOLTA OIMAGE t.lulliSmrol'S'"_ ....

YASHICA 35MM FILM

FX·2.5OrMI t2 Ml .fxCH rm

_mU ML __ .. """"""""",_M"IlB9

42·15mm 13.514.5 ~ll __ _Mnl £75

23-50m'TIf3-5... tAiIlI£I99

8l).2\lOmmf4 __ _Mntf19

EXPOSURE METER

"f,x< .. £250

llJfl;;si~-FIxo: __ _lllnl£lZ9

EX50-S00mmf4IQ3 .. ...... j,ir1lr4~ lLInas~3't8se......... .fxc'*tI49

CANON SUPER 8 GossenTeleunn + case __ _MIlIf19

Cm:n 310xt Suuer.fl Cr.It! ........ --..Ext-l. roo

LEITZ

vrril_""_ """"""""" .. _-"ntt:!ll

EIIM'iI-R 18Dmm 12..8 -fxc+. £279

SUIM'Jacn-R 35mm(2 ...... E-.:c. £229

NIKON DIGITAL

OJ 80dy 8a< .......... J,lmHll!!l

010606)' _ ._bCH £100

14B-OIO (Ba! Gr~) , btH EI!!l AFS 17-55!rm 2BG Box ""."",,___jdnl £769

AFS 18·2(fu"" VR Bex _----'dnt £449

/iF 18-3&rrn 13.51 •. 50 i tfooj --EXtH 049 AF3~IJ,';rrnij,514,... btH[I49

Sigma lOOJOC1f4APOHSkl _Ec.+ l.'&G

Sijma Il1).5OO ffi.&Ii3IPO . """",,,,,M,,,· [393 NIKON AF SYSTEM

F5ProEkdfBox --ElCH~

F4SP'OEiOOy "'" &tH£2g3

FOOl Body f:.eH U5

14F·11Oa1a Bacl:B<n __ ._ " .. " .. ""Mlnt- 09

Cf~8 Bese c",. &n _ _ _£j)

NIKON MF SYSTEM

F3HP+ fA04 _, £.1I:H £349

Nkomat.f£mm 12 . ..f:fc •• £100 fil' 35-111&nm 03.514.5Al """"""""",E",UIl

FE ChlOTl!! Bod}' E..:r:+ £175

f},1+~.mn.s ._bc++£2fG

R.12tIO"nlme" "" . .bl;.OO

HI1U BIad< BccIt ' "",hi;' [159

Hl1'" ~m H,4AJ _,,,,,,,,,,,,,,,,,,,, .. M"· [393

F~I3Ael.i!r:k &:d( Box UIIJ4. £449

tftlt:r241T t2.8AJ -----Ex~+ t325

\lMt5r2hnm 12.31\S _ ML'lI- WJ

t.lkIl:r5!o-mfl'~S, """""""I,Ilnt-fZIl

Nk'«r50n'.mfll1AJS ........ -..f..lc~. £79

~~ 850- 2MS . I,lrnt-£2>1

\fMl:lr l00mm 13.5 r.ooo eo..: MIn4- ~

~Ina 28-3:lmmm AS Be« _ ____Mnt rm

N~m 35-I05mmAS _____.Exc++ £125

Ntur 43-afunm 13.5 .tAInt- flG

1.co-121.wadn\'-e ...E:ctH £75

M-3AngIeFlndefSa.r: _----'dnt£l2!l

CF·21O&ssCaS!lBo~ _____jdntU9

NIKON FLASH SYSTEM

ltS·l1 FIaYl Sooe .Elr:+£I00

58·29 Rng Flas'n £.0:. £249

58·2Z Sp3&dlle .t,IItIt- £129

58·Z7~!11! MIfil.£I59

5C~17F1ghCau MIn4-£29

BATTERY GRIPS

IIB·10(l'!lDI&n _ ~~£49

IIB·1O If%) Ex<. OJ

IIB·16lf8D)_ ~~E49

OLYMPUS SYSTEM

01,1111 Bo:!y fu. £1.9

OM111Bo:!y" .. " .. " .. " .. " Ett. £1£!1

01A4 (!>~cI)L"'" """""""",, __ ..btu [193

OM111bxfy " " .. " .. " .. " .. ",,,__bCl' [193.00

OWN b:xtf _ _____f.yc++ £1~

OU10+5O-rrn 11.8 Zuko __ Er,cH £119

m/fT1llJS vrll'lder '2 _ ,, __ • .Jdnt £!G

O%lI'ptsWif'lder2 _----.bc •• £70

lukG28mnt2.8 -..f..lc~. £79

luko 10Ctml12.8 ..... .E:a:1 £100

lukG3OO'rMU.SIJc«.case ..... ,, "'nttm

OM 2XA Ttlecol'f"l"«11!r _----.bcH £00

Sigma 2a.70mm f.l.514.5 __ -..f..lc~. ms

Tcijfla ro.I50n0rn~.a .__bcH £2:)

lukG 7"5-15Gf4+cast __ ...fxc.+ £100

luko 1l).1511mm ~4 ....... ,Exc.~ £00

Vr.i1ar28-2OCWr.""f3.5!5.6 ..... __ -..f..lc~·£:39 Teijflaro.210n0rnt4J5.6... c •• [00

lukG85-250mm:S __ ...fxc.+ £175

Sigma 75-300mm f4.5I'5.6 -----.f.:fcH ~

OLYMPUS 18x24MM SYSTEM O~lTpusPenF. 3C'rrnl1,8 Excl• £249

lukG l00-200mm:S I case .... .Exc. £149

luko 15O'ml U • case ....... £W. £149

PENTAX PK SERIES IAESl.pe-+50n'",,'1.7cast .. __ £w.U79

V"Mtar\OO:OSi~mf17"" .Mnt£93

SI.Ic.t.1281rm12.8.. be~f £S9

TabJmar2&rrn 12,8 .. f:tCH ~

SI.Ic.t.I4C.4rm12.8{Paf1cakeJ Excl.(I39

SU~"21ir.mf.!.8", Mntr275

SI.Ic.t.12OOrrmf.4 ., tJntta9

Pert:x-A.28-aGmm IJ 51'4 5 , . £XcH £125

V"r.i1ar28-7l)rmQ,5,I.!.8A"" be~f £39

Tcijra35-20l8tr ::3~I,(.5"" .E:tCH £49

SI.Ic.t.181).2\lOmm f4 S " Mnt (149

SgmaEF _.s",d1r. .. "" .M~llll

Vrlllderrd<1I. , beH£39

'Ailgrifie!S.case.. .E:tCH£49

PENTAX M42 SERIES

SP500+5512'case "'" . .Ext •• £179

ir8\'erlllf5Cnrl12,8" beH £69

V"Mtar Teleccruener 3;t " .Mnt £19

SP Spclmatic t 55mm '1.8 t case be •• (179 SlIpef-Ti'l\lfli)f2l.Xnrlf4lenstfco:l

,\ CIlY.!_ ____E.:ct++ rag

An~rrde:" + cas!! -----E:cc++ t79

Ii3~JSmm fl.S _ _____EltH £2iI

35MI~ COMPACT SYSTEM

Sea &. Sea ~\Jtn Marine ..... E..:r:+ £1~

IAil101la RNa 100 ____f:cr:.1 £93

SalTsung 115G __ ML'lI-£45

CYion P a 7D mt £49

O~Ir~S Shed &. Go . .EKC+ £15

LOOKING FOR ITEMS? WRITE/FAX 'E' YOUR REQUIREMENTS Post & Packing add f6 erlTa - Prices include 15% VAT

Callers ~.Icome llon·SatBA5am 10 5.3IJpm, • Far Nne 24 hours

Tel: 01223364223 Fax 01223 313852 www.campkinsonline,co.uk

r: You can Skype us I'f"

username: campklnscameras

11 Rose Crescent.

Camblridlae CB2 3LP

18 Bury Place, London WCIA 2JL

opposite the British Museum MastercardlVisa accepted E. & O.E. Next Day Delivery £10.00

6 March 2010 I www.amateurphotographer.co.uk I as

SRB·Gritum


PETER LOY

.I@a Su:H-I!I~IE, '&'l.S &i'm;,!'Ji CordlmllD ... . .i125.!!O

C8IooMIn -!iIlIi.a.,s·!iC.1l9'll·ori,'2.40Ct1"Sl.f:!dll8:!.S!r.iI:!d02f10

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GIilOO 7s. t !1.:tl.S5. MIC. Ser\lled .. .. .i'!9S.{Q

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£j!ilBfJ:tZ.Ena~!ldlfl·IXll!l'mzadl!ssl~frrbi!lllti.~tUR!ll'!!

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_ ••• __ .JIl5.C>Q e.1921 ..... ..trB.tO

WI' h.1W large stocks oIlHtW & secondMnd books for the c.iJmefa cotleclOf + hundreds of original instroction books. 1'te8se phone with your requ11emenl$ Ot.we compltlellst on our websir,_

Camers Collections Wanted. We travel allover rho UK and Europe buying collselable cameras. pt(UJse contact us and we win como

';J~~:':!~~re~~t~~~:~' Plesie phone or

Email peterloy@peterloy.com Peter Loy • 'n Old Gloucester treet. London • WClN (Callen II) aJlllDlnl-nI only .--,

u~ Ih~ lt91Uphe",- Sl"to "",duo! softbo. 11cjlt, utnbll!lI. IIghl o1nd studio quail!}' IIg t WlTliOUT ~

so flbox, IlIIIbI~la or the studio.

Crtllf IO(~ wann, wrap-around light from your ... -camcra Rash. TIt! U~htsph~",· Sysum .1I0~)'OII to tab tInilY' conuvl 0..,. the most porlJbI. light In your bog,

Dlttll your IIgh", stanek, sollbox es and umbreUas.

You'w gol Crtill Light In the BAG,

subscribe 0845 676 7778

To advertise here, call Ellie on 020 3148 2929 Email: ellie_smith@ipcmedia.com --~~~==~~~~~~~~~

CLASSIFIED

Cameras For Sale

DOWNSIZING: FUJI S9500 mint, Fuji S5700 excl+ £65. Canon eossoe mint £60. Eos 100 excl+ £45. Sigma IEos)18- 50/3.5DC New £50. Nikon F80l5 excl+ £55. Nikon F25 black mint-olfers. Nikon 5011.4 mint £85. Vivitar Z83 flash £19. Centon FG30 flash £10 metz. SCA300A £25 - 01823400051

HASSELBLAD 501CM COMPLETE excellent condition, £1000 OVNO cat! John 07814807801

subscribe 0845 676 7778

LEICA M6TTL, 1.4 stumilux aspheric lense, SF20 flash ever ready case and leica reinforced case, all in Immaculate condition. £2000. Chris on 07884107100

NIKON D200 BODY, excellent condition, £425, Lyca R6.2 silver. mint £350, 50mm 1.4 Summilux £300~ F3.5 28-70 vario-elrner as new £200. Contact 07810351607 anytime. Norwich.

NIKON 0300 BODY kit. Mint, boxed, only 1900 acluations. £800. Sigma 18- 50mm f2.8 exdc macro HSM riikon Fit. mint, boxed £225. Chris 01432820274 (Herefords).

NIKON ED-AF NIKKOR 70-300mm f/4- 5.6D zoom lens, HB-15 Hood, boxed as new~ instructions, guarantee cards, £17::>. Nikon, F80 camera body, Black, boxed as new) instructions, guarantee cards, £150.Te 01296668573

PRO ELINCROM STUDIO lighting kit used once only. 4 digital lamps (250), 4 stands + cables, 1 meter square soltbox 2 60cm softboxes 1 brolly, 1 infrared trigger, 1 flash meier, 1 5ffx7ft reversable ff+W background + frame, all cases, cost over £1 Ta0h sell at £899. phone Terry 016218529111

Classic Dealer

SEPIA MEMORIES

56a Oueen Street, MOI"t'CLlfTlIx'.lA4 SEP 6 mikt; JW35 M6

Tel: 01524425508

Open 'rues • Sa~ IO.OU::nn • 5.00pm

Canon ,II + 1.8. SOmm (boxed) 79.00

Canon t1J 3';, 24-3>1. 189.00

Canon FD 3.5. 50mm L\L-LCfO sse.. . 125.00

Calion f1J r4, 100mm vacro 99.00

ranon AlJC;oslIL1 19·35 65.00

Canon IUfrarnron 2S·l00A'I' 1.1l 69.00

Co{)I1S()fII1Jnallie SHe + C:I.<e .50.00

KieV fil, Jupiler [4, 135mm 39.00

Lei" .If.C1 35ml11 compac 59.00

tena Mini Zoom Compau " " 59.00

lcica R4S Illk bo<ll' (b"'cd) 169.00

M42 Vi\;ur, 200mm (boxed) ...... ~Hnolta X-iOO + 1.7, S{lolrrl

.. 39.00

........ i9·00

Minolt.1 280 rx flash for above.i... . ...•.......... 20.00

Mh",h. r~,,~, 500s1 body 20.00

Mam~1l64,. IOOOs + M·11risrn 169.00

M.JI1i)'a Sekor C, 1.8, 45nllll 165.00

Mam~ .. Sekor C, 2.8, 150mm ,,129.00

Manl~" 645 ,\OCt'SSOrt., Ircm 3>.00

Nlkkom"" EL Body.alk 75.00

~ikoll S~IO fl:1sh 39.00

Nlkon SIllS Flash 29.00

~ikon At' 7!f.210 79.00

.~Ikon AFff(lkiR!l20·3;....... . 149.00

OI)1UpII' Zoiko 1.4. 50mm 45.00

OI)'lIp., Righi ""Slo flndt..,. 45.00

pemax .\112, SMC Macru f4, ;Omm .......•.•........•. i5.00

l{iooh GRI. llIock .. 139.00

Roliei "Old Standard" (Ni"') ,...... .. i9.00

7.<:;" SIIkon,' 531fl cIW case .. 115.00

7.orki 4K .

......................... 39.00

www.sepiamemories.com

Cine & Slide Projectors

CINE TRANSFERS TO DVD & VHS CINE & SLIDE PROJECTORS CINE CAMERAS PROJECTOR LAMPS PHOTOGRAPHIC LAMPS

LEE'S CAMERAS Tel: 0208202 9918 Fax: 020 8203 6684

Email: saies@leescameras.demon.co.uk WIIIW. "....,......co.uk

Lenses For Sale

NIKKOR MICRO 60MM f2.8D £250. Nikkor 70-300mm AF-s VR f4.5-5.6G IFED £300. Sigma 12-24mm f4.5-5.6DG Nikon fir £500. Sigma 120-400mm f4.5- 5.6 APO DG os Nikon fit £450. Nikon MB·D200 £50 all mint 01684273744 GlOS

NIKON 12-24 F4 DX mint £550. Nikon 28-105mm f3.5-4.5 D mint £100 also FA and F90X for sale. 07720297301 (Essex)

NIKON FM2 AND 35.70mm lense in good condition for £170. Nikon 18mmAI rens very good condition for £380. Nikon 17-55DN fens in mint condition for £750. Please contact 02085529391 or 07737712145

CAMERA REPAIR SERVICE

Official OLYMPUS, Canon

service centre.

Can n Warrancy Repairs. Free esrimates. Most other makes repaired. Video repairs.

Full postal service.

6 Kings Court, Newcomon Way, Severalls Business Park, Colchester C04 9RA

Tel: 01206 843322

PENTAX

« a:: ur ~ « o

:IJ m

~

:IJ (J)

Classic - Modern - Digital PENTAX TRAINED TECHNICIANS

Fre~0~jjs~L~ ~~eR~ ~~R~cg?ajrs

lor discontinued and current cameras.

Speak to a technician Direct:

Tel: 020 8232 B111

Asahl Photo,

i:~::;;d, =:se~:gMK~,

'eVWW asahlphglo cn J lk

Sharow

Pho ographic Competition Working lor charity

1,50 In prise.

Enter Online Closing date 28th May www,sharawphotocomp.co.uk

Professional Black & White Processing & Handprinting

Dev & Contact £6 per film - all formats P&P £1.75 - (1st class per total order) Reprints I Englargements & Package Deals Applegarth House, Tumbledown Hill, Cumnor, Oxford OX2 9QE Telephone: 07989 777359 www.monoprintco.uk

prlntlnl

Cheshire Photo Lab

Tradlllanal hand pi'DCeS8lng of 35mm 1120mm B+W and CoIGur Filma

B+W hand pnnuog up 10 20" x 18·

m IradillOnal_oom

CGlaur (II B+W InkfeI ",lnUog

SIdes and noga_ scanned 10 CO _chesh!reDhotolab.co.uk For "'U _Is or prices and 1IIIJVk:8& _ .. _La" PO _4117.-' _Int.ewt ....

Accessories

NIKON SK-6A POWER bracket unused mint condition £170 ONO, buyer pays postage contact John 02476348067


Accessories

To advertise here, call Ellie on 020 3148 2929 Email: ellie_smith@ipcmedia.com ~~=-~~~==~~~~~~Camera Fairs

COMMERCIAL CAMERAS s SUPPUERS OF QUAUTY NEW AND PRE-OWNED EQUIPMENT AS AT 19-02-10

JUST ARR IVED

Nikon t7·55mm 12.8 G AFS_ As new, boxed £ns

Wee 28Omm14.tI Telyt (M) lens. ExtH ., ...............• _". £249 Nikon 7O-300mm AFS-VR lens. Mint boxed " £295

Leitz Visoflelr III. Exc~+ , , " " " £95 Canon

Bronica 40mm 14. S Lens. Exe++ £249 Canon 17·4Qmm F4L USM. MIni boxed ..£425

Brcnka Sq-6, (Xl"1)lete, 80mm. 6oxed. Exc , £325 Canon Angle- finder C. MIn! boxed £110

Bronlca 120 Sq-A1. 120 magazlne_E'lCc++ _ .....• £70 Canon ML-3 Macro Ring~1e. MIn( boxed .. . £110

COtfleki Lenses. Prom 35mm 10400mm _ Please eafJ Canon Flash guns, .d3CeZ, 54OEZ. 550EZ ." ,CaII

Rollei,3 Srretered planar, TlRIRoIf~in .. ,.,", .. , .. " " .. ..£:290 Lelce Wanted

Roltoiftex Sl66 • TLR III G body. Exc-+_ _ £520

Sl66S" c'w 8Omm/120 baQ</WlF. ",,,, £995 M6 TIL Millenlum 072. Black painl Em", .£1. 195

150mm Zeiss Sonnar ~aI shutter. Mint- .. " .£.195 Leica VIT M, Black paint Near mint, boxed .. ", , , .. £279

250mm Zeiss Sonnar 15.6. E)(C++ £229 Leica Winder M E:tc.u.,." .. , , .. , , , , .. , ", .. ,,, .. £.69

120 Filmba~ lor Sl66.. Choice 012, Each " £129 HaS$elblad Digital _ Supplied New _ See Web5ite

:~: ~:'~~=:I~~~:~ ~ln1- ::.:::.::::::::::::::£~~~ ~~~ ~.~~~ II::'. ~~~; :~~ ~.~~.::::::::::::::::::::::~~:~~:~:

Roliei Panorama head. Unused, Boxed £45 HC.CF lens adaptor. Mint boxed £520

RoDeltix tripod head. Unused. Bated £40 Ha.sselbtad V Series

AoIlei pistol grip TlA Choice 01 2. Each _£39 New CFV-39m, dtgltal ba&. Our ptioe .£8.995

AoJlel fitters. hoods. Selection in stod< . . CaJJ ARC Bod K" 45 I Are t.f £1 995

Mamlya y I. me . mm ens + s. int- •

43mm 14.5l viewfinder lor 7. Mint. boxed £820 35mm 14.5 AP()'Grandagon. Near mint... .£1.950

645 AE body, inc 120 back. Mint. boxed £275 75mm 14.5 Grandagon-N. Near mint , " £1.925

Macro MF 120mm l.d (tor 645 AF), '.tint boted £725 Flexbody {1996}. Near minI: boxed _ £995

Marniya 7 body, Excu. boxed ." £375 555 ELD Body clw. WLf. Mini·.... .. £620

Mamiya 7 210mm lens + ylewtlnder. Mint £449 50mm f4 CA FlE Diistagon. Mint· £e..oo

Mamiya 35mm 13.5 N lens. Mint boxed £195 t50mm 14 CF Sonnar. Mini' , .. , , ,., .. , .. , , , .. ,. £395

Mamiya I2{I filmbaci: klr 645. Unused boxed £:95 250mm 15.6 Cf Sonnar. EXc++/Mint £395

Contax 02 503CX chrome body. Boxed. Mint- £449

Oontex G2 c/ly 45mm f2 lens, Mint· boxed £349 eamm f3.5 CFI Distaqon Exc++ boxed £695

Oontax 21mm 12.8 G cM vlf. Mini. boxed £295 A12 magazines. Good selection in stod<. From £120

Contax 28mm 12.8 G tens, Minl- boxed £195 Snap lock flash bracket. Ex"c , " "" " ,.£90

Conta"ll 90mm 12.8 G fens, Blad<. Mini- boxed £170 HM2Vtevlfinder. As new, boxed . £270

Nlkon Wanted - Complete Outfns Purchased P,.«5 Prism, Mini boxed Caft

Nik(1n 24mm 12.8 AF-O, unused. Boxed __ .. £260 Lots more Hasseblad In stcoc pease call.

Nikon CF64 case for 16, unused. Boxed £:65 Very Interesting

Niktm SP 2005 kit Inc 35mm 11.8, unused. Boxed £3.495 RoUei 2.8 FX camera. Mint boxed .... .. _.£1.895

Nikon 8O·40Omm '4.5/5,6 VR. Mini- boxed , £795 Rol1ei 2-8 Aorom. Special edition. Mini boxed £1,925

Nlk(Jn 8O·4QOmm W.5lS.6 VR. Mint· £749 De·Vete 504 bench em + Acc's. Very nice .£495

QUALITY EQUIPMENT PURCHASED OUTRIGHT OR EXctlANGED.

WE OFFm SENSIBLE PRICES AND A FRIENDLY SERVICE. MAY WE QUOTE YOU.

Contact Paul Waller, 7 High Street, Church Stretton,

Shroplhlre SY8 6BU _

Tel: 01694 722202. www.commerclalcameral.co.uk C' _":c3J

email: saleeOcommerclalcameras.co.uk I

p--------------------------------------

THE EAST OF ENGLAND'S LARGEST PHOTOGRAPHIC & CAMERA COLLECTOR' FAIR Sunday 7th March 2010, 9.30am-2pm

Anyone with an interest in Cameras, either digital or film, Accessories and Photography in general for both users and collectors will enjoy a day at this fair. Bring along any unwanted equipment as dealers are keen to buy as well as sell. Open to early bird from B.30am. Space for 100 stands for the Photographic Collector & User

Admission £3. Earlybird £5

Cotten ham Village College, Cambridge CB4 BUA, only 10 mins from M11 Junction 14,

only 50 mins from London, 1.5 hours from Birmingham Breakfast and refreshments are available all day Contact The Organiser for Stand Bookings on 01954252352 or 07870 558904

NIKON FG20 CAMERA, instructions, case, £95. MOE £25 E·series lenses 28mm £75 36-72mm £75, 50mm fll.8 £35, 75-150mm £95, hoods, filters included. Nikon close·up lens £20. All as new 01296668573

SOUTH LONDON CAMERA fair. Sunday 14th March 2010. Buy, sell or exchange film/digital. Kemnal Technorogy College. Sevenoaks Way, Sidcup, Kent, OAi4 5AA. 10-2 adm £3 early entry 8.30 £10. Free camera check at camera clinic. Call Patrick Archer on o 1 322 224 9 6 4 www.mppusers.free.uk.com/camerafair

STUDIO SWP - FOR HIRE Close to junction 2 M6/M69 Open 7 days a week Bowens system and Colorama backgrounds www.stevewrightimaging.com Telephone: 02476445783

or 07720 n1720

For as little as £6.00' ~ can sell yr:u secondhard gear 10 tile classified pages of AmatelJr Photographer To sell your used camera ex

accessones, simply complete your advertisement in the boes below, n!lln your name and address, rettrn with credit card details or a cheQue for 16.00 for one Issue for Items under 1100', or fex Items abOve £100£13.00 for one Issue or£20.00for two ISSues made payable 10: IPC Media Ltd

Send with your remittance to: Amateur Photographer Classified Advertisernent Department, Blue Fin Building. 110 Southwark Street. London. SEI OSU

o CAMERAS FOR SALE DLEHSES FOR SALE '"] ACCESSORIES FOR SALE DARKROOM

o ITDIS UNDER 1100 J WEEK AT 5.6' J UNAGE 1 WEEK AT 113 :J 2 WEEKS AT £20

I enclose a C.heque/Postal Order tor i =:! 0 0 0 payable to IPC Media Ltd

OR please debit my C Switch _, MasterCard .J VISa _, Amex ~~~ODD~rOCCC~J-~D 00

Start Date COD L Expiry Date DOC C Issue No ~ n Sec No. L 0 0

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_. __ .. _ _ _ .. _ .. _ .. _ .. _._ _ _ _ _ _ Postcode_., _ .. _ _ .

Land fine Telephone No_ _ _ .. _ _ _ __ __ _ _ _ .. _ .... _ ... _ _ .. _ .... _ _ ..

Signature _ _ .. _ .. _ __ _._ .. __ ._ .. _ _ _ .. _ __ ._ .. _ .. _ .. _ __ .. _ .. _ _ .

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IloroPhor

AMATEUR PHOTOGRAPHER. publlshod by IPC Meda ltd (IPC~ \Vii] ccllea 'f'H penoN! on'Ofl1\iIuon 10 process 'f'H orda: AMATEUR PHOTOGRAPHER in! IPC I'ItUd fil<e anact you by post or lelephone to jl!1lfTlCT.e ;Old as!<)'!XI' oflBl!1 on our maoa2ines and seMtes

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Please not2 onty one adletl>ement per CDlJpon. No phofDCOPIes or IacsimIes >rilt be acapted Fullel'ms aM CIII1diDoOS OIl ~esI. "Ore word per IIQ1( only'

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6 March 2010 I www.amateurphotoqrapher.co.uk I 89

The Final Frame

ROGER HICKS is a much-published author on photography. He

has written more than three dozen books on

the subject, many in partnership with his wife, Frances Schultz. Roger started photography as a teenager in the 1960s and worked professionally

in a London advertising studio in the mid-1970s. He has been a freelance photographer/writer since 1981, contributing

to many photography magazines, including Shutterbug in America. Visit his website at www. rogerandfrances.com.

Roger Hicks

PHOTOGRAPHY SHOULDN'T BE ABOUT MILITARY PRECISION - TRY HAVING SOME FUN INSTEAD

ERE are two scenarios. One will be familiar to most of us The other will almost certainly not be, but we've all seen it in movies.

For the first, you arrange to meet someone In the pub at eight For the second, it is wartJme and you are on some desperate commando mission to blow up an enemy installation, also at eight, or 'twenty hundred', There are three groups, At five minutes to eight, one group is to detonate charges elsewhere, as a diversion, and another group is to set booby-traps on the escape route,

to be activated at fIve minutes past eight, while the third group carries out the demolition, Rendezvous for all three groups to make good their escape is set for quarter past eight Anyone who is not there at a quarter past eight will be left behind.

Fairly obviously, timing for the former is not critical. You can saunter over at a quarter to eight, or even at half past seven, and have a pint before your chum gets there. In the other direction. if either of you turns up 15 or even 20 minutes late, it is unlikely to matter, though if the other person didn't tum up, you might well go home after an hour or so Equally obviously, lives are at stake in the latter case: hence the famous (and Inevitable) 'Synchronise watchesl' scene.

Perhaps surprisingly, you can draw a close parallel in traditional silver-halide photography. Even half a minute's variation in development time is quite likely to make a significant difference. Yet when it comes to washing the film, prOvided you haven't used a hardening fixer there is no effective difference between ten minutes and an hour. Indeed, five minutes should be enough.

I know developing your own films will not be as much a part of the average AP reader's world picture as it was 20 years ago, so let's take an example from digital exposure. At least if you're shooting raw files (DNG and the like), you can dig out a lot of information from a badly underexposed file, much as you can if you scan an underexposed slide. Overexpose, though, and you'll soon blow the highlights to a featureless white, If you use auto exposure, you may even care to set the exposure compensation at -1/3 or possibly -2/3 stop, in order to give yourself a bigger buffer against accidental overexposure A whole stop, though, is probably too much.

Now switch to an 8x10in camera, shooting landscapes on black & white negative film, with a view to contact printing Quadrupling the metered exposure at the stated ISO - giving an extra 2 stops, rather than 1/3 stop less - is unlikely to have any adverse effects, apart from giving you a denser negative thattakes longer to print. Yes. the grain will be a bit bigger, and sharpness will be slightly reduced, but ths s not going to be detectable in a contact pnnt You may even prefer the tonality with the extra exposure.

Finally, consider a scenario that many

of us like to try from time to time. Pick up

an old un metered film camera, snck a roll of negative film in it (colour

or black & white), and take some pictures Guess the exposures, but err (or bracket) always on the side of overexposure You may miss the occasional picture, and you may get less than the optimum exposure in some of them: the loss of sharpness and bigger grain may be detectable if you're shooting 35mm and enlarging to 8x10in, although it probably won't be if you're using an old roil-film folder. The point is, you'll enjoy yourself. Why do it otherwise?

What is really weird is that this last scenario provokes some photographers to incandescent rage I have been told, flatly, that if I don't use a meter at all times, I clearly don't care about my photography. After more than four decades of taking my photography fairly seriously, and more than three decades of earning part or all of my living from it, ms struck me as a rather odd assernon

My interlocutor's hardening of the categories - his unshakeable belief that serous photographers always use meters - seems to me to be only one aspect of a profound ignorance about what's appropriate, and when, It takes one tiny aspect of human experience, and turns it into a universal rule. AP

~ I have been told, flatly, that if

I don't use a meter at all times, I clearly don't care about my photography ~~

90 I www.amateurphotographer_co.uk I 6 March 2010

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Amateur Photographer 6 March 2010

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