Amateur Photographer - 19-01-2019

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Saturday 19 January 2019
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Flying colours
X-Rite’s superb screen-to-print
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What it takes
to win APOY
How the self-taught Neil
Burnell clinched the top prize The joy of
sanderlings
Essential tips for these
attractive winter birds
Wonderful weeds A nuisance for gardeners, but a great subject for macro
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7days
A week in photography
COVER PICTURE © NEIL BURNELL
Digital photographs only exist know. So this week we present an expert guide
when electricity is applied to to help you get better digital prints – and
them. Turn off the power and another one on traditional analogue printing.
they disappear back into the Why not make it a New Year’s Resolution to
recesses of our hard drives, SD rescue your photos from hard-drive obscurity?
In this issue cards and phones. To make them permanent
and tangible we need to print them. Most of us
Print them, mount them on the wall, send
them to friends; maybe even exhibit them. If
16 New Year’s
printing don’t do enough of this. One of the most cited you don’t want to print them yourself it’s never
resolutions reasons is the perceived complexity of printing, been easier to get them printed professionally.
Get your best photos and to be fair, there’s quite a lot you need to Nigel Atherton, Editor
out of your cameras and
phones. Matthew Richards JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
offers 25 top tips for ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
perfect photo prints
22 Leading the way ONLINE PICTURE OF THE WEEK
Neil Burnell, the winner
© ANDREA HERIBANOVA
of APOY 2018, talks to
Ailsa McWhinnie Zermatt by Andrea
28 Wildlife watch Heribanova
How best to photograph Nikon D800, 28-300mm,
sanderlings during winter 1/250sec at f/11, ISO 200
30 Photo insight THIS picture was uploaded to our

Tracy Calder on her image Twitter page using the hashtag
of a goat’s beard plant #appicoftheweek. It was taken by
photographer Andrea Heribanova.
32 Paperchase She tells us, ‘I visited Zermatt
Mike Crawford explains all previously in summer and had a shot
you need to know when it in my mind to take of the village with
comes to choosing paper the whole of the famous Matterhorn
for printing your images peak in the background. That didn’t
happen the first time, so I visited
36 Join the club again. I spent quite a few hours of my
Maghull Photography Club two-day visit standing at this raised
in Merseyside viewpoint looking at the village, but it
38 Smartphones was just too foggy. The sun was trying
round-up to come out so it gave me some light.
Amy Davies assesses six I snapped a few images as the clouds
of the best smartphones covering the top of the mountain
for photographers gave it a nice atmosphere. Also the
snow made the scenery look more
42 Olloclip Pro beautiful and wintry.’
Lenses and
Multi-Device Clip
Andy Westlake tests
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
a pair of premium
wideangle and telephoto
converter lenses for
your smartphone Win! Each week we choose our favourite
picture on Facebook, Instagram,
Flickr, Twitter or the reader gallery using
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*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
#appicoftheweek. PermaJet proudly supports

Andy Westlake reviews the online picture of the week winner, who will
a colour-management receive a top-quality print of their image on the
solution for photographers finest PermaJet paper*. It is important to bring
images to life outside the digital sphere, so we
Regulars encourage everyone to get printing today! Visit
3 7 days www.permajet.com to learn more.
12 Inbox
14 Reader Portfolio
49 Accessories Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
51 Tech Talk Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.com.
66 Legends CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 12.
Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
Major movie about war correspondents

A Private War, a new movie about the late war correspondent
Marie Colvin and photographer Paul Conroy, goes on general UK
release on 15 February. The movie tells the story of the close
working relationship between the pair during the Syrian Civil War.
Colvin, played by Rosamund Pike, was killed in the siege of Homs
in 2012, while Conroy was badly injured but survived.
Shutterstock reaches out globally

Fancy selling more of your pictures in 2019? Stock image
specialist Shutterstock has started a worldwide recruitment drive
for new photographers, with a website and app now available in
21 different languages. See submit.shutterstock.com for full
details on how to get started with the site, which has paid out
$500 million in royalties to photographers since 2003.
New photo of far side

of the moon
Following the recent landing of
the Chang’e-4 spacecraft on the
far side of the moon, the China
National Space Administration
(CNSA) has released a photo
captured from the surface.
Chang’e is the first spacecraft First L-Bracket for
to land on the far side of the
moon, and sent back a colour
Z 6 and Z 7
Idiosyncratic UK tripod maker
photograph of its home inside
3 Legged Thing has announced
the Von Kármán lunar crater
Zelda, claimed to be the first
on the southern pole.
L-Bracket specifically designed
to fit the Nikon Z 6 and Z 7
© CNSA
full-frame mirrorless cameras.

The Arca-Swiss compatible
L-Bracket has indents to allow
© RUSS TIERNEY
users to tilt the camera’s rear
BIG
screen, and access the lens
release button on the unit.
Available in February for £89.99. Inspirational ballet picture wins
See www.3leggedthing.com. mental health charity contest
picture
THIS exquisite image of a ballet dancer shot
AgfaPhoto relaunched from above was one of 12 winning images
The Agfa logo should be appearing on digital cameras again soon from CEWE Photoworld’s My Inspiring
as AgfaPhoto Holding GmbH has reached an agreement with the Moments competition. It was taken by Russ
GT Company to launch a range of new products in Europe. In the Tierney from Rhyl, who says: ‘Inspiration hit
pipeline is the 21MP DC5200 digital camera for €39, the Insta Shot me that I could shoot down on the “dance
IS210 instant camera for €99 and a digital album for photos and floor” through the missing floorboards.’
video, from €39 to €99 depending on screen size.
4 19 January 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

$84
SOURCE: APPLE
The competition was launched by the

photobook and print specialists in association Words & numbers
with the mental health charity Mind, to inspire
photographers to capture special moments
in order to raise awareness of mental health In the days when men were burned at the stake
and promote the benefits of taking
meaningful photos. The 12 images will be
compiled into a calendar and sold for £11.99
at cewe-photoworld.com/mind-calendar,
for practising black magic, the photographer
would have been an undoubted victim billion
Apple’s projected revenue for
with £5 from each sale going to Mind. Alvin Langdon Coburn fiscal 2019 first quarter, which
reveals a slump in iPhone sales
American photographer (1882-1966)
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 19 January 2019 5

© DANIEL BEREHULAK
One of Daniel Berehulak’s promotional images

from Indonesia, using an S1 and 24-105mm lens
More details of full-frame

Lumix S range Jack Lowe uses
wet collodion
© JACK LOWE 2016

processes to capture
FOLLOWING the development RNLI volunteers
announcement at last year’s Photokina,
Panasonic has revealed some key features
of its new Lumix S1 and S1R full-frame
mirrorless cameras at the CES consumer
electronics show in Las Vegas.
RNLI exhibition celebrates
The company claims a ‘new style of photo
expression’ is made possible by HLG Photo
Mode, with images offering a very high
lifeboats and their crews
dynamic range. The resultant images are LIFEBOATS and lifeboat crews are a popular glass-plate project called The Lifeboat Station
saved as an HSP file which can be viewed on subject for a number of photographers and Project. This eight-year mission, which is the
the latest Panasonic HLG-compliant 4KTV maritime-related competitions, and a new brainchild of photographer Jack Lowe, began
via HDMI cable connection or other exhibition sponsored by the RNLI celebrates in January 2015. Jack is visiting all 238 RNLI
HLG-compliant devices. There’s also High this at the Poole Museum in Dorset. ‘Calm lifeboat stations in the UK and Republic of
Resolution Mode, which takes advantage Before the Storm: The Art of Photographing Ireland to photograph them and the volunteers
of in-body stabilisation to enable eight Lifeboats’ encompasses everything from the based there using the wet-plate collodion
consecutive images to be shot while shifting lifeboat builders of the early 20th century to process. This exhibition is the biggest showing
the sensor; the eight shots are processed the faces of the volunteers who crew today’s of his work so far and also includes the first
into one image. ‘This mode is ideal for taking high-tech lifeboats. Although the images span showing for a new artwork entitled ‘Lifeboat
natural landscapes or fine-art objects,’ says nearly 100 years, they have all been taken on Slipways 2015-2018’. For this Jack has
Panasonic, adding that this mode can also glass plates. Two floors of the museum are created a ‘gridded tableau’ of nine all-weather
be used with moving subjects. The Lumix S for the exhibition, with the first-floor gallery lifeboat slipways from around the coastline
range is the fruit of the L-Mount Alliance revealing never-before-seen images taken of the UK.
with Leica and Sigma, and will be available from the historic archive of the Beken family in ‘Calm Before the Storm: The Art of
with 50mm f/1.4, 24-105mm, and Cowes, who have been photographing boats Photographing Lifeboats’ will be at Poole
70-200mm lenses from the end of March. and lifeboats on the waters surrounding the Museum from 26 January-22 April 2019.
Isle of Wight since the turn of the last century. Entry is free (www.poolemuseum.org.uk).
The second-floor gallery of the Poole
museum is given over to a contemporary Look out for our feature on Jack Lowe in AP 2 March.
Ultra-wideangle zoom for Nikon Z

Nikon has announced the Nikkor Z 14-30mm f/4 S
wideangle zoom lens for its Nikon Z full-frame mirrorless
range. Nikon claims that it is the world’s first full-frame
Subscribe to
ultra-wideangle lens with a flat front element, enabling the use
of 82mm filters without the need for bulky filter holders. The
new lens is also sealed against dust and moisture. ‘The compact, The new ultra-wide
retractable and lightweight build means you can slip this lens into lens is compact
smaller bags – perfect for travel,’ said Tim Carter, senior product and lightweight
manager, Nikon UK. Other key features include anti-reflective
Nano Crystal Coating, and a customisable control ring which can
be used for manual focusing, aperture control or exposure
SAVE 46%
* compensation. Nikon also claims the new lens is ideal for movies:
focus breathing is reduced, as is focus-shift while zooming. The
Nikkor Z 14–30mm f/4 S goes on sale in April for £1,349.
Visit magazinesdirect.com/ap01, or see page 48.

* when you pay by UK Direct Debit
For the latest news visit www.amateurphotographer.co.uk

Exhibition
Also out now
The latest books and exhibitions from
the world of photography
Landscapes of the
American West
© MAYOTTE LEW NSKA/NAT ONAL PORTRA T GALLERY, LONDON. WWW.NPG.ORG.UK
Liliane Lijn, b.1939,
Camden,1978,
printed 2014
by Ansel Adams
© THE ANSEL ADAMS PUBLISHING RIGHTS TRUST

Illuminating Women:
Photographs by Mayotte Magnus
In 1977 the National Portrait Gallery staged a landmark
exhibition featuring nearly 90 portraits of eminent
women photographed by Mayotte Magnus. It was the
first exhibition of its kind at the gallery, focusing solely
on female achievement.
Some of those portraits have been revisited for
a new display at the gallery, alongside some newer
acquisitions. Born in 1934, Magnus spent her early
years in Paris before settling in Cambridge. She turned
from painting to photography, later becoming a fellow
of the Royal Photographic Society in 1973. Mount Williamson,
Shown in Parliament to celebrate the 50th Sierra Nevada,
anniversary of the 1928 Act which gave women from Manzanar,
electoral equality with men, the pictures depict women California, 1944
F
who have shaped our world through music, art, words,
performances and more. All the portraits were taken or such an iconic, influential image and many others in the collection
in the sitters’ home or place of work, and demonstrate photographer, it’s rare to see demonstrate Adams’s careful treatment
creative composition – a real portrait masterclass. a significant body of work of light and how he captures a dynamic
The exhibition runs until 24 March at the National exhibited in a London gallery. range of tones and contrast that are so
Portrait Gallery, London. Entry is free. Amy Davies So for Ansel Adams fans and landscape unique to his style of work. His technical
lovers alike, this is a must-see exhibition. mastery and romanticised depiction of the
Ansel Adams (1902-84) is considered great American West shine through in this
Showfield one of the most respected figures of stunning body of work.
By Sarah G Ascough, www.walklikealice.com, landscape photography in the 20th Adams grew up in the Golden Gate area
£35, 70 pages, soft cover, century. He is best known for his of San Francisco, a stone’s throw from the
ISBN 9-781518-473807 quintessential images that document Marin Headlands and Lobos Creek where
If you’re a lover of the quirkier side the famous national parks in the USA. he spent much of his childhood exploring
of British traditions, then Sarah This body of work includes some of and where his love of nature grew. Adams
Ascough’s two-year project to Adams’s most recognised photographs discovered his passion for photography
document agricultural shows in the of his career, such as ‘Mount Williamson, on his first trip to Yosemite National Park
north of England should be right up Sierra Nevada’ (above), which depicts in 1916. Just three years later he joined
your street. Her observational documentary style huge boulders at ground level in the the Sierra Club, an environmental
evokes memories of photographs from other great foreground with stormy skies clearing organisation that became pivotal to
documenters of the British way of life, such as Homer above the mountains in the distance. his early success as a photographer.
Sykes, Martin Parr and Peter Dench. Like the best of The image was taken in 1944 and many The director of Atlas Gallery, Ben
documentary photography, Ascough’s black & white believe its historical significance relates Burdett, says: ‘In order to fully appreciate
images not only make you feel as if you are there, but to World War II. The prisoners of war are Adams’s work you have to see his images
also help you understand the skill it takes to get so close represented by the large stones looking in the flesh; his work is technically brilliant
but not lose the moment. When I first got this book, I into the distance hoping for freedom and from the creation of his photographs to
was rather disappointed by the lack of background text the sunlight breaking through the clouds its production and printing. Adams is a
information, but after viewing it for many hours, it’s clear represents their hope for the future. master in every aspect of photography.’
that it’s the pictures that do the talking. It’s a classic Besides the symbolic meaning, this +++++ Hollie Latham Hucker
combination of finely tuned photographic art and a
humorous eye, making this a tome you should enjoy ‘Ansel Adams – Landscapes of the American West’ is on display at the Atlas Gallery in London until 2 February 2019.
and keep going back to. +++++ Steve Fairclough For more details, visit www.atlasgallery.com.

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In next week’s issue

Viewpoint On sale Tuesday 22 January
Jon Bentley
© JAMES ABBOTT
Depth-of-field scales on lenses may have fallen
out of favour, but it would be excellent if Zeiss’s
new solution was adopted by more firms
T
echnological developments manual zoom and you end up with a
aren’t always for the best. FM particularly graphic and informative scale
radio still sounds better than engraved on the brass lens barrel.
DAB, for example. And why The modern equivalent 70-200mm
do we have to put up with electronic has no depth-of-field markings at all to
handbrakes in cars? The manual variety accompany its sparser focusing scale.
are so much simpler and more effective, And with most modern prime lenses
especially when it comes to emergency you’re lucky if you get a token solitary
changes of direction in snow and ice. f-stop marked, usually f/11 or f/16.
One photographic development I regret
is the demise of good depth-of-field Fiendishly complex
scales on lenses. Indicating the near There are plenty of good reasons why
and far limits of what’s sharp at a given depth-of-field scales have fallen out of
focusing distance and aperture, they were favour. Today’s wider-range zooms would
a great help in film-only days, for judging require exceedingly complex graphics and
The joys
whether your landscape’s foreground or they’d be an unacceptable constraint on
your portrait subject’s nose and ears were lens design. Hardly any zooms slide in
in focus. Depth-of-field preview was often and out these days so they’d need to be
available, but it was difficult to judge on animated in some fiendishly complex way.
of winter
your SLR’s ground-glass focusing screen With digital you can take a test shot, and
as small apertures made it dimmer. electronic screens and viewfinders let you
The depth-of-field scales on old Nikon judge sharpness at maximum brightness
F-mount lenses were almost a work of for real without any distance calculations.
art (see below), with different colours for Focus peaking is often an option,
different f-stops. Add in the slide of the highlighting which parts of the image are Improve your winter
in focus. Also, you’re increasingly likely
photography with guidance
© JON BENTLEY
to be using the same lens with different

sensor formats which alter the focusing from expert James Abbott
distance at which blur is detectable for a
given focal length and aperture.
Not that depth of field isn’t important.
For TV and movies, assistant camera
operators continually consult apps and
tables, and measure focus distance with
an ultrasonic gadget, to make sure an
animated actor stays in focus in a scene
THE V EWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L MITED
and that focus pulls are performed well.

Technology may have a better solution,
Depth-of-field scales (above) on an old Nikon
80-200mm; the new Batis has a cool solution however. I was using a Zeiss Batis lens the
other day. The Sony E-mount range has
© JON BENTLEY
been extended to include four focal

lengths. They feature an OLED display, too
– when focusing manually this gives you a
readout of your exact focusing distance, as
well as the extremes of depth of field. So Backpacks round-up
you know at your selected aperture that James Abbott looks at six backpacks that
are perfect for winter shooting
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
everything from, say, 2m to infinity is in

focus with a quick glance. I loved this.
I hope more companies adopt the idea. Lightroom tips
James Paterson’s masterclass will help
Jon Bentley is a TV producer and presenter best known you speed up your Lightroom workflow
for Top Gear and Channel 5’s The Gadget Show
Sigma 60-600mm field test
Michael Topham field tests Sigma’s 60-
Do you have something you’d like to get off your chest? Send us your thoughts in around 600mm f/4.5-6.3 DG OS HSM Sports
500 words to the address on page 12 and win a year’s digital subscription to AP, worth £79.99

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Editorial team
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LETTER OF THE WEEK Ouch. Sorry about that,
Jonathan – Nigel
Think local
Deputy Editor Geoff Harris
Technical Editor Andy Westlake
Reviews Editor Michael Topham Atherton, Editor
Features Editor Amy Davies
Features Editor
Technique Editor
Production Editor
Ailsa McWhinnie
Hollie Latham Hucker
Jacqueline Porter
Train of thought
Chief Sub Editor Jolene Menezes I was inspired to write to you by your Congratulations to Richard
Art Editor Sarah Foster 365 photo projects feature (Count the McVeigh on his winning
Senior Designer Steph Tebboth
Studio Manager Andrew Sydenham days, AP 5 January). entry on the front cover
Photo-Science Consultant On 9 January 2017, I decided to of the Christmas issue (AP
Professor Robert Newman
Senior contributor Roger Hicks take up walking from my house in the 22-29 December 2018).
Office Manager Hollie Bishop suburbs of Aberdeen. I walked around There are hordes of
Special thanks to The moderators of the
AP website: Andrew Robertson, lisadb, Nick nine miles a day, four days a week. amateur snappers out
Roberts, The Fat Controller Initially, I took photos with a phone then there taking superb
Advertising with a Fujifilm X100, and for the most pictures of our heritage
Commercial Manager Liz Reid
07949 179 200 part with a Fujifilm X-T2. I posted the All the pictures in Ian’s book were taken railways. One only has to
Commercial Director Dave Stone best photo of the day on my Facebook from within walking distance of his home leaf through the pages of
07961 474 548
Senior Account Manager Sereena Gill timeline. As an experienced self- Heritage Railway or Steam
07583 106879
Production Coordinator Chris Gozzett publisher I couldn’t help but begin to well received. I titled it Under my very Railway. When I am out
0203 148 2694 design a book around my walking nose (www.undermyverynose.co.uk). and about taking pictures I
Marketing pictures. My one-year project ended It has changed the way I feel about my never seem to be alone –
Head of Marketing Samantha Blakey
Publishing team on 9 January 2018, and by August, surroundings, as I began to recognise there is always someone
Chief Executive Officer Marcus Rich I had completed the project, put it in the beauty and variety within walking else about.
Group Managing Director Andrea Davies
the hands of an experienced graphics distance of my house. I am fitter, more Photography isn’t a
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RES DENTS ONLY
Managing Director Gareth Beesley

Editorial Director Simon Collis designer and found a printer in Kaunas, involved in the local community and primary hobby of mine –
Printed in the UK by the Wyndeham Group Lithuania, to print the 184-page generally happier. heritage, particularly
Distributed by Marketforce, 5 Churchill
Place, London E14. Telephone 0203 787 9001 photo-quality hardback. The book I would commend the exercise to heritage railways, definitely
arrived at my door on 27 October and others. It is the antithesis of ‘familiarity is and photography
Editorial Complaints We work hard to achieve the highest
standards of editorial content, and we are committed to was on sale the following week. Six breeds contempt’. enriches the pursuit hugely.
complying with the Editors’ Code of Practice (www.ipso.co.uk/
IPSO/cop.html) as enforced by IPSO. If you have a complaint weeks later I have only 50 copies left Ian Macilwain It never occurred to me
about our editorial content, you can email us at complaints@
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provide details of the material you are complaining about The lesson? Think local. This book What an inspiring story, Ian, and have a heritage railway
and explain your complaint by reference to the Editors’ Code.
We will endeavour to acknowledge your complaint within 5 has become the default stocking filler food for thought for our readers scene on its front cover, or
working days, and we aim to correct substantial errors as
soon as possible. where I live and has been extremely – Nigel Atherton Editor else I might have sent one
All contributions to Amateur Photographer must be original, in. Sadly, I have nothing in
Win!
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A Samsung 64GB EVO Plus microSDXC with SD with Richard’s beautifully
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Christmas issue A bit late?

Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part
of this publication may be reproduced, stored in a retrieval
or transmitted in any format or medium, whether printed, All praise therefore to opinions, you at least
electronic or otherwise, without the prior written permission
of the publisher or the editor. This is considered a breach of I recently cancelled my the team at AP, who have manage to ignite a healthy Thank you for a great year
copyright and action will be taken where this occurs. This
magazine must not be lent, sold, hired or otherwise disposed subscription to a well- completely nailed it once discussion, which can only of magazines; looking
of in a mutilated condition or in any authorised cover by way,
or by trade, or annexed to any publication or advertising known monthly photo again. The Christmas issue be a good thing. forward to 2019! It was
matter without first obtaining written permission from the
publisher. TI Media Limited does not accept responsibility for magazine. This is because (AP 22-29 December Chris Glass interesting to read that
loss or damage to unsolicited photographs and manuscripts, I felt patronised by the 2018) is simply crammed Richard McVeigh, who took
and product samples. TI Media Limited reserves the right to
use any submissions sent to Amateur Photographer Magazine
in any format or medium, including electronic. One year
tedium of the rather from cover to cover with To the point the Christmas cover photo,
subscription (51 issues) £155.50 (UK), e259 (Europe),
$338.99 (USA), £221.99 (rest of world). The 2015 US annual
uninspiring suggested great ‘stuff’, which will keep Loving the bumper started out with a Canon
DEU subscription price is $338.99, airfreight and mailing in
the USA by named Air Business Ltd, c/o Worldnet Shipping
photo projects, and me entertained right over Christmas special (AP 350D. That was also my
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downright insulted by a the holiday period. 22-29 December 2018), first SLR. I was a little
Send address changes to Amateur Photographer, Air Business
Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd
couple of appallingly dire That you and your staff but not for the first time, perplexed looking at the ‘In
floor, Jamaica, NY 11434, USA. Subscriptions records are
maintained at TI Media Limited, 161 Marsh Wall, London E14
cover photos that were so deliver every time, week your printers have had an next week’s issue’ section,
9AP. Air Business Ltd is acting as our mailing agent. obviously faked that it after week, never ceases issue. Despite the fantastic though. I’ve done ‘365’
seemed Blu-Tack was used to amaze me. Even when additional pages, they projects before (not
in place of editing software. an article splits readers’ seem to have used the particularly well), so

I completely agree with Do your own thing

Back in the day
Nigel that it looks like a still Richard Brown should not
from a movie, and the fact be disheartened because
that it isn’t makes the winning photographs in
picture something that is competitions are A wander through the AP archive. This
both elusive and very rare Photoshopped to death
these days – a genuinely (Inbox, AP 1 December week we pay a visit to January 1984
unique photograph. 2018). This is but a
I would be interested to branch of the lethal Gear
know if there are any other Acquisition Syndrome. He
pictures that David Yarrow should remember that
took at the same time. It almost all iconic photos of
also makes me want to visit the past century have not
the bar although I may been Photoshopped. Just
Our Christmas Special issue have to grow my beard out ignore competitions – I
was well received by readers a tad so as not to appear learned this in 1950 from
too much of a ‘city slicker’. my experience in a great
an article covering this with Truly well done, Mr Yarrow. photographic society in
hints and tips caught my David Richards Manchester, when the
attention. Then I realised pundits told me that
the issue’s on-sale date is Readly 35mm cameras would
2 January. Maybe a little Steve Jacobs asked about never cut it!
late for those who want to the possibility of scanning We all have our own
start on the 1st? Perhaps back issues (Inbox, AP style; I love monochrome
something to pull forward 22-29 December 2018). film in a Leica M3 or M2,
next year? Readly has over 200 home processing in the
Ian Lewis issues of AP dating back kitchen with an enlarger
to 2014, which is a start. built by Leitz in the 1930s.
A good point, Ian, Geoff Mullen (a reader As Leicas go up in value,
though subscribers got for over 50 years) don’t go wrong, and not
1984
their copies before the obsolescent in months,
New Year – Nigel Natural processing this is one of many cheap
Atherton, Editor I enjoyed looking through paths to enjoyment. Do
the winners of APOY’s your own thing, and let
The Usual Suspects Round 8 in AP 22-29 others who use WHATEVER the subject, you can be sure an AP cover
I just read page 31 of your December 2018. But I computerised lenses and from the ’80s would illustrate it with a female model in
Christmas issue (AP was a bit puzzled by your laptops to create fantasy minimal clobber, and this doozy is no exception. We’re
22-29 December 2018) comment on Ram Kumar’s images do theirs. guessing the model’s diaphanous outfit is supposed
and had to write in to photo that you would Geoffrey Rivett to convey frosty light, but we can’t help thinking of
let you know what a truly prefer to see more ‘natural packaging material... Anyway, she seems to be coping
fantastic picture ‘The processing’. The very The main reason no with winter light OK. The other major feature, Body
Usual Suspects’ is. The concept of post-production iconic 20th-century Talk, was even more risqué, with Malcolm Wood
guy to the right, nearest is not ‘natural’. When we as pictures were showing ‘how to bring a dash of fantasy to your slides
the camera, caught my photographers make any Photoshopped is because with a living projector screen.’ Austin Powers would
attention first, and as I adjustments to an image, Photoshop didn’t exist have loved it, so the piece feels dated, even for the
moved around the frame no matter how subtle, the until 1988. But to say mid-’80s. Thankfully, the issue gets more highbrow
taking in all those end goal is always to make that none were heavily with a well-written piece on Julia Margaret Cameron
wonderfully grizzled the image better. A good manipulated in the by Margaret Harker – the UK’s first woman professor
characters together with photo is a good photo is a darkroom would be of photography and the RPS’s first female president.
the beautifully stylised good photo, and whether it entirely wrong. In Meanwhile, editor Roy Green was worrying whether
but almost anachronistic is achieved ‘naturally’ or by addition to pretty much stills photography would survive the video recording
barmaid, it came as a real dragging a Lightroom filter every Hollywood boom. I’m sure he’s delighted that we are all still here;
shock to realise that all the way to the right portrait, you could indeed, video has been absorbed by cameras and
something else was need not matter. add the work of camera phones rather than the other way around.
present... a wolf. A WOLF! Conor Hallahan legendary landscape
photographers like Ansel
Adams (see page 8). But
I agree with your last
comment – do your own
thing. Nobody is forcing
anybody to learn to
use Photoshop, and in
some genres of
photography, such as
documentary, heavy
© DAVID YARROW
editing is still as much

of a no-no as it has
always been – Nigel
David Richards is a fan of Yarrow’s photo of the Wild West Atherton, Editor Margaret Harker’s enlightening article on Julia M Cameron

Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
Eva Kahan, Clitheroe Fairy Pools, Skye Derwentwater

Eva describes the area in northern Germany 1 ‘I sprained my Boathouse
where she grew up as ‘very flat and, to me, ankle taking this shot 2 ‘Having camped
uninspiring’. It’s no surprise, then, that she was because I stood in the nearby, I went out
blown away by the scenery of the Peak and Lake same twisted position at 5am to catch this
District when she moved to northern England 14 for half an hour!’ frosty scene on a
years ago, and landscape photography offered her a creative Canon EOS M5, chilly April morning.’
outlet. ‘Noticing the ever-changing light conditions that can 15-45mm, 3.2sec at Canon EOS M3,
turn a familiar landscape into something entirely different was f/11, ISO 200, 0.9 ND 22mm, 6sec at f/13,
the biggest eye opener for me,’ she says. ‘I was blind before, grad, polariser, ISO 100, 0.9 ND grad
but now I constantly live and breathe photography.’ Little Stopper
Lagangarbh Hut,
Glencoe
3 ‘Driving back from
the Isle of Skye, we
noticed the light in
the valley and
instantly pulled over
to take this shot
from the roadside.’
Canon EOS M5,
15-45mm, 1/400sec
at f/11, ISO 160
14
UR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY
The Reader Portfolio

winner chosen every week will receive a Manfrotto PIXI Submit your images
Please see the ‘Send us your
EVO tripod worth £44.95. Visit www.manfrotto.co.uk pictures’ section on page 3 for details
Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling or visit www.amateurphotographer.
you to shoot ground-level images. It’s adjustable, with two-section legs featuring five different steps that adapt co.uk/portfolio
the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90° to capture incredible images.
4 Herdie,
Crummock Water
4 ‘I was wild
camping with friends
on Rannerdale Knotts
and we got up early to
capture the sunrise.
At 6am the light
changed to these
sublime pastel
colours. Suddenly
this cute Herdwick
sheep walked into
my frame and made
this picture, with
Crummock Water as
a backdrop.’
Canon EOS M5,
22mm, 1/60sec at
f/11, ISO 125
Cluanie Lodge
5 ‘I loved the drama
in this scene. The
clouds hugging the
Highland mountains
as well as the
sunlight hitting
Cluanie Lodge and its
surrounding trees
was a scene I simply
had to capture.’
Canon EOS M5,
15-45mm, 1/200sec
at f/11, ISO 250
5
Technique PRINTING TIPS

Matthew Richards 1 Choose wisely
Matthew Richards began his career as a broadcast engineer If you’re prepared to limit
for the BBC in London and for companies across southern Africa. your print size to A4, it
He was then a technical author, before moving into journalism makes sense to buy a multi-
and photography. He currently specialises in reviewing cameras, purpose printer that’s good for
lenses and photographic accessories. creating both documents and
photos. Canon’s latest 5-ink
and 6-ink printers lead the way
As reviewed in AP 15 December 2018, for multi-purpose A4 printing,
the Epson ET-7750 is a good choice
with the PIXMA TS6250 and
for combined document and photo
printing, at sizes of up to A3 PIXMA TS8250, respectively.
They’re fast and produce
excellent-quality colour photos.
For a similarly multi-purpose
choice in A3-format printing,
the Epson EcoTank ET-7750
is a good choice, with its
high-capacity ink tanks.
New Year’s
printing
©JASON HOMA - GETTY IMAGES/BLEND IMAGES
resolutions
It’s time to get your best photos out of your
4 Monitor your monitor
WYSIWYG sounds great but, all too often, what
you see on screen won’t match what you get on
paper. The usual culprit is that the screen is set with
too high a brightness level and needs turning down
cameras and phones and into the light of a bit. For ultimate accuracy, invest in a monitor-
calibration tool like the Datacolor Spyder5 Express.
day. Matthew Richards offers 25 top tips for
For less than £100, the
perfect photo prints Spyder5 Express is simple and
effective, taking the
guesswork out of
2 Go large 3 Direct printing calibrating your
monitor
For larger-format printing, A3+ or ‘Super A3’ has Most multi-function or
a maximum print size of 19x13in (483x329mm). ‘all-in-one’ printers include
That’s noticeably larger than standard A3, and the a PictBridge port, Wi-Fi
aspect ratio is a better fit for the 3:2 format of most and memory card slot,
cameras. There’s a range of Canon and Epson so they can print photos
models to choose from (see above and the following directly from compatible
pages), or you could take a bigger step up to an cameras or memory cards
A2 printer, such as the Canon imagePROGRAF without the need to use a
PRO-1000 and Epson SureColor SC-P800. These computer. It can be useful
can generate photo prints that are twice the size of if you need quick prints on
A3, at 23.4x16.5in (594x420mm), but they don’t the fly.
come cheap.
16 19 January 2019 I www.amate

6 Faster or
better?
The ‘normal’ quality
setting in your printer’s
settings should prove
sufficient when
creating postcard-
sized prints. It should
also enable a good
turn of speed, with
each print only taking
a matter of seconds to
complete. For A4 or
larger prints, it can be
When the aspect ratio of your paper doesn’t match that of worth selecting the
your image, crop manually to enhance the composition
best-quality setting,
as prints can look
5 Crop creatively marginally sharper,
Unless you’re shooting with a 3:2 aspect ratio
camera and printing on 6x4in postcard-sized photo
and have slightly better
tonal definition and 7 Get set
paper, you’ll often find that your image files have a smoother graduations, Ensure you select the correct type of paper in the
different aspect ratio to the paper you’re printing on. although they’ll take printer properties or preferences dialog box. Colour
Rather than just losing an automatic amount off the top longer to output. accuracy and overall print quality is critically dependent
and bottom or sides of the print, crop your image on this. You can end up with awful-looking results if the
creatively so that it looks its best when printed on paper. settings are wrong.


9 Don’t dry out
If you have a specialist
photo printer that you only
use occasionally, it’s a good
idea to switch it on at least
once a week. A mini
cleaning cycle will probably
be activated, but you might
also create a print on a
plain sheet of paper; it uses
a little of each colour ink.
This helps to avoid ink
drying in the nozzles of the
8 Auto fix print head over a period of
Especially when printing photos directly from your time, which can be very
camera or memory cards, the ‘auto fix’ or ‘photo difficult to clear, even with
enhance’ option available in most printers can help to successive running of the
optimise print quality without the need for applying print-head cleaning routine
manual editing or corrections. or a ‘deep clean’ cycle.
© GETTY IMAGES/ISTOCKPHOTO
For long-lasting,
good-quality prints,
it’s worth the extra
effort at the
printing stage
12 Get aligned
When you buy and set up a new printer, it’s a good idea
to run a print-head alignment routine. This will ensure
that you get the sharpest possible prints, with minimum
degradation from ink droplets being misaligned. It’s
worth repeating the procedure every six months or so,
and after transporting the printer to a different location.
10 Colour management
Most times, you should find that you get good results with your printer’s colour
management set to ‘auto’. However, this can apply enhancements which might
make your photo prints look over-saturated in colour, or too high in contrast. Especially
if you’ve edited your photos, use the manual, standard colour setting or assign colour
management to your editing program rather than let the printer have control.
11 Paper chase
Glossy photo prints aren’t the only way
to display your images. Semi-gloss or
lustre papers are a good alternative, matt
papers work really well for pigment-based
printers, and there’s a wide range of ‘fine art’ 13 Nozzle check
papers on the market, including the likes of Especially before creating a large-format inkjet
canvas effect and photo rag. You’ll find that print of A3+ or A2 size, it’s worth running a nozzle
you can create really distinctive-looking check routine. This will create a test print that you can
prints if you experiment with different media. inspect for quality. If you notice any faint lines across the
print, it’s likely that some of the nozzles in the print head
Try different types of photo paper to are blocked. Run a head-cleaning cycle and repeat the
get the best finish to suit your images, test, to avoid wasting the cost of a large sheet of photo
and how you want to display them paper and accompanying ink.
18
16 It’s in the edit

If you’re creating prints to last a
lifetime, it’s worth putting some
effort into making them look their
best. A little care at the editing stage
can go a long way. At the very least,
you should apply any necessary
corrections for brightness, contrast
and colour rendition.
17 Best resolutions
A printing resolution of 300dpi (dots
per inch) is something of an industry
standard, but a lower resolution of
150dpi can nevertheless yield very
good results, especially when using
an inkjet printer. As a rough guide, a
3MP (megapixel) image is sufficient
for creating an A4 print, and a 6MP
image is enough for an A3 print.
Most current digital cameras have far
higher megapixel counts anyway, so
you shouldn’t have any problems even
when ordering poster-sized prints
from a lab.
14 Dye or pigment? 15 Transport

Specialist photo printers of A3+ or larger system
formats tend to run on either dye-based or The paper
pigment-based inks. For example, the Canon transport system
Pixma Pro-100S uses eight dye-based inks with can become dirty
multiple grey cartridges to improve mono photo after a long period
output as well as enhancing the colour range. of time, which can
Pigment-based models like the Canon Pixma degrade print quality.
Pro-10S and Epson SureColor SC-P600 also Some printers have a
have extended ranges of ink, as well as usually routine that you can
featuring photo black and matt black inks for run for cleaning the
printing on glossy and matt paper, respectively. paper path, available
Pigment-based inks tend to be more robust for from the maintenance
printing on matt paper, but usually lack the section of the printer
super-smooth finish and uniform reflectivity properties dialog box.
of dye-based inks on glossy paper.
18 Decompress
It can be tempting to apply
aggressive compression
settings when saving JPEG
files, so that they take up
less room on your hard
drive or other electronic
storage, as well as being
quicker to upload to the
web or send to people
via email. However, this
can result in unwanted
compression artefacts and
a degradation of quality
that’s more noticeable
Canon’s 10-ink Pixma Pro-10S is an excellent pigment- in printed photos than
based printer for both colour and mono photo output on screen.
19

22 Test prints 25 Supersize your prints
Flaws that you can’t see Even A3+ photo prints can look a bit lost when
on screen can be visible in hung on the wall. Rather than creating your own
small-format prints. Before large-format prints, it can be better to use a high-quality
creating a large-format online lab, such as Loxley Colour (www.loxleycolour.com)
print, try a small 6x4in or Whitewall (uk.whitewall.com). You’ll have to wait for
photo and inspect it for your prints to turn up in the post, but you can create
defects. It also gives you much larger prints and get additional choices, like boxed
a good idea of how the canvas and acrylic prints.
brightness, contrast and
colour will look in your final
large-format print.
23 Save cash
A better way to save
money on your printing
costs is to buy high-
capacity cartridges.
Some printers have the
19 Across the border availability of XL and even
When creating borderless prints, you’ll lose a small XXL cartridges, as an
amount around the edges of your image owing to alternative to standard-
the print overlapping the area of the paper. You can capacity options. These
usually select the amount of extension and reduce it to will typically give sizeable
minimise the loss, but be careful not to end up with a thin savings, especially for
white line along any of the edges. Also bear in mind that printing photos which tend
borderless printing is not suitable for plain paper or matt to use much more ink than
photographic paper. general colour documents.
A favourite of many, Loxley Colour can give you far more

flexibility and versatility for print sizes and finishes compared
with using an inkjet printer at home
Try to avoid non-genuine inks, although Hahnemühle and Canson do quality photo papers
Don’t switch between glossy
and matt media too often,
20 Keep it real 24 Save ink with the Epson SC-P600 A3+
and SC-P800 A2 printers
Everybody loves a bargain and you Some of Epson’s range-topping,
can save a stack of cash by buying pigment-based printers use the same
cheap, non-genuine ink cartridges and channel in the print head for photo black
photo paper. However, you run the risk of and matt black. Each time you swap
impurities clogging the nozzles in your between these two alternative cartridges,
print heads and you’ll often find that you’ll waste a sizeable amount of ink, as the
colour accuracy and overall print quality channel needs to be purged and
are vastly inferior. In some tests, we found recharged before printing. Try
that inkjet photo prints created with therefore to reduce the
cheap consumables began to visibly fade number of times you
after only a few weeks, when they should switch between glossy
last for decades. and matt media as
much as possible with
these printers.
21 Mono magic
Typical A4 photo printers run on six inks
at the most, and don’t have additional
grey inks. A result of this is that mono
photo prints can lack clarity and contrast,
as well as suffer from unwanted colour
casts. For optimum mono quality, it’s
worth upgrading to an A3+ photo printer
that’s designed to excel at black & white
as well as colour printing.
20
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APOY
Leading
the way
At the start of 2018, Neil Burnell set out to
win APOY. By Christmas, he’d done it. He
tells Ailsa McWhinnie how he went about
tackling the eight-round competition
AP: How did you get started years or so, I did take a photography
in photography? course while I was at college, but it
Neil Burnell: It started four or five was secondary to design. At the
years ago, and was off the back of time, I was into sports – particularly
my other hobby – fishing. I used to football – so I didn’t have any spare
fish a lot on the coast around where time to pursue photography. I
I live in Brixham, Devon, and I retired from playing on a local level
bought a camera to take pictures a few years back, so had more time.
of my fishing friends and the local As you might have guessed, I tend
scenery. It’s fantastic to be out to throw myself into my hobbies!
fishing early in the morning, and
that’s when I realised I should be AP: Did you have a turning point
taking pictures of what I was seeing. with your photography?
After a while, the photography NB: It was when I started to study
took over, and I hardly ever go out long-exposure photography more
with my rods any more. I’m self- closely. The first photograph I took
taught: I bought a tripod and a set that I was really pleased with is a
of filters, and learned by studying minimal image of a stick in the mud
others’ work and styles – paying in a local river. It was misty and
particular attention to seascapes. there was no background – and that
sort of minimal, monochrome style
AP: You’re a graphic designer is something I really like.
by trade. How has this informed
ALL PICTURES © NEIL BURNELL
your photography? AP: You take competitions

NB: It has certainly helped, and my pretty seriously. Tell us a bit
graphic design style is also quite more about this.
minimal, so that’s played a part in NB: I entered APOY last year, and
my photography. Going back 25 was about eighth in the final
His first attempt standings. Then, last year and

at a minimal the year before, I won the Wex
long-exposure, this Photographer of the Year award.
is still one of Neil’s Also last year, I won the Your
favourite images View category in the Landscape
Nikon D810, 21mm,
Photographer of the Year with
126sec at f/8, ISO 100,
10-stop ND filter a minimal beach hut scene. As far
as APOY is concerned, I worked
very hard at it, and doing as well
as I possibly could was my main
aim at the start of 2018.
I’m quite a competitive person –
I know I shouldn’t be! With the Wex
competition, because it’s weekly,
once I got to the stage where I was
APOY
different categories and genres has

really pushed me, and it’s the sort
of thing that can only improve your
photography as a whole.
As each round was announced,
about a month before each deadline
I’d start to think about what I could
shoot to enter into it. This sort of
planning helped particularly with
the portrait round, and I actually
took a day off work to go out with
my daughter to shoot something
cinematic and stylish – something
a bit more eye-catching than
the norm. It was a longer-lens
panoramic shot – and my Zeiss lens
renders bokeh so nicely, I knew
I’d get a creamy effect in the
background. I then applied a split
tone in processing. Photography is
all about mood and light, and I can
definitely take what I learned from
the portrait shoot into woodland
photography and the landscape.
Of course, there are some rounds
where you know you have a suitable
shot already. I do a lot of landscape,
so I knew which shots would go into
those rounds. But when it came to
the macro category, I spent pretty
much every weekend for a month
going out and shooting images so
I had something to enter.
I view it as a year-long project.
It got me out and motivated, so
I enjoyed myself whatever the
outcome. If I didn’t have these
projects and competitions I’d end
up not going out half the time.
AP: How did you learn

post-production?
NB: I’m self-taught. Years ago, I had
a one-to-one Photoshop session as
part of my job at the time, and that
taught me the basics. I’ve learned
a great deal from YouTube videos.
If I have a spare moment and want
to learn how to process an image in
a certain way, I’ll watch countless
videos to learn how. I don’t follow
anyone in particular – I just do
a search and watch the
doing well, it motivated me to go Neil often heads

out and take more photographs. for this rugged
Generally, because I work full-time, stretch of coast in
I can only go out shooting at the South Hams
when it’s stormy
weekends, so during the week you Nikon D810, 24-70mm,
can be planning and thinking about 3sec at f/11, ISO 64,
what you can do. It definitely 2-stop ND filter
motivates you to do more.
AP: What was different about This unusual

APOY, and how did you plan stitched panorama
of his daughter
your year? Anya scored highly
NB: I’ve done a lot of photography in the portrait round
I wouldn’t normally – such as Nikon D810, 100mm,
portraiture. So having so many 1/80sec at f/2, ISO 100

Neil captured this

orange-tip butterfly
early in the morning,
using a shallow
depth of field for
attractive bokeh
Nikon D810, 100mm,
1/160sec at f/2.8, ISO 64
highest-rated ones. Some with quite a bad back this year –

YouTubers can make them very mainly because of doing macro.
complicated, so I look for ones that The tilt screen on the D850 means
are easy to follow. I always have I don’t have to mess my back up
something in mind when I’m again. There isn’t a great difference
learning and try not to take on too in image quality, but I’ll definitely
much information in one go. notice the difference physically
I’ve also started watching more when I come to do macro again.
landscape videos – not with the aim As for lenses, I chop and change
to learn anything in particular, but them a fair bit. They range from a
for enjoyment as much as anything Zeiss 21mm to a Nikkor 17-30mm
and to see the locations. f/2.8 for landscapes, and a Zeiss
100mm macro for close-up and
AP: And what about equipment? portraits. It tends to be the same
NB: I started off with Canon, but few that come out with me. Our APOY winner
my brother-in-law had a Nikon and describes himself
I liked the look of it more. My first AP: Do you plan to keep as ‘addicted to
camera was a D7000; then I photography as a hobby? long-exposure
changed to the D810, which I used NB: It’s so difficult to become a photography’
for four years. More recently, I’ve professional unless you’re willing to Nikon D810, 35mm,
77sec at f/14, ISO 100,
upgraded to the D850, the main do stuff like weddings. For me, that
10-stop ND filter
reason being because I’ve suffered would ruin my enjoyment of the
2ND PLACE 3RD PLACE
Marco Tagliarino
Travel photography is
Simon Hadleigh-Sparks
There are many
Marco’s speciality, and possible ways to
his ability to condense describe Simon’s work,
the atmosphere of a but somewhere near
place into a single the top would have
frame is admirable. He to be the word ‘slick’.
was a clear winner in His excellent post-
our Travellers’ Tales category, with a production skills ensured images that
shot that was intriguing, cleverly were clean and sharp – as well as
© MARCO TAGLIARINO
composed and demanded careful imaginative and well executed – time

study. He consistently produces images after time. This entry to our Mono
that convey a sense of scale, and his Culture round is a case in point.
Marco’s winning candid people photography manages to Achieving sixth place and 26 points, it
image from get in close without him being spotted was shot with a Ricoh Thea V – a 360°
© SIMON HADLEIGH-SPARKS
Travellers’ Tales – a skill most street photographers camera that would be very easy to use
Canon EOS 5D Mark IV, would be proud to possess. badly, but not in Simon’s hands.
70-200mm, 1/400sec
at f/4, ISO 200
Visit marcotagliarino.1x.com Visit www.flickr.com/photos/simon__syon

APOY
An admirer of b&w hobby I love. One avenue into

city photography, becoming a professional is YouTube,
he tried it himself but I wouldn’t be comfortable with
on a trip to London
that. It’s such a hard thing to make
Nikon D810, 15-30mm,
1/100sec at f/10, ISO 64 money at – the landscape side,
particularly. In a way, I’m making
an income of sorts from the prizes
I’ve won, and I sell the odd print
– certainly not enough to make a
living from, but that’s fine.
AP: What advice would you give

to someone thinking of entering
APOY this year?
NB: Put some ideas together in
advance, even if it’s on paper, and be
prepared for each round. Don’t leave
See more of Neil it until the last minute. Put in the
Burnell’s work at effort and research, and think
www.neilburnell.com about what you’re going to do.
4TH PLACE
Richard Whitson
Like all the high-
scoring entrants,
Richard showed
great versatility in
his photography.
His animal imagery –
particularly the shot
from Fur and Feathers, shown here, and
his close-up of a frog from the Close
© RICHARD WHITSON
Encounters round – demonstrates an

enviable ability to combine superb
technique with wit and keen observation.
He also has pretty impressive reflexes, This characterful
as his images of adrenaline-fuelled little bird was
surfers riding the storms in the seas off beautifully captured
Tiree demonstrate. Canon EOS-1D X, 400mm +
2x converter, 1/1600sec
at f/5.6, ISO 2000
Visit www.2far2see.co.uk
25
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ALL PICTURES © OSCAR DEWHURST

You will often see
these birds skimming
across the waves
Nikon D800, 400mm, 1/1600sec
at f/3.5, ISO 800
Sanderlings can be
found scuttling along the
coastline in search of prey
Nikon D800, 400mm,
1/1000sec at f/3.5, ISO 800
WILDLIFE WATCH
Sanderlings
The best time to photograph sanderlings is
during the winter when their plumage is
grey and white and they are scuttling along
sandy beaches, says Oscar Dewhurst
SANDERLINGS breed in the high Arctic, with some flocks. They are easy to spot from a distance, as you will
individuals making incredible annual round trips of notice them scurrying along the beach.
32,000km between their breeding and wintering areas. The best time to photograph sanderlings is early or
In the UK, winter is the best time to photograph them. late in the day, when the sun is lower in the sky, and the
They are pale grey above, with white underparts, and resulting light has a nicer quality. In winter the sun stays
have a short straight black bill and black legs. As with low all day, so you can photograph throughout, but it is
many wader species, they feed along the coasts at the still worth making the effort to be out around sunrise and
edge of the tide, scuttling back and forth after the waves sunset. This has the added benefit that the beach will be
in pursuit of prey. Their lack of a hind toe gives them quieter, reducing the risk of the birds being flushed away
a characteristic running action that is reminiscent of a by dog walkers and people out on the beach. When the
clockwork toy. Long, sandy beaches are the best place sun is low, you can also try photographing them backlit,
to look, where you will often see them feeding in small or as silhouettes, before the sun gets too high. Oscar
▲ Dewhurst
Binoculars is an award-winning wildlife
KIT LIST photographer from London.
If I’m photographing I never leave home without my
Currently studying for a
▲
Groundpod Swarovski binoculars. They are much lighter and clearer to

Master’s degree in biology
More practical than using a tripod look through than a camera, so
with the legs splayed out, and make finding the wildlife so at Durham University, he has
essential for preventing sand from much easier. They’re photographed a wide range
getting everywhere, a dedicated also great for of subjects, ranging from
groundpod (or just a beanbag in a when you want urban foxes and bitterns
frying pan) makes life much easier to put the to rainforest wildlife in the
when shooting from a low level camera down Peruvian Amazon. www.
on mudflats and beaches. and just watch. oscardewhurst.com
28 .co.uk I subscribe 0330 333 1113

WILDLIFE WATCH Technique
Shooting advice About the

I always shoot at the same level as my subject as it gives a
Sanderlings
greater sense of intimacy, and has the added benefits of Sanderlings are one of the UK’s
giving much more diffuse foregrounds and backgrounds, smaller waders. They are
so the subject really stands out. extremely energetic and can
Sanderlings tend to feed on the shoreline, often in groups, often be seen scampering along
and will work their way along the coast in one direction, Shoot at the same level for the shoreline of the UK’s coasts
before turning around and heading back again. This more intimate portraits where they feed on invertebrates.
Nikon D800, 800mm, 1/1600sec ● Location Can be found
behaviour means they can often be relatively straightforward at f/8, ISO 1250
to get close to. To begin with, watch from a distance and see around most of the UK’s coast
which way they are going. Position yourself ahead of them, other than in the south-west
preferably lying or crouching down to minimise your Sanderlings have and parts of Scotland.
silhouette, and they will carry on feeding as they scuttle past beautiful white and ● Size Length 20-21cm;
you. This has a much better success rate than just walking grey plumage wingspan 36-39cm.
straight towards them, and means you won’t flush them away. Nikon D800, 400mm, ● Nest Near a body of
There is lots of scope for different photos, from probing 1/1600sec at f/3.5, freshwater, on the ground
ISO 800
the mud for prey, to groups of them as they skim across the in an exposed location with
surface of the sea, usually because they’ve been disturbed very little vegetation.
by passing walkers. One of the most challenging images, but ● Diet Small marine creatures
one that is well worth putting effort in for, is trying to capture such as worms, crustaceans
them as they charge past you while feeding. Despite their and molluscs.
small size, they can move with surprising speed, and it is ● Population About 16,000
possible to get photos of them with both legs in the air. wintering birds.

Photo Insight
Time
flies
By Tracy
Calder
It’s often said that a weed
is just a flower growing
in the wrong place, but
this goat’s beard plant
was right in every way
I
have a habit of setting myself
projects that are almost impossible
to complete. In 2008 my husband
and I had the idea to try to visit and
photograph the islands of Great Britain
– all 7,747 of them. Less than a year later,
we gave up our jobs and set sail on a
modern-day exploration of our homeland.
In hindsight, it was a crazy thing to do:
we had comfortable jobs (I was editing
Outdoor Photography at the time), and we
were lucky to live in East Sussex with the
glorious South Downs on our doorstep.
But sometimes comfortable just won’t
do, so we were soon cramming socks,
camera gear and blister plasters into our
rucksacks, and boarding the sleeper train
to Scotland. In the years that followed Tracy has successfully revealed the
star-like structure emanating
© TRACY CALDER
we visited 486 islands, and we saw many

from the centre of this goat’s beard
things for the first time: a waterfall
Canon EOS 10D, 105mm, 1/200 at f/8, ISO 200
flowing backwards on Canna, adders
warming themselves on a rock on Rum,
a corncrake throwing its voice among the equipment and myself that I am still particularly challenging but, trust me,
reed beds of Tiree, to name just a few. We processing this information. For one, if you’ve ever spent an afternoon in a
took a big gamble leaving our jobs, our flat the project has strengthened my love meadow with a botanist you’ll know how
and our friends behind, but our lives were of close-up photography. On many hard it is to tell one gangly yellow flower
enriched by the adventure. occasions I have stood on sandy beaches, from another. Thankfully the plant
We haven’t finished the project yet – in ignoring the wider view and focusing on pictured here was super-easy to identify.
fact, we still have 7,261 islands to go. But tiny details instead: a flower in the dunes, Goat’s beard (Tragopogon pratensis) is
I’m fine with that; in fact, I’m more than limpets clinging to the rocks, the popping commonly known as Johnny- (or Jack)-go-
fine with that. When you set yourself an bladders of seaweed. to-bed-at-noon, because its flowers close
ambitious project the chance of meeting It will come as no great surprise to learn up around midday. I am told that the roots
your goal is often slim. In such instances that there are a few unfinished photo taste of parsnips, but I wouldn’t advise
the true pleasure lies in the discoveries you projects on my ‘to-do’ list. The year before digging them up to find out.
make along the way. In the decade since we set sail for the islands I decided to Despite its delicate-looking seed
we started the project I have learnt so shoot all the wildflower species of Sussex, heads, goat’s beard is an easy plant to
much about the natural world, my camera for example. This might not sound photograph because its stem is quite thick,

which stops it from getting blown about result, I switched to manual focus and
in the wind too much. Having found a turned the focusing ring just a fraction Tracy
specimen with all its seed heads intact, to reveal this hidden aspect. Calder
I set up my tripod (a Manfrotto Like the island assignment, the Photographer, editor,
190CXPRO4) and attached a Sigma wildflower project remains unfinished – and writer Tracy Calder
105mm macro lens to my Canon EOS 10D. and it’s likely to stay that way as I now is the co-founder of
(My 10D is now enjoying its retirement, live in Hampshire! However, once again, Close-up Photographer
but the tripod and lens are both still in I learnt valuable lessons along the way. of the Year, a
regular use!) After some experimentation For one, when it comes to close-up work, competition, blog and
I settled on an aperture of f/8 at 1/200sec time spent observing your subject is newsletter celebrating
(with an ISO of 200) and fired off a few never wasted, and often leads to new the art of close-up,
frames. The results were pleasing, but as discoveries. What’s more, there is much macro and micro photography. The closing date
I sat and observed the plant I became beauty to be found in commonly for the current competition is Sunday, 9 February.
fascinated by the star-like structure overlooked subjects. It would almost See www.cupoty.com.
attaching the seeds to the stem. As a be a shame to finish a project now.

Technique FILM PRINTING

Mike Crawford
Mike Crawford is a London-based photographer and specialist printer
working primarily in urban landscape and portraiture. His work has
been exhibited widely in the UK and abroad. For over 20 years he has
run Lighthouse Darkroom, one of the UK’s premier photographic labs,
working for many leading photographers on numerous exhibitions
and publications. See www.mike-crawford.co.uk.
Paperchase
There are several factors to consider when it comes
to choosing paper for printing. Mike Crawford
explains all you need to know
W
hen writing about black While I have endeavoured to be as
& white photographic comprehensive as possible, I appreciate
papers currently available, that there are some brands not covered
there is often mention such as Oriental Seagull and Slavich that
made of all the materials that have been currently have no distribution to the UK.
discontinued over the years. While it
would be fascinating to look back at the A brief history
history of such papers, it is probably more Photographic materials have been
constructive to feature and celebrate produced commercially since the 1850s,
what we print with today. Given the and gelatin bromide papers, the
dominance of digital, it is reassuring that forerunners to today’s silver gelatin
there are still a wide variety of papers papers, were first made in 1874. The 20th
being produced. century saw a huge growth in production
I’ve concentrated on what is available offered by mechanisation, but also the rise
in the UK, or at least what can easily be of the global photographic market for both
ordered from suppliers within Europe; professional and amateur photographers.
namely Adox, Foma and Ilford products. Companies such as Kodak, Agfa and Ilford
Paper choices
Fibre based or resin coated?
THE two main types of paper are fibre based
(FB) and resin coated (RC). Also known as
Bromide or Baryta, FB is a traditional
photographic paper. The light-sensitive
emulsion is coated directly onto a paper base,
which itself has a coating of barium sulphate
(Baryta) giving the print a white base tone. The
chemical process after development requires
an acidic fix, so an extended wash is required
to ensure all harmful chemicals have been
removed from the paper.
RC papers, introduced in the 1970s, employ
a thin polyethylene layer on both sides of the
paper to protect it from soaking up chemistry,
allowing far shorter wash times. RC prints air
dry quickly and flat, while FB papers will have
an inherent curl when dried which then
requires flattening. (This is due to the emulsion
ALL PICTURES © MIKE CRAWFORD
layer and paper base drying at different times.)

However, FB papers, which tend to be on a
Looking through the boxes of paper stored on my heavier base, will normally display more tonal
darkroom shelves, it’s reassuring just how many depth than RC, and are usually preferred for
types are still available high quality printing work.
32
Variant is Foma’s standard b&w

neutral-tone paper. Other
comparable brands are Adox MCC
and Ilford Multigrade Classic
Foma Variant processed in Ilford PQ Universal
developer; Konica Hexar AF; Ilford Delta 3200
A relatively recent Ilford paper is Art 300, which

has a texture reminiscent of older pre-war papers
Ilford Art 300 processed in Harman Warmtone developer;
Rolleiflex 2.8E; Ilford HP5 Plus
thrived throughout the 1900s until the

advent of digital. After this only a handful
of companies and brands survived,
continuing to manufacture traditional
photographic paper in smaller quantities,
some diversifying into digital materials
and technologies. In some instances, the
brand has continued, while the original
company has changed ownership, business
name or indeed ceased trading.
Adox
Adox papers and films are produced by
Fotoimpex in Germany. In addition to
manufacturing photographic materials,
its store supplies a very wide range of
analogue products and equipment.
Its flagship paper is Multicontrast
Classic (MCC), a neutral-toned, variable
contrast fibre-based (FB) paper, available
in gloss and matt surfaces. The emulsion
is based on the formulae for Agfa MCC
paper, which stopped production following
Agfa Photo’s bankruptcy in 2005.
Fotoimpex has produced the paper in
cooperation with ex-Agfa engineers using
their original coating plant. Like its
predecessor, it is an excellent paper with
a smooth gradation and full tonal range,
and in my opinion preferable to the
original Agfa as it is coated onto a whiter,
less warm paper base. In addition, the
matt MCC has a semi-matt surface that
gives slightly more depth than other matt
papers. A resin-coated (RC) version, MCP
is also available in gloss and pearl.
A recent addition to its catalogue is
Lupex, a silver chloride paper, similar
to Kodak Azo, a legendary paper first
produced in the early 1900s and used by
photographers such as Edward Weston.
This cold tone, gloss paper gives very fine
print resolution, providing full highlight
and shadow detail with a correctly
exposed and processed negative. But
33
Technique FILM PRINTING

it does have a very low emulsion
speed, making enlargements
impractical, though it’s ideal for contact
printing large-format negatives.
A much anticipated Adox paper, which
has been in development for some time, is
the Polywarmtone Project. This will be a
new version of the classic chlorobromide
paper. Adox acquired the original coating
and production machinery when Forte
ceased trading in 2007 and has since been
working to bring this paper back into
production. Visit www.adox.de.
Foma
Based in the Czech Republic, Foma has
been making photographic paper since
Ilford’s paper includes neutral-toned Multigrade FB

Classic, plus Warmtone and Cooltone emulsions
Paper surfaces
Gloss or matt?
THE NEXT choice to consider is the paper
surface. The most popular is gloss, though the
intensity of this finish varies in sheen between
FB and RC materials. The resin paper has a
higher, smoother gloss while fibre based has
what used to be referred to as ‘glossy unglazed.’
Up until the 1970s, it was common to dry
prints pressed onto a heated polished-steel
plate, which imparted a smooth, shiny surface.
When unglazed, as is common practice now,
the paper still has a relatively high gloss, but
without a distracting reflective glaze.
In comparison, matt FB papers have a
smooth finish, which can be pleasingly tactile.
They do not have the same depth of maximum
black as their glossy counterparts, so often
appear softer in contrast. A recent addition to
Ilford’s range is Art 300, which uses a textured
paper stock reminiscent of older papers
from the 1930s. While matt RC used to be
common, most non-gloss surfaces now tend to
be classed as Pearl, which adds a very slightly
textured sheen to the paper surface that helps Adox operates two factories in Germany and Switzerland producing films, papers and chemistry. Its
give more depth. Lupex, a silver chloride paper, can only be contact printed with strong light, but it renders fine detail

1931. Following the demise of Forte in this company was formed in 2005, it is a
Hungary and Fotokemika in Croatia, it is direct continuation of the business, which
the last major producer of traditional began in 1879 as Britannia Works, later to
photographic materials in the Central/ become Ilford.
Eastern European region. Fortunately, its There are 14 different types of FB
papers are widely available and currently and RC papers listed in its catalogue.
it exports to more than 90 countries. Multigrade FB Classic is its brand leader,
Its two most popular variable contrast a neutral-tone paper on a clean white base
FB papers are Fomabrom Variant and available in gloss and matt versions.
Fomatone MG, both produced in glossy Multigrade FB Warmtone has a warmer
and matt versions. Variant is a fine tonal range, available in gloss and semi
neutral-toned paper, with strong blacks, matt, which has slightly more depth and
a good range of contrast and a natural a richer black than the MG Classic Matt
white paper base. Fomatone is a rich, surface. FB Cooltone has a far colder,
warm-tone paper, though the tone of black bluish black and an extra white base and
can be manipulated through the choice is available in gloss.
of developer. RC equivalents of all three Ilford papers
Before variable contrast and Multigrade, are available, as is Multigrade RC
all papers had to be manufactured in Portfolio, which is a resin-coated paper
individual grades of contrast, from 0 to 5. (gloss and pearl) on a heavier 255gsm
Foma continues to produce Fomabrom, base. It is also sold in a postcard format
similar in tone to their Variant paper, in with pre-printed postal information on
grades 3 and 4. (Harman/Ilford also the back, thus making the prints
makes a graded paper, Ilfobrom Galerie, photographic postcards.
but now only in grade 3.) Other specialised products from
Foma also makes a range of RC papers Harman include Ilford Art 300, a
in a neutral tone. Fomaspeed is graded, warm-tone paper on a textured cotton
again available in grades 3 and 4, while rag paper and Direct Positive, an FB
Fomaspeed Variant is variable contrast paper which prints directly as a positive.
and produced in gloss and pearl surfaces. This paper, which needs careful
See www.foma.cz to find out more. development to control the contrast, is
ideal for making ‘in-camera’ direct
Ilford positive prints, usually with a large
Ilford papers are produced by Harman format camera. To find out more,
Technology in Mobberley, Cheshire. While visit www.Ilfordphoto.com.
Paper choices Image tone

HOW BLACK should black & white prints be?
Or perhaps the question should be, what tone
of black is preferred? All three brands featured
produce a high-quality, neutral-toned FB
paper in both glossy and matt surfaces. Other
‘warm tone’ papers have inherent warmth to
the black, often accentuated by the use of a
warmer base material. This shade or tone is
not always apparent to the viewer. Surely a
monochromic print must be ‘black’ and white?
However, once papers are directly compared,
the differences in warmth, which can range
from a brown to an olive green black, are more
noticeable. Likewise, colder tone papers will
display a bluish black that can be accentuated
by a bright white paper base.
The choice of which paper tone will best suit
a particular image is a subjective decision
made by the photographer. In addition, it is
possible with some papers to make further
changes to the tonality with different
developers. While Adox MCC has a relatively
neutral tone processed in a standard
developer, it can appear slightly colder or
warmer when processed in the appropriate
chemistry. Warmer papers can also yield Ilford Cooltone is the coldest tone paper that is
cool black results if specific colder working available today
Adox Lupex processed in Adox MCC developer; developers, such as Moersch SE6 Blue, are Ilford FB Cooltone processed in Moersch SE6 Blue developer;
MPP Mk VII, Kodak Ektar 203mm lens; Ilford FP4 Plus used, making such papers even more versatile. Lumix GF-1; Darkroom print made from digital negative

YOUR PICTURES IN PRINT
© KEVIN CLELLAND
1
1 Tide Breaker by 2 Sole Trader by Keith

Kevin Clelland A Lack This classic travel
beautiful monochrome portrait includes just the
conversion has been right amount of context
made, giving this while still engaging
landscape a timeless feel brilliantly with the main
with great leading lines. subject of the image.
© KEITH LACK
Join the
monthly internal competitions where
only constructive criticism is given by
experienced judges.
Describe a typical club meeting.

competitions, and occasionally we stage a
local exhibition.
How many members do you have?

The club’s membership, which is fairly evenly
Club
Meetings are held weekly on Mondays, divided between male and female, varies
between September and May. The annual between 20-25, of which about 15 are active.
syllabus is wide and varied to include guest It is a small club but is nevertheless highly
speakers, workshops and portraiture sessions. respected, not only for the quality of its
Every month there is a club competition for photographers but for the encouragement it
which we invite external judges to give offers to its visitors. Members belong to the
positive critiques and award placings to mature end of the age spectrum, and one of
members’ prints. the main strategic aims of the club is to lower
This Liverpool-based Do you invite guest speakers?
the age profile by attracting younger people
from the community.
club has a strong focus The presentations from guest speakers are
generally motivational, occasionally interactive Are any residential trips or outings planned?
on camaraderie and and often inspiring. Subjects vary from the art There are no trips planned at the moment, but
of digital manipulation using software during the summer months nature reserves,
improving skills programmes, to photographing nature, garden centres, coastal dunes and city centres
architecture and landscape, black & white, are but a few of the places visited and
When was the club founded? portraiture, street and candid photography. In photographed, and sometimes, such outings
Maghull is a suburb of Merseyside with a fact, every genre of photography is covered. conclude at a local hostelry.
population of about 20,000. Its photography Less frequently held workshop sessions are led
club was founded as Maghull Camera Club in-house by club members who have special Do you have any funny stories about
in 1964 by a group of keen amateur skills in areas such as lighting, Photoshop/ the club?
photographers, and became part of the Lightroom software-editing programmes, or The Doddy [Ken Dodd] night was one to
Lancashire and Cheshire Photographic Union. making best use of camera accessories. remember in that when the photography
Over the past 50 years or so, it has grown in Portraiture sessions, where a studio is set up session was over, he entertained us for over
stature, and is now recognised for its high in the clubroom, are organised three times a 1.5 hours with anecdotes interspersed with
standards of photography and the friendly year. Professional models are not hired, but well-rehearsed routines. Those who had
welcome offered to new members and rather recruited by members from their enjoyed his theatre performances were not a
visitors. In 2003, the name was changed to circles of relatives and friends. We have been bit surprised that our session overran, and we
Maghull Photography Club in order to reflect fortunate over the past few years to have had were into the next day before we got home!
the changing emphasis from equipment to the some local celebrities to pose for the club. Two
finished article. There is a great sense of of the most notable have been personal friends What are the club’s goals for the future?
camaraderie among the members, who of one of our members. We were graced with The club would like to increase membership
readily share their various areas of expertise the presence of The Royle Family star Ricky numbers and raise our profile locally, and
with one another, with the aim of improving Tomlinson and the late Sir Ken Dodd. would like members to continue to enjoy
the photographic skills of all members. photography and improve their skills.
Do members compete in regional or
What does the club offer to new members? national competitions?
Our programme consists mostly of talks/ During the year, the club enjoys a modicum of Want to see your club featured on these pages? Drop
lectures, workshops, model shoots and success in local and Federation photography us a line for more information at ap@ti-media.com.

YOUR PICTURES IN PRINT
© PHIL JONES
4
© BRIAN JOHNSON
5
3 Chapter House
Steps, Wells 4 Gannet with 5 Mountain Hare by 7 Industrial
Cathedral by Jill nesting material by Brian Johnson This Mersey by Norman
Ledwidge A beautiful Phil Jones A beautiful wintry Spragg Great use
architectural shot which fantastic capture, scene’s limited, of reflections for
© JILL LEDWIDGE
makes superb use of demonstrating the muted palette works an interesting

monochrome tones. bird’s behaviour. extremely well. urban landscape.
6 7
© NORMAN SPRAGG
© KEVIN CLELLAND
© PHIL JONES
6 Bicycle Shed by 8
Kevin Clelland Club essentials
There’s lots to look at
with this interesting
wideangle scene – Maghull Photography Club
the textures and Merseyside
shapes are great. Meets Mondays at 8pm at Grayson Memorial Hall,
Southport Road, Lydiate, Liverpool L31 4EQ.
8 Wild Barn Owl Membership There is no annual fee for membership,
Hunting by Phil but a subscription of £4 is taken for each meeting
Jones A beautifully attended. Prospective new members are always
blurred background welcome, and are given a free taster session before
draws your attention making a commitment.
to the fantastic Contact info@maghullphotographyclub.co.uk
detailing of the bird’s
wings and body. Website www.maghullphotographyclub.co.uk
Testbench ROUND-UP
Smartphones
In an increasingly competitive market, choosing
Size
options
Some phones in this
group come with different
sizes to choose from,
the camera you always have with you can be such as the Pixel 3 and
tricky. Amy Davies picks the cream of the crop the Pixel 3 XL.
Lenses
Many of today’s
smartphones feature at
least two lenses on the
rear of the device. The
Mate 20 Pro has three
different focal
lengths.
Protection
Although a lot of
thought goes into the
stylish designs of
smartphones, it’s worth
investing in a case to
protect from accidental
damage.
Never
miss a shot
Not only are smartphones
always likely to be with you,
but all those featured here
also have quick access to Screen
the camera from the Most modern
lock screen. smartphones have large,
high-resolution screens.
Many, but not all, feature a
notch at the top of the
Data file display, which some
Screen size Storage Battery Weight Dimensions (HxWxD) Price find annoying.
Samsung Galaxy Note 9 6.4in up to 512GB 4000 mAh 201g 161.9 x 76.4 x 8.8mm from £899
iPhone XS 5.8in up to 512GB 2658 mAh 177g 143.6 x 70.9 x 7.7mm from £999
iPhone XS Max 6.5in up to 512GB 3174 mAh 208g 157.5 x 77.4 x 7.7mm from £1,099
Huawei P20 Pro 6.1in 128GB 4000 mAh 180g 155 x 73.9 x 7.8mm £649
HTC U12+ 6.0in 64GB 3500 mAh 188g 156.6 x 73.9 x 8.7mm £629
Google Pixel 3 5.5in Up to 128GB 2915 mAh 148g 145.6 x 68.2 x 7.9mm from £639
Google Pixel 3 XL 6.3in Up to 128GB 3430 mAh 184g 158 x 76.7 x 7.9mm from £769
Huawei Mate 20 Pro 6.39in 256GB 4200 mAh 189g 157.8 x 72.3 x 8.6mm £899
JPEG images straight from the Galaxy Note 9 show a good level of detail Colours directly from the iPhone XS camera are natural without being dull
Samsung Galaxy Note 9 iPhone XS

● From £899 ● www.samsung.com ● From £999 ● www.apple.com
SAMSUNG has a few different other functions, such as AT ONE point, the iPhone was while, the iPhone XS uses a
options which appeal to switching between the front the de facto phone of choice for dual-camera rear set-up, both
photographers, but the Galaxy and rear cameras with certain photographers, but these days, offering 12 megapixels. One gives
Note 9 stands out for a couple combinations of button-presses. the Apple behemoth has far you a wideangle view (28mm
of intriguing reasons. As we see with many Android stiffer competition from the equivalent) and the other a
It’s the only device in this smartphones, you can shoot in Android contingent. telephoto view (56mm
round-up to feature a Stylus, raw format, plus there’s a very If you’re ingrained into the iOS equivalent) – Apple keeps exact
which tucks neatly away into the well-featured native camera app operating system (or you just specifications (such as sensor
bottom of the phone. You can use which affords manual control over prefer it), an iPhone may well be sizes) under wraps.
it to remotely trigger the camera’s a number of different settings. Of the only option you’ll consider, Using the native camera app
shutter, which makes it ideal for the two rear camera lenses, the but luckily it still represents a for the iPhone is very simple and
anybody who wants to get wider angle (26mm equivalent) good choice for photographers. hasn’t changed all that much in
creative – such as when using optic is equipped with dual- The iPhone XS and the larger recent years. There’s no option for
the Note 9 on a tripod for aperture capability – something iPhone XS Max have different manual control or raw shooting,
long-exposure night shots (and which is also unique among the screen sizes, but share camera but there are third-party apps
of course for selfies and group devices featured here. This specifications – it’s up to you to which provide such functionality
portraits). It’s also capable of function gives you the option to decide which size of phone you’d should you require it.
manually choose between f/1.8 prefer. As has been common for a Image quality is excellent, with
and f/2.4 depending on the a particular nod to the impressive
lighting conditions - the phone will ‘Portrait’ mode which creates
decide for itself which it needs in shallow depth of field effects (and
standard Auto shooting mode. works for non-human subjects
Image quality is excellent, with too). Low-light shooting is fairly
realistic colours and a good good, but with no dedicated night
degree of detail in JPEG images. mode there are some better
Shallow depth-of-field mode options out there.
produces some convincing effects This being an iPhone, you will
if you don’t inspect them too pay a price premium to own it. It’s
closely – working particularly well by far the most expensive model
for human portraits. Low-light in this test, and with the price
shooting is also very good, but it unlikely to drop significantly in the
lacks the high-quality dedicated coming months, will likely remain
night modes of smartphones such so – if your budget is tighter,
as the Huawei and Google models consider the cheaper iPhone XR
in this group. (which only has a single camera).
ALL PRICES ARE APPROXIMATE STREET PRICES
At a glance At a glance
● 4000 mAh battery ● Dual-lens rear camera
● 128GB or 512GB storage + MicroSD ● 64GB, 256GB or 512GB internal storage
card compatibility ● Two screen sizes
Recommended Recommended
● Dual-lens rear camera ● iOS operating system
● ‘S Pen’ stylus

Testbench ROUND-UP
The P20 Pro’s fantastic night mode is especially useful in low-light situations Shooting in low light often results in high ISOs – unless using Pro mode
Huawei P20 Pro HTC U12+

● £649 ● www.huawei.com ● £629 ● www.htc.com
THERE’S likely nobody pushing monochrome sensor which can HTC OCCUPIES a tiny portion of expect by switching to a dedicated
harder for your business than be used in its own mode. The the smartphone market, but its ‘Pro’ mode.
Huawei at the moment. Happily, wideangle lens is coupled with HTC U12+ is very highly rated by Storage is relatively restricted
its excellent duo of flagship a 40-megapixel sensor, but independent analyst DxOMark. at 64GB, but with the option
smartphones has widely by default, files are output at The dual rear cameras give to expand via a MicroSD card it
impressed reviewers and a much more manageable you a wideangle view of 27mm doesn’t come as a surprise to see
consumers alike. 10 megapixels. equivalent, plus a 2x telephoto no other inbuilt storage options
The P20 Pro is the older of the The native Huawei camera app option of 54mm. The native available – it’s worth picking one
two models here, and has been is extremely well featured, with camera app for this phone up if you intend to take a large
on the market since March 2018. a range of different shooting is very well-featured, as is number of photos or videos
At the time of writing it is still modes. In the standard Photo reasonably common for Android with the smartphone.
sitting at the very top of mode, artificial intelligence (AI) smartphones, with a number of As well as dual rear cameras,
DxOMark’s smartphone ratings. kicks in to recognise a wide different shooting modes to the HTC U12+ has dual front
A triple camera set-up gives variety of different scenes and choose between. You’ve got the cameras, which gives you the
you a wideangle lens, 3x apply appropriate settings option to shoot in raw format, as option to create shallow depth-
telephoto lens and, uniquely accordingly. There’s also a Pro well as take manual control of the of-field effect selfies – perhaps
in this group, a dedicated mode for raw-format shooting majority of parameters that you’d more interestingly, you can also
and manual control. shoot selfie panoramas if
Huawei’s Night Mode made its you happen to find yourself
debut with the P20 Pro and somewhere particularly scenic.
produces extraordinary results Results are very good in a range
– especially as it can be used of different scenarios, with natural
handheld. In essence, it merges a colours for landscapes and a
series of short exposures to give good degree of detail. In low light,
the effect of a longer exposure. the phone can be guilty of
Otherwise, image quality is ramping up the ISO when left to
similarly fantastic in other its own devices, so picking a lower
shooting conditions – switching setting manually is a wise choice.
off AI in some conditions is a Shallow depth of field shooting
good idea to avoid oversaturation is available but it leaves some
in blues and greens. Monochrome obvious fringing around your
mode produces superb results subject, particularly if shooting
too, making it appealing for those against a fussy background, but
users who are particularly fond of it’s not too problematic for use
black & white. on social media and so on.
● Triple Leica lens rear cameras ● Dual-lens rear camera
● 128GB storage ● Dual-lens front camera
● 4000 mAH battery ● 64GB storage + MicroSD compatibility
GOLD ● Dedicated monochrome sensor Recommended
● 3500 mAh battery

Google’s Night Sight mode puts in a very impressive performance handheld A wideangle lens on a smartphone is great for landscape photography fans
Google Pixel 3 Huawei Mate 20 Pro

● From £639 ● store.google.com ● £899 ● www.huawei.com
GOOGLE has enjoyed enormous machine learning, it doesn’t TOPPING the P20 Pro is no easy again it’s very flexible with a
success with its photography- remove the chance to create feat, but depending on your point good range of shooting options
orientated smartphones. With the shallow depth-of-field effects. of view, the Mate 20 Pro arguably including a Pro mode with raw
latest iteration it introduces some With its very basic native does just that. This device features format recording. The superlative
interesting new clever features camera app, the Pixel 3 is hard to the same main and telephoto Night mode is also here, giving
which produce great results. recommend to those looking for lens-and-sensor combinations of you the scope to record
Just like the iPhone XS, the something seriously advanced. the P20 Pro, but removes the low-light, ultra-wideangle
Pixel 3 comes in two sizes – a In essence, it’s a basic point and monochrome sensor to make way scenes. Another point of
larger XL version is available, shoot – albeit one that performs for an ultra wideangle f/2.2 lens, difference between the two
but both share the same camera. very well when left to its own giving you a 16mm equivalent. devices is the screen, with
Unlike all of the other devices. On the plus side, Combining that lens with a 20MP the Mate 20 Pro featuring a
smartphones here, the Pixel 3 is raw-format shooting is available. sensor, it also brings with it a gently curving OLED.
equipped with just one lens on One of the new functions for super-macro mode that allows In terms of image quality, again
the rear, which has a 28mm f/1.8 the Pixel 3 is the introduction you to get as close as 2.5cm to we’ve got something which is
equivalent. That restricts you of Night Sight mode. Similar in your subject. capable of producing fantastic
when it comes to optical operation to Huawei’s superb The native camera app is the shots. It seems oversaturation
‘zooming’, but thanks to advanced Night mode, it blends together same as the P20 Pro, too, so has been dialled down a touch
short exposures to give a similar compared to the P20 Pro when
result to a six-second-long AI is switched on, but you can still
exposure, all while shooting turn it off if you prefer the natural
handheld. In practice, the results look (or switch to Pro mode to
are a touch better than Huawei’s, avoid the problem completely).
with more realistic colours and Removing the monochrome
a fantastic degree of sharpness. sensor doesn’t mean you can’t
With just one focal length shoot in black & white – but it’s
available, however, the Pixel 3 now essentially a conversion.
is less flexible. Such shots are slightly better with
Otherwise, other types the P20 Pro, but it’s unlikely you’ll
of scenes are also very well be too disappointed without the
balanced with vibrant yet realistic context of the other phone to
colours. Despite having just one show the difference. Overall we
lens, the shallow depth-of-field think it’s likely worth the sacrifice
effect is extremely impressive – for landscape, architecture or
even when shooting non-human close-up photography for most
subjects on fussy backgrounds. average users.
● Single-lens camera ● Triple Leica lens rear camera
● 64GB or 128GB storage ● 128GB or 256GB storage + Nano
● Two screen sizes memory compatibility
Recommended
● 2915/3430 mAh battery GO D ● 4200 mAh battery
● Dedicated wideangle lens

The super-wide lens gives

decent image quality and
allows you to exploit some
dramatic perspectives
Olloclip Pro Lenses and

Multi-Device Clip At a glance
● Add-on lenses for smartphones
● Matched clips for most
iPhone models
● Multi-device clip for
Andy Westlake tests a pair of premium wideangle and Android phones
telephoto converter lenses for your smartphone ● Telephoto and Super-Wide Pro
T
Lenses - £87.60 each
hese days, it’s all the rage for equivalent view, these offer around 18mm and ● iPhone 8/7, 8/7 Plus, X, XR or
smartphones to sport two or 56mm equivalent, respectively. But are they Multi-Device Clip - £17.51
even three camera modules, with good enough to justify their relatively high price? ● iPhone XS or XS Max clip
additional telephoto or wideangle - £26.27
lenses to complement the main optic. The idea, How the system works
of course, is to offer additional compositional Olloclip’s add-on lens system comes Olloclip’s Multi-Device Clip
flexibility that can start to challenge the in two parts. First, there’s a clip that is supposed to fit onto a wide
versatility of zoom compact cameras. But what fits onto your phone, essentially range of Android phones
if your phone only has a single camera? One adding a lens mount. The lenses
option might be to use converter lenses to themselves clip into these mounts,
achieve the same goal. Unfortunately, most and are easily removed using a
have pretty low quality, with cheap optics that sliding release tab. This approach
introduce all sorts of aberrations. I doubt many means you can keep a clip on your
photographers would find them satisfactory. phone and quickly switch between
Add-on lens specialist Olloclip is aiming to wideangle and telephoto lenses, or
address this with a new set of ‘Pro’ lenses just use the built-in camera on its own.
that promise superior optics. Two lenses are Matched clips are available for most
available, a super-wide with approximately recent iPhone models, specifically the
0.63x magnification, and a telephoto offering iPhone 8 and 7, 8 Plus and 7 Plus, X,
2x magnification. Used with a typical XR, XS and XS Max (but iPhone SE
smartphone camera that affords a 28mm users are out of luck). Each clip is
42
ACCESSORY LENS TEST Testbench

benefiting fully from the optics. The clip grips
better when used with a slim case, but then I
found new problems with vignetting.
To add insult to injury, while the Multi-Device
Clip is neatly designed for one-handed
operation, it has a bad habit of getting jammed
in the open position. Overall, this clip is so
flawed when used with the Pro lenses that I
couldn’t really recommend it. But to be fair, the
iPhone clips should work much better.
The lenses can fit either way around into the Olloclip’s wideangle and telephoto Pro lenses are Image quality
symmetric mount provided by the clip similar in diameter and boast multi-coated optics To examine the quality of the optics, I ended up
hacking an old plastic case for my iPhone SE to
designed to align the accessory lens precisely Build and design act as a positioning template for the Multi-
with the phone’s camera. One catch is that It has to be said that Olloclip’s Pro lenses are Device Clip, to ensure that the lenses centred
because the clips are specifically moulded to built to a much higher standard than most properly. This camera has a 28mm-equivalent
the shape of the device, they can’t be used other converter optics. Their large optical units lens and an 8MP sensor, which is easily
together with a protective case. are encased in robust-feeling metal barrels, enough resolution to establish whether the
For iPhones that have two cameras, the with tell-tale reflections in the glass revealing optics have any troublesome characteristics.
converter lens can be switched between that the lens elements are multi-coated. Examining image files reveals the lens
them, thanks to the symmetrical The lenses snap firmly into the designers’ priorities. Both the super-wideangle
elongated mount design. You just Multi-Device Clip, and are easy to and telephoto optics exhibit impressively low
remove the lens, spin it round, and remove again too. Both the wide distortion and vignetting, but the penalty is a
clip it back in. However as the two and telephoto optics come with distinct loss of sharpness towards the edges
cameras are different distances apart the same size push-on rubber and corners of the frame. Perhaps surprisingly,
on the iPhone 7 and 8 compared to cap, which is handy when this degradation is more extreme with the
the various iPhone X models, they need swapping between them. telephoto lens compared to the super-
different lens fittings. The newer mount Unfortunately, this level of wideangle, which holds up reasonably well
gains the snappy title ‘Connect X’. build quality doesn’t extend over much of the image area. However, closer
When it comes to Android, there’s to the Multi-Device Clip itself. examination shows that the teleconverter
such a huge proliferation of different The concept looks sensible remains sharp across most of the area that
models that it’s unfeasible to create a enough: clearly the aim was to would be covered by the portrait camera
fitting for each. So Olloclip has come up make a clamp whose jaws would stay that’s used by higher-end iPhones, which is
with a Multi-Device Clip that’s supposed parallel, with a rubberised pad to hold it presumably how it’s intended to be used.
to work with almost any device. Essentially firmly onto the phone. Sadly its cheap Such a loss in corner sharpness might sound
a sprung clamp that places a Connect plastic construction means this isn’t realised like an unacceptable compromise to enthusiast
X-type mount onto your phone, in in practice. Used on a range of devices photographers, but if you consider the fact
principle it can be used together with a without a case, from the small-screen that most smartphone pictures are viewed on
case. I used the Multi-Device Clip to test iPhone SE to the latest Google Pixel 3 XL, small screens via social media, it’s relatively
the wideangle and telephoto Pro lenses. I found that the clip simply couldn’t hold the inconsequential. In comparison, Olloclip’s
relatively heavy Pro lenses in place without much cheaper ‘Intro’ wideangle lens has huge
Unfortunately the Multi-Device slipping. Critically, this means you can’t get fisheye-like distortion that would ruin most
Clip doesn’t sit flat and grip the converter lens centred properly over the photos, no matter how small a screen you
the phone’s screen properly phone’s camera, so there’s little chance of view them on.
The telephoto should give

reasonable quality with
the portrait lens used by
most recent iPhones Verdict
IF YOU shoot a lot with a recent iPhone, but
wish you had different focal lengths to play
with, then Olloclip’s Pro lenses might be
worth a try. The clip-based connection
makes them quick and easy to use, and if
your main aim is to share the resultant
images on social media, they’ll provide
decent enough quality. However if you have
a single-lens iPhone model I’d avoid the
teleconverter, while Android users should
look elsewhere as the Multi-Device Clip
simply isn’t up to the job. The biggest
stumbling block, perhaps,
is the price: £87.60 each
feels quite high, considering
that the lenses might well
become obsolete when you
next change your phone.
43
Nikon D810, 16-35mm at 16mm, 1/100th second, f8, ISO800 LEE Landscape Polariser, 0.6 ND Soft Grad Processing: Adobe Lightroom
Skomer Puffins
As an outdoor photographer, I often look to include wildlife in their natural setting to complete the story. This can
mean working with a wide angle lens to include both the sky and the landscape in the frame, making a set of LEE
Filters an essential component of my kit bag.
Whilst watching the puffins on the Welsh island of Skomer, I realised there was an opportunity to capture something
different to the usual frame filling portrait. Switching to a wide angle lens, I added a Landscape Polarising Filter to
give the clouds some extra punch and clarity. With the sun low in the sky I also needed to balance the exposure
using a 0.6ND soft graduated filter.
When processing the shot I was pleased to see a rich, detailed sky without any colour cast and that the soft
transition of the filter had not resulted in the birds face becoming overly dark.
Matthew Cattell
matthewcattellphotography.com
leefilters.com
COLOUR MANAGEMENT TEST Testbench

X-Rite‘s i1Studio
can profile both
monitors and
printers using a
single device
X-Rite i1Studio At a glance
£399
Andy Westlake investigates a comprehensive ● Capture-to-print colour
calibration system
colour-management solution for photographers ● Supports cameras, scanners,
E
monitors, projectors and printers
ver since photographers started ● Also works with iOS devices via
manipulating and printing images Alongside the ColorTRUE app
spectrophotometer,
digitally on computer screens, we’ve a colour checker ● www.colourconfidence.co.uk
had the same perennial headache. card is included in
How can we make sure that the colours the box
captured by our cameras are displayed
correctly on our monitors, and then
reproduced accurately when we come to
print our carefully manipulated files?
The answer lies in colour management – a
process that can appear dauntingly complex,
particularly to newcomers. At the barest
minimum, this means calibrating your screen
so it’s set up in a standardised fashion in terms
of brightness, contrast and colour balance.
But doing it properly requires profiling using
a device known as a spectrophotometer. This
measures in forensic detail exactly how your
monitor renders colour, and then generates
a profile that’s used by your computer’s with different types of paper. The catch is that on Windows 10. In principle it allows you to
operating system to ensure that your images most affordable calibration systems only work profile the colour characteristics of cameras
are displayed correctly on-screen. with monitors, not printers. and scanners when first recording images, of
When it comes to output, you also need With i1Studio, colour-management specialist monitors and projectors when displaying them,
profiles that describe how your printer X-Rite has come up with a system that allows and of printers when outputting your finished
reproduces colour with each type of paper you serious photographers to adopt a completely work. You can even profile iPhones and iPads
plan to use. Printer and paper manufacturers colour-managed workflow, from capture to ensure they display colours correctly.
usually provide downloadable generic profiles through display to print. It’s a replacement for
that do a pretty good job, but for the very the firm’s older ColorMunki Photo system, Getting started
best results, you’ll need to generate your using essentially the same hardware but with When you first open the i1Studio box,
own, particularly if you like experimenting new software that crucially now works properly you’ll find the colour measurement

Testbench COLOUR-MANAGEMENT TEST

These prints were toned
using the various
monochrome
profiles
device itself complete with a snugly fitting The spectrophotometer then works its way
neoprene case and a weighted strap, through measuring 118 different colours The i1Studio hardware
along with a USB connection cable and a small that are displayed sequentially on the screen. is similar to the older
X-Rite ColorChecker Classic reference card. Thankfully you don’t have to hold the device ColorMunki Photo
However there’s no manual of any sort, nor a in place manually, as you can hang it over your
physical copy of the i1Studio software. Instead monitor with the counter-weighted strap on
you’re directed to X-Rite’s website, from where the opposite side. The whole process takes
you must first download and install the about 10 minutes, and once complete, the
program that will make everything work. software will calculate a colour profile for your
On opening the software, you’re presented monitor. It’s possible to set a reminder to
with a short list of options in a Workflow recalibrate periodically, which is good
Selector panel on the left of the main screen. practice for keeping your system tightly
These allow you to create profiles for displays, colour-managed.
scanners and printers, including the option to
make special profiles for printing in black & Printer profiling
white. There’s no explicit attempt to guide you When it comes to generating printer profiles,
through what order you should do each, but the process is again quite straightforward, if
the first step is to calibrate and profile a little more time-consuming. The software
your monitor. guides you along in a Help panel on the left of
the window, while your progress through the
Monitor profiling various steps is tracked below. However, one your progress on-screen. Once this is
Profiling a monitor using i1Studio is pretty thing it doesn’t instruct you on is the correct complete, i1Studio calculates a new set
straightforward. Click the Display icon in the printer settings to use: it’s vitally important to of colour patches to refine the initial
Workflow panel, and the software will tell you to ensure that any colour-enhancement options measurements, and you repeat the process
plug in the spectrophotometer, then guide you are disabled in the printer driver. with another test print.
through the process. The first step is hardware The first step is to print a set of standardised After the second print is successfully
calibration to optimise your monitor’s brightness colour patches onto the paper you’re profiling, scanned, i1Studio generates a profile which
and colour balance. This can require plenty of and allow the print to dry for 10 minutes. You you can then use for printing. Needless to say,
button-pressing on the display itself, but is all then scan the spectrophotometer across the it’s crucial to give each profile you make an
guided by easy-to-follow on-screen prompts. rows of patches, with the software tracking easily recognisable file name so that you can
easily recall it in the future.
The same method is used to make specialist
profiles for monochrome printing, with the
main difference being that the patches used
ColorMunki Photo compatibility in the second printing stage are completely
different, and spread across two sheets of
IF, LIKE me, you own the older ColorMunki Photo and paper. At the end you can save a choice of
have found it’s started giving strange results, the good profiles: in addition to Standard BW, you can
news is that you shouldn’t have to buy a new calibration output Sepia Tone, Cold Tone and High
device. Simply uninstall the old software that was Contrast variants, all from the same set of
supplied with the ColorMunki Photo and replace it with measurements. The idea is that when it’s time
i1Studio instead. The new program looks very different, to make a print, the profile will strip all the
and doesn’t hold your hand through the various colour from your images and produce output
measurement processes in quite the same way, with the requisite tonality. It’s an interesting
but ultimately it achieves the same goal. It’s worked idea, although personally I’d rather convert
successfully for me and breathed new life into my images to monochrome and tone them
my colour-management hardware. before printing.

iOS device
calibration
IF YOU like to use an
iPad or iPhone to show
off your images, then
the good news is that
these can also be
profiled via the free
ColorTRUE app. To do
this, your device needs
to be connected to the
same Wi-Fi network as
the computer running
i1Studio. Windows
machines will need to
have iTunes installed.
When you fire up the app on your iOS
device, it’ll first search for your computer.
Once the two are connected, ColorTRUE will
work through displaying a series of colour
Prints made using
patches for measurement by the i1Studio
a custom profile
matched the spectrophotometer, just like profiling a monitor.
colours displayed The process takes approximately four minutes,
on my monitor after which a screen profile is generated by
near-perfectly your computer and copied to your device.
You can then browse through your photos
Scanner and camera profiling In principle it’s possible to profile cameras in a colour-managed environment within the
Profiling a scanner is also a straightforward in the same way, but I’m not convinced it’s a ColorTRUE app itself. It has a straightforward
process. First, you need to disable any good idea. Profiling is all about maintaining built-in image browser in which you can
colour-enhancement settings in your accurate colour, but that’s not necessarily what compare profiled and unprofiled views of your
scanning program. You then simply scan the photographers want at the taking stage, as a photos, and even soft-proof how they might
included ColorChecker target, and import true-to-life rendition of the world is often dull. look in print, using some common CMYK
the file into i1Studio for analysis. If you assign Instead, it’s the camera’s job to produce an profiles. Certain other apps that are ColorTRUE
the resultant profile to any subsequent scan, attractive-looking interpretation of the colours aware can also use the profile for colour-
it should make the colours a close match to in the scene, which usually means pepping managed viewing. Unfortunately, though, the
the original. This is really handy when you things up a bit. But the option is there, and i1Studio device doesn’t work with the Android
want to copy a print without the colours could be useful if you want to match the version of the app.
going awry. output from cameras of different brands.
Verdict
X-RITE i1Studio has plenty of tricks up its
sleeve, but the real question is whether they
all work. Thankfully, the answer is an almost
unqualified yes. Monitor profiling works really
well, and I was able to achieve a very close
match between my laptop and desktop
displays, which look quite different otherwise.
Crucially, I was then able to produce accurate
prints even when using a paper for which I had
no generic profile. Finally, after profiling
my scanner I got vastly improved colour
reproduction compared to using the
manufacturer’s standard settings, although it
wasn’t 100% perfect. The only feature I’m not
convinced about is the monochrome printer
profiling – indeed if anything, I found the
standard colour profile
produced slightly more
neutral prints. Overall
though, i1Studio is a great
tool for any photographer
looking to take control over
GOLD
The i1Studio software gives helpful instructions in the Help panel on the left side of the screen their colour management.

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ACCESSORIES Testbench
Lastolite HaloCompact
Diffuser 82cm At a glance
● Compact pack size
● Lightweight construction
Michael Topham tests a portable diffuser ● Ergonomic handgrip
● £72 ● www.manfrotto.co.uk ● Offers 1⁄4in thread mount
● 335g (diffuser, frame
ONE OF the great challenges of outdoor
photography is the ever-changing weather.
and case)
When we’re presented with bright sunlight and are
attempting a few portraits or close ups, this can
cause havoc with harsh shadows on our subject.
This is not usually flattering, especially with Diameter
portraiture, and forces us to rethink the shot or The HaloCompact Diffuser
seek shelter in the shade. One alternative is to stay is currently only available in
put and use some form of diffuser to block out or an 82cm diameter.
soften the harsh light.
The Lastolite HaloCompact Diffuser is designed
to do the latter and is made to be ultra portable.
The collapsible lightweight aluminium frame,
which consists of multiple sections, slots together
effortlessly and is rather like assembling a set of
tent poles. The strong plastic handle clips together
to form the circular shape to which the diffuser Handle
fabric attaches via small plastic clips that secure The ergonomically designed
onto the aluminium frame. handle can be held and
Building the diffuser is self-explanatory, but to accurately positioned
save you having to readjust the clips half way with one hand.
through the assembly process we
recommend attaching two clips on
either side of the handle first.
Against the stopwatch it took Carry case
1 minute 15 seconds to fully It all packs down into a
assemble the diffuser out of its conveniently sized carry case,
small 6.5x27x6.5cm carry case which can be secured to your
and a similar time to dissemble it. belt via a carabiner clip.
A couple of nice touches include a
handy carabiner clip that allows the
HaloCompact to be easily attached to RapidExoframe
the exterior of a bag or to a belt, plus there’s The frame slots together
a useful 1⁄4in thread on the handle of the frame, with tent-pole-like sections.
enabling it to be attached to various support These create the
systems. In use, I found the diffuser to be highly circular shape.
effective at softening the light, turning harsh
shadows into more natural, flattering ones. Best of
all, the handle allows you to grab it securely in your
left hand and with your right hand holding the
camera and triggering the shutter, it’s possible to
work with it independently if you don’t have help.
ALSO IN THE RANGE
Verdict
Unlike your average reflector-style diffuser that If you like the sound of a clip-on diffuser but feel a
collapses and folds down to around a third of its reflector would be more useful, Lastolite has you
original size, this diffuser is considerably more covered. The HaloCompact Reflector 82cm
compact. It’ll make a great accessory for portrait Silver/White (£72) is essentially the same as
and wedding photographers who come up against the HaloCompact Diffuser 82cm, but it’s
difficult lighting situations where a portable, quick supplied with a clip-on silver/white reversible
to assemble and easy-to-use diffuser can make reflector fabric instead of the diffuser.
all the difference. Still-life photographers will find it Lastolite sells the diffuser and silver/white
useful too, albeit possibly a touch on the large side. reflector covers separately (£30 each) so if
We’ll have to wait to see if Lastolite follows up with
GOLD you buy the diffuser and want to turn it into a
smaller and larger versions of this excellent design. reflector, or vice versa, you can do so easily.

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Tech Talk
Professor Newman on…
Good
vibrations
Bob Newman explores the workings of image
stabilisation when it comes to taking sharp photos
A
New Year
I
mage stabilisation, or of
inspiration
vibration reduction, is one
of the ‘must-have’ features
of a modern camera.
Manufacturers often make claims
that their systems offer some
from just
amount of stabilisation, declaring
the results in ‘EV’ or ‘stops’. This
means they believe the sharpness
£20.99*
of the image will be the same as
that taken using a shutter speed
so many stops slower with the
stabilisation turned on than it will
be with the stabilisation turned off.
These claims are made according
to a test procedure published by The effect of image stabilisation from Jim Kasson’s experiments. The Y-axis
the Japanese Camera and Imaging shows relative MTF 50. The blue line gives resolution versus shutter speed
Products Association (CIPA) in the with stabilisation turned off, while the red line is with IS turned on
document DC-X011 Measurement
and Description Method for Image equipment designed precisely to safely at 1/180sec. Jim’s test is
Stabilization Performance of Digital deliver superlative results when very sensitive, and measures
Cameras. The procedure describes tested using those protocols. degradation from a very high
how to construct a vibration test standard indeed. In practice, one
apparatus and measure the Investigating IS might not notice this.
degradation due to vibration of the I have spoken before of Jim The second fact was that the + Never miss an issue
resultant image. Kasson’s excellent technical stabilisation could maintain peak with delivery
The shaker apparatus described photography blog. Jim has done performance as shutter speed fell. direct to your door
is fed with a vibration pattern, his own investigation of the It wasn’t a case, as I would have
which is said to ‘faithfully simulate effectiveness of IS (https://blog. expected, of a reduced effect
the characteristics of camera kasson.com/the-last-word/ – the motion blur was effectively + Peace of mind with
our money back
shake induced by hand-holding’. sony-a7ii-ibis-and-sloppy- cancelled down to 1/125sec.
guarantee if you
These patterns have been technique/). His test uses genuine Finally, I observe that the overall
change your mind
‘developed by analysing a lot of handholding and compares real characteristic doesn’t really match
measured data and adding measurements, both for IS turned CIPA’s ‘stops of improvement’
further theoretical observations’. on and off. He estimates blur model. It is not the case that + Access to exclusive
Unfortunately, the paper reveals simply using a Modulation Transfer stabilisation gives the motion blur offers, giveaways
nothing precise about the Function (MTF) test. His tests show of a shutter speed so many stops and prizes with
measured data or theoretical that while resolution, measured by faster, rather that it seems able to subscriber Rewards
observations. However, these MTF, falls steadily on his test lens cancel out motion blur until at
figures are used to produce a (180mm on a full-frame camera) some point it can’t.
theoretical ‘reference motion blur below 1/1000 of a second, the For the photographer, rather
amount’ and it is against this that image stabilisation maintains it than the specification collector,
the measured motion blur amount more or less constant down to the effect is much the same. The Subscribe online at
is compared to produce the 1/125sec, with a small drop at minimum shutter speed at which magazinesdirect.com/ap01
improvement figure that the 1/60. I found these results to be you can handhold is reduced, but
manufacturers claim. very interesting. it’s not the case where you could
If one wished to be critical, it First, that there was measurable get particularly good results by
could be observed that it is not degradation even at speeds as having very steady hands and then 0330 333 1113
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unknown in diverse fields, for high as 1/500sec – the usual rule using stabilisation, rather that it is a Lines open Monday – Saturday, 8am-6pm (UK time)
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Terms and conditions apply.
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of For full details please visit
www.magazinesdirect.com/terms
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer

Protecting your camera

kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
camera and equipment?
If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
theft is always present. Accidents can also happen, whether its your fault or someone else’s – dropping
a lens or knocking over a tripod are easy but can be expensive mistakes to make.
As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
have the potential to damage your kit in the pursuit of the perfect shot.
Amateur Photographer Insurance Services can be there to help protect against the things that
threaten your photography:
Theft Accidental Worldwide

(excludes from a vehicle,
unless option added
Damge cover
to policy) (excludes wear and tear) (20 days during any one
period of insurance – options
available to extend cover)
To take a closer look or for a quote visit

www.amateurphotographerinsurance.co.uk
or call 0345 450 7203
Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services
Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Lloyd’s Broker. Registered in England
under No. 00338645 Registered office: Rossington’s Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW.
TI Media Limited is an Appointed Representative of Thistle Insurance Services Limited.
TPD0769 1 0718
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Lenses EF S 35mm f2.8 Macro IS STM ..................... £369 70 200mm f2.8E AF S FL ED VR .....................£2549 24 70mm f2.8 Di VC USD G2 .........................£1199
£324 inc. £45 Cashback* 70 300mm f4.5 6.3 G ED DX AF P VR ............£329 70 200mm f2.8 Di VC USD G2 .......................£1289
EF S 60mm f2.8 USM Macro......................... £439 200-500mm f5.6E AF-S ED VR .......................£1315 70 210mm f4 Di VC USD................................£649
EF S 10 18mm f4.5 5.6 IS STM ..................... £239 70 300mm f4 5.6 SP Di VC USD.....................£329
CANON LENSES EF S 10 22mm f3.5 4.5 USM ........................ £529 100 400mm f4.5 6.3 Di VC USD.....................£749
EF 35mm f1.4L II USM................................... £1629 EF S 15 85mm f3.5 5.6 IS USM..................... £679 150 600mm f5 6.3 SP Di VC USD...................£799
EF 35mm f2 IS USM....................................... £519 EF S 17 55mm f2.8 IS USM ........................... £779 SIGMA LENSES -with 3 Year Manufacturer 150-600mm f5-6.3 VC USD G2 ......................£999
EF 40mm f2.8 STM........................................ £199 £679 inc. £100 Cashback* Warranty
EF 50mm f1.2L USM...................................... £1339 EF S 18 200mm f3.5 5.6 IS............................ £479 20mm f1.4 DG HSM Art .................................£699
EF 50mm f1.4 USM ....................................... £349 EF S 55 250mm f4 5.6 IS STM ...................... £299 24mm f1.4 DG HSM .......................................£649
EF 50mm f1.8 STM........................................ £119 TS E 24mm f3.5L II ........................................ £1799 30mm f1.4 DC HSM .......................................£359 SONY E-MOUNT LENSES
EF 85mm f1.2L II USM.................................. £1849 TS E 50mm f2.8L Macro................................ £2199 35mm f1.4 DG HSM .......................................£649 FE 24mm f1.4 G Master .................................£1449
EF 85mm f1.4L IS USM.................................. £1379 TS-E 135mm f4 L Macro................................ £2199 50mm f1.4 DG HSM Art . ..............................£569 FE 28mm f2 ....................................................£349
£1279 inc. £100 Cashback* *Canon Cashback ends 17.01.19 85mm f1.4 Art DG HSM .................................£999 FE 50mm f1.8 .................................................£179
EF 85mm f1.8 USM ....................................... £389 105mm f2.8 APO EX DG OS HSM Macro .......£359 FE 85mm f1.4 G Master .................................£1549
EF 100mm f2.8 USM Macro.......................... £519 8 16mm f4.5 5.6 DC HSM..............................£599 £1449 inc. £100 Cashback*
EF 100mm f2.8L Macro IS USM .................... £849 10 20mm f3.5 EX DC HSM .............................£329 FE 85mm f1.8 .................................................£599
EF 135mm f2 L USM...................................... £959 NIKON LENSES 17 70mm f2.8 4.0 DC OS HSM ......................£349 £549 inc. £50 Cashback*
EF 300mm f4 L IS USM.................................. £1269 20mm f1.8 G AF S ED.................................... £729 18 35mm f1.8 DC HSM .. ...............................£642 FE 100mm f2.8 G Master...............................£1499
EF 500mm f4 L IS II USM............................... £8299 24mm f1.4 G AF S ED.................................... £2179 18 250mm f3.5 6.3 DC Macro OS HSM.........£349 £1399 inc. £100 Cashback*
EF 11 24mm f4L USM ................................... £2789 35mm f1.8 G ED AF S.................................... £489 18 300mm f3.6 6.3 C DC Macro OS HSM......£369 FE 12 24mm f4 G ...........................................£1449
EF 16 35mm f2.8L III USM ............................ £1844 35mm f1.8 S Lens.......................................... £849 24 70mm f2.8 DG OS HSM ............................£1199 £1369 inc. £80 Cashback*
EF 16 35mm f4L IS USM ............................... £949 50mm f1.4 G AF S ......................................... £429 24 105mm f4 DG OS HSM .............................£599 FE 16 35mm f2.8 G Master............................£1999
EF 17 40mm f4 L USM .................................. £693 50mm f1.8S L ................................................ £599 50 100mm f1.8 DC HSM Art .........................£949 £1899 inc. £100 Cashback*
EF 24 70mm f2.8L IS USM II.......................... £1729 60mm f2.8 G AF S ED.................................... £579 70 200mm f2.8 EX DG OS HSM .....................£899 FE 24 70mm f2.8 G Master............................£1829
EF 24 70mm f4L IS USM ............................... £799 85mm f1.8 G AF S ......................................... £469 100 400mm f5 6.3 DG OS HSM.....................£699 £1729 inc. £100 Cashback*
£624 inc. £175 Cashback* 105mm f2.8 G AF S VR IF ED Micro .............. £849 120 300mm f2.8 OS.......................................£2699 FE 24 70mm f4 ZA OSS Carl Zeiss T* ............. £749
EF 24 105mm f3.5 5.6 IS STM ...................... £414 300mm f4E AF S PF ED VR ............................ £1709 150 600mm f5 6.3 C DG OS HSM..................£789 £669 inc. £80 Cashback*
EF 24 105mm f4L IS II USM........................... £999 500mm f5.6E PF ED VR AF S......................... £3699 150-600mm f5.0-6.3 S DG OS HSM ...............£1329 FE 70 200mm f2.8 G Master..........................£2399
£889 inc. £110 Cashback* 8 15mm f3.5 4.5E ED Fisheye....................... £1229 £2299 inc. £100 Cashback*
EF 28 300mm f3.5 5.6 L IS USM ................... £2289 10 24mm f3.5 4.5 G AF S DX ........................ £799 FE 70 300mm f4.5 5.6 G OSS......................... £1099
EF 70 200mm f2.8 L IS III USM...................... £2099 16 80mm f2.8 4E ED AF S DX VR.................. £989 £1019 inc. £80 Cashback*
EF 70 200mm f4 L IS II USM.......................... £1299 18 200mm f3.5 5.6 G AF S DX VR II.............. £429 TAMRON LENSES - with 5 Year Manufacturer FE 100 400mm f4.5 5.6 OSS G Master ..........£2449
EF 70 300mm f4 5.6 L IS USM ...................... £1199 18 300mm f3.5 5.6 ED AF S VR DX................£989 Warranty £2349 inc. £100 Cashback*
EF 70 300mm f4 5.6 IS II USM...................... £464 24 70mm f2.8 G ED AF S................................£1709 85mm f1.8 SP Di VC USD ...............................£749
£354 inc. £110 Cashback* 24 70mm f2.8E AF S ED VR............................£2099 16 300mm f3.5 6.3 Di II VC PZD Macro.........£499
EF 100 400mm f4.5 5.6L IS USM II ............... £1999 24 120mm f4 G AF S ED VR ...........................£1049 18 200mm f3.5 6.3 Di II VC............................£199
£1699 inc. £300 Cashback* 28-300mm f3.5-5.6 G ED AF S VR..................£939 18-400mm f3.5-6.3 Di II VC HLD ....................£599 *Sony Cashback ends 31.01.19
Photo Bags & Rucksacks ŽŵƉƵƟŶŐ

Pro runner BP 350 AW Flipside 300 AW II
II Backpack Lifestyle Windsor Anvil Slim Professional Hadley Pro
Messenger S: Backpack Original
Purpose-built • DSLR, with up Khaki PIXMA Pro 100S ....£359
This practical PIXMA Pro 10S ......£499
to organise to 70-200 mm
messenger bag
and protect attached lens, or ImagePROGRAF PRO-1000
features an easily
more gear, and compact drone ...............................£899
accessible top
provide more • 2 extra lenses opening to the
options for • Compact tripod main compartment, Canvas/Leather: Khaki, Black
manoeuvring • 7” tablet where a DSLR with FibreNyte/Leather: Khaki,
in busy airports
and crowded
24-70mm f2.8 lens Sage, Black. Datacolor Spyder Intuos Pro Professional
attached Digital .............................£129 5 Pro...............£119 Pen and Touch Tablet
streets. Anvil:
Messenger S..................... £89.95 Anvil Slim.................£122 Small...............................£159 i1 Display Pro.£178 Small................... £159
Pro Runner: Flipside: Large...............................£179
W ϯϱϬ t //.................... £199 ϯϬϬ t // ........................ £112 Messenger M ................... £107 Anvil Super ..............£134 ColorMunki Medium ............. £264
Pro Original ................... £199
WϰϱϬ t //.................... £189 ϰϬϬ t // ........................ £85 ĂĐŬƉĂĐŬ .......................... £149 Anvil Pro ..................£126 Hadley One.................... £265 Smile ..............£90 Large................... £369
*Canon Cashback ends 17.01.19

Digital Compact Cameras Digital compact camera accessories are available on our website D
IXUS 185 HS ................................................. £99
IXUS 285 HS ................................................. £169
20.2 20.1 12.8 PowerShot SX70 HS..................................... £499
megapixels megapixels megapixels
PowerShot SX620 HS................................... £159
4.2x 4.2x 5.0x PowerShot SX730 HS................................... £279
ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ
£249 inc. £30 Cashback*
1080p 1080p 1080p PowerShot SX740 HS................................... £349
movie mode movie mode movie mode
PowerShot G5 X PowerShot G9 X II........................................ £349
PowerShot G7 X Mark II PowerShot G1 X Mark II Premium Kit
£529 PowerShot G1 X III ...................................... £1089
£529 £649
PowerShot G3 X........................................... £779
£489 inc. £40 Cashback*
Lumix FZ1000 ........................................... £528
Black or £478 inc. £50 Cashback*
Silver New Lumix FZ2000 ........................................... £879
24.3 £779 inc. £100 Cashback*
megapixels
20.1 20.1 Lumix TZ90 ............................................... £319
17 megapixels megapixels
1080 megapixel £289 inc. £30 Cashback*
movie mode
&ƵũŝĮůŵyϭϬϬ& Lumix LX100 II Lumix TZ200 Lumix DMC-LX15 Lumix TZ100 ............................................. £490
£1199 £849 £629 £499 £440 inc. £50 Cashback*
£799 inc. £50 Cashback* £579 inc. £50 Cashback* £449 inc. £50 Cashback* *Panasonic Cashback ends 31.01.19
Theta V Digital Theta SC Digital

16
New Spherical Camera Spherical Camera - White
4K megapixels 4K movie mode and ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ ' ŝŶƚĞƌŶĂů
movie mode
ϯϲϬΣ ƐƟůůƐ ƐƚŽƌĂŐĞ ůŝƚŚŝƵŵ ŝŽŶ ďĂƩĞƌǇ
Stylus TG-5 Ricoh WG-60 iOS and Android supported 16
£230 megapixels Coolpix W300
£359 ............................. £399 ..................................... £179
Available in black and red £344
New New
18.2
megapixels
16
megapixels 30.0x 20.1 20.1
ŽƉƟĐĂůǌŽŽŵ megapixels megapixels
125x
Ž
ƉƟĐĂůǌŽŽŵ Cyber-Shot RX10 Mark IV
Cyber-Shot HX90V Cyber-Shot RX100 Mark VI
Coolpix P1000 £299 £1699 £1149
£999 £249 inc. £50 Cashback* £1549 inc. £150 Cashback* *Sony Cashback ends 31.01.19 DJI Mavic 2 from £1099
FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.
VISIT OUR WEBSITE - UPDATED DAILY
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OR PHONE US 7 DAYS A WEEK
01444 23 70 60
Experts in photography Unbeatable stock availability Competitive low pricing UK stock
30.3 45.7
MEGA
PIXELS 8 fps
3.1” 4K MEGA
PIXELS 7 fps
3.2” 4K
A full-frame 30.3 Megapixel sensor with Welcome to full-frame FX splendour like
£200
impressive detail, ISO performance and Dual Trade-in you’ve never seen it before. From the
Pixel CMOS AF. Alongside the new RF lenses, Bonus! studio to the remotest locations on earth.
Canon EOS R offers the ultimate shooting
experience to take your storytelling further. Body only £3,249.00 + AF-S 24-120mm f/4G ED VR £3,799.00
In stock from £2,349.00
Canon EOS 80D Canon EOS 7D Mark II Canon EOS 6D Mark II Nikon Z6 Nikon Z7 Nikon Z 14-30mm
f/4 S
24.2 20.2 26.2 24.5 45.7
MEGA MEGA MEGA MEGA MEGA
PIXELS 7 FPS PIXELS 10 FPS PIXELS 6.5 FPS PIXELS 12 FPS PIXELS 9 FPS NEW!
Body only +18-55 IS STM Body only Add a BG-E16 Body only Add a BG-E21 Body only + 24-70mm Body only + 24-70mm Expected April 2019!
grip for only grip for only
.00 .00 .00 .00 .00 .00
See web See web £1,399 £249.00 £1,499 £209.00 £2,099 £2,699 £3,399 £3,999 £1,349.00
Add a Canon BG-E14 Add a Canon LP-E6N Add a Canon LP-E6N Add the Nikon FTZ Mount Add a Nikon EN-EL15B Pre-order to receive one of
Battery Grip for £179.00 spare battery for £74.99 spare battery for £74.99 Adapter for £100! spare battery for £69.99 the first lenses in the UK!
Up to £300 cashback £300

on selected Canon lenses trade-in
Cashback available
& accessories this Winter! 18.10.2018 and 17.01.2019
bonus
You pay Cashback After Cashback

£369.00 £45 £324.00 42.4
MEGA 3.0” IS 4K
PIXELS 10 fps
EF 85mm f/1.4L IS USM £1,379.00 £100 £1,279.00
EF-S 17-55mm f/2.8 IS USM £779.00 £100 £679.00
EF 24-70mm f/4L IS USM £799.00 £175 £624.00

EF 24-105mm f/4L IS II USM £1,019.00 £110 £909.00
EF 70-300mm f/4-5.6 IS II USM £464.00 £100 £364.00
EF 100-400mm f/4.5-5.6L IS II USM £1,949.00 £300 £1,649.00 Body only £2,799.00

Trade-in your existing interchangeable lens camera against the a7R III
Learn more at www.parkcameras.com/canon-cashback
& benefit from a £300 bonus! See website to learn more
26.1 Sony RX100 V Sony RX100 VI Sony a7

MEGA
PIXELS 11 fps
3.0” 4K
20.1 £50 20.1 24.3
The X-T3 provides you with superb image MEGA
PIXELS
4K cash MEGA
PIXELS
4K MEGA
PIXELS
quality & an enhanced ability to track a back
moving subject with AF performance Our Price See website Our Price Body only Add a Sony
for our finance NP-FW50
improvement & blackout-free burst shooti £749.00* options £1,149.00 £799.00 battery for £59
12 MONTHS 0% FINANCE AVAILABLE! *Price after £50 cashback Watch our hands on video to Add a Sony NP-FW50 spare
See in store or online for full details from £1,259.00 from Sony. Ends 31.01.19 learn more about this camera battery for £50.99
Fujfilm X-PRO2 Fujfilm X H1 XF 14mm f/2.8 £744.00 Sony a7 III Sony FE 16-35mm Sony FE 100-400mm
XF 16mm f/1.4 R WR £819.00 f/2.8 GM f/4.5-5.6 GM OSS
XF 27mm f/2.8 £369.00
24.3 24.3 XF 35mm f/2 R WR £369.00 24.2 £100 £100
MEGA
PIXELS
MEGA
PIXELS
4K XF 56mm f/1.2 £849.00 MEGA
PIXELS 10 FPS
cash cash
XF 10-24mm f/4 OIS £829.00 back back
Body only Graphite Body only X-H1+ Grip XC 16-50mm O.I.S II £379.00 Body only See website for In stock at For even more In stock at For even more
XF 18-135mm WR £699.00 the latest stock Sony lenses, see Sony lenses, see
.00 .00 .00 .00 .00 .00* .00
£1,299 £1,799 £1,589 £1,799 XC 50-230mm O.I.S £329.00 £1,849 information. £1,899 our website £2,349 our website
Add a Fujifilm NP-126s Add a Fujifilm VPB Battery XF 50-140mm O.I.S £1,299.00 Add a Sigma MC-11 Adapter *Price after £100 cashback *Price after £100 cashback
battery for only £49.99 grip for only £319.00 XF 100-400mm O.I.S £1,549.00 for ½ price when bought with from Sony. Ends 31.01.19 from Sony. Ends 31.01.19
Manfrotto Befree Manfrotto 055 Manfrotto Nitrotech Sigma 85mm Sigma 60-600mm Sigma 70-200mm
Advanced 3-section Carbo N8 Video Hea f/1.4 DG HSM | Art f/4.5-6.3 DG OS HSM | S f/2.8 DG OS HSM | S
Carbon Fibre Fibre Tripod with Carbon
Travel Twist Fibre Legs NEW!
Our Price See website Our Price See website Our Price See website Our price Available in Now in stock! Available in Now in stock! Available in
for even more for more 055 for more Canon, Nikon Canon, Nikon Canon, Nikon
.00 .00 .00
£289 .00 Tripods! £299 .00 Tripods! £749 .00 Video Tripods! £899 or Sony fit £1,899 or Sigma fit £1,349 or Sigma fit
Visit us in store to try this For a range of heads, FREE Manfrotto 60cm Slider Add a Sigma 86mm WR UV FREE Sigma 105mm WR UV Add a Sigma 82mm WR UV
tripod out for yourself! visit www.parkcameras.com or Manfrotto Camera Cage Filter for only £99.99 Filter worth £159.99! Filter for only £54.95
Joby GorillaPod 5K Lowepro Photo Lowepro Flipside Tamron 18-400mm Tamron 100-400mm
Suitable for Classic BP 300 AW 400 AW II f/3.5-6.3 Di II VC HLD f/4 5-6 3 Di VC USD
DSLRs & CSC Backpack Backpack
Our Price See website Our Price See website Our Price See website In stock! Available In stock! Available In stock! Available in
for more Joby for more for more in Canon, in Canon, Canon, Nikon
.00 .00 .00
£138.00 Tripods! £94.95 Lowepro bags! £119.00 Lowepro bags! £649 or Nikon fits £749 or Nikon fits £11,29 or Sony fit
FREE Manfrotto Lumimuse 3 Visit us in store to try this Visit us in store to try this Add a Hoya 72mm NX-10 UV Add a Hoya 67mm NX-10 UV Add a Kenko 95mm
LED Portable Light backpack out for yourself! backpack out for yourself! Filter for only £32.95 Filter for only £28.95 UV Filter for only £99.00
All prices include VAT @ 20%. See website for our opening times for both our London and Burgess Hill stores.
Keep up-to-date with all the latest new
All products are UK stock. E&OE. *Please mention “Amateur Photographer” for this special price.
Prices correct at time of going to press; Prices subject to change; check website for latest prices. products and news with Park Cameras!
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Limited edition prints of iconic images.

Hand printed and framed to order,
from £59 unframed or £89 framed.
www.soniceditions.com/amateurphotographer
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Legends
of photography
© STEVE SCHAPIRO/MICHAEL OCHS ARCHIVES/GETTY IMAGES
Actress and singer Barbra

Streisand as Fanny Brice and
Omar Sharif as Nicky Arnstein
in the movie Funny Girl, 1968
influential in prompting the books, again with a wide range
Steve
installation of electricity in the of themes. For example, one is
migrant camps. simply called BOWIE, and
He is less well known in the another is a version of James
UK than in the USA: curiously, Baldwin’s The Fire Next Time,
Schapiro
he has never had a major illustrated with Schapiro’s
© AFP/GETTY IMAGES
retrospective exhibition in the photos from the Civil Rights

UK. Then again, his focus movement taken between
tended to be domestic rather 1963 and 1968. Well into his
than international: he was eighties, he is still working;
Roger Hicks tells us more about this particularly noted for covering
the Civil Rights movement and
projects mentioned on his site
include India, Music Festivals,
versatile photographer’s photographer counter-cultural phenomena and Black Lives Matter.
S
such as Haight-Ashbury. He The picture reproduced here
teve Schapiro is to movie stills and music also photographed iconic – Barbra Streisand all but
what you might call photography. He studied personalities as diverse as hanging out with Omar Sharif
a photographer’s under the great documentary Muhammad Ali, Andy Warhol – unexpectedly unites his
photographer. He’s photographer W Eugene and Truman Capote. earlier reportage and social
loved photography ever since he Smith, who not only gave him a Then, in the 1970s, he turned commentary with his later
discovered it at summer camp sound technical foundation but more and more towards movie publicity photography.
in 1943, aged nine. On his also (again in Schapiro’s own photographing celebrities, but Not only did Sharif and
website, www.steveschapiro. words) ‘informed his personal in a manner as different from Streisand star in Funny Girl
com, he describes himself as outlook and world view’. This the paparazzi as can readily be (1967), but they also famously
‘prowling the streets of his led to an activist approach to imagined: publicity pictures had an affair at the same time.
native New York City’ from photography, especially after for big Hollywood studios, and That was the year of the Six
the 1940s onwards, trying to he struck out as a freelance in music photography with David Day War. He was Egyptian and
emulate the work of his hero 1961 – the year in which one of Bowie and other major artists. she was Jewish: a photograph
Henri Cartier-Bresson. his picture sets, about migrant He also continued with his of them kissing was a cause
The breadth of his work is workers in Arkansas, was activist/humanist reportage. célèbre. As so often with
intriguing, from hard-hitting picked up by the New York Today, many of his pictures Schapiro, there are
reportage and social activism Times magazine and was have been assembled into subtexts within subtexts.

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