Saturday 13 April 2019

S ig m a 70 -2 0 0 m m f/2 .8
-selling
st
New version of Sigma’s beth e test
TESTED flagship tele-zoom put to

Passionate about photography since 1884

See more creatively

How to make your photos stand out and avoid the clichés
Why McCullin
still matters
Top pros reflect on Don’s
six-decade career

What’s it like to
use an £11k lens?
How one reader rented a Canon
600mm f/4L to take on safari

Photomerge
masterclass
How to combine panorama
or HDR shots in Lightroom

Win £1,000 of Sigma kit Enter your best landscapes into APOY Round 2
 8TH MAY 2019
AT P I N E W O O D S T U D I O S

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 7days
A week in photography
COVER PICTURE © DAVID CLAPP

This week we feature the recommend reading McCullin’s book

work of the legendary Don Unreasonable Behaviour, which remains
McCullin, whose retrospective for me the most powerful autobiography
is currently on show at I have ever read.
Tate Britain. We talk to the On a lighter note we help you to avoid the big
In this issue exhibition’s curator, who describes him as landscape photography clichés, show you how
8 Huawei P30 Pro having ‘a huge capacity for empathy’, and ask to use the Photomerge feature in Lightroom,
Amy Davies takes a first three photojournalists to discuss what his test Sigma’s latest 70-200mm f/2.8 fast
look at Huawei’s newest work means to them. It’s a thought-provoking tele-zoom, and reveal what it’s like to shoot
smartphone camera read, which also asks questions about how with a lens that costs more than the average
innovation photographers should represent these issues family car. See you next week.
16 When to avoid today. If the feature touches you at all I highly Nigel Atherton, Editor
the clichés
David Clapp explains Join us amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
when and how to explore online co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
alternatives to make sure
your photos stand out
22 Witnessing online picture of the week
history
© EMILIAn PRIMOV

Amy Davies discovers

more about a major
retrospective of
Don McCullin’s 60-
year career
32 When Harry
met...
Harry Borden looks back
on two shoots with the
Olympic diver and TV
presenter, Tom Daley
MAGES MAY BE USED FOR PROMOTIOn PURPOSES OnLInE AnD On SOCIAL MEDIA

34 Lightroom tips
Get to grips with
Lightroom’s powerful HDR
and Panorama Merge
features with James
Paterson’s 20 top tips
38 APOY Round 2
Your chance to enter
Round 2: Setting the Scene
40 Working with an
£11,000 lens
Graeme Green puts the Yellow tulip
Canon EF 600mm f/4L IS
II USM lens to the test
by Emilian Primov
Win!
Nikon D7200, 17-50mm, 1/10sec at f/11, ISO 100 Each week we choose our favourite
47 Sigma 70-200mm
F2.8 DG OS This glorious sunset scene was way to hunstanton i spotted this picture on Facebook, Instagram,
HSM Sports uploaded to our Facebook page. enormous field covered with Flickr, Twitter or the reader gallery using
*PLEASE ALLOw UP TO 28 DAYS FOR DELIVERY

it was taken by photographer blooming tulips. #appicoftheweek. PermaJet proudly supports

Michael Topham had Emilian Primov. ‘Needless to say that changed all the online picture of the week winner, who will
the privilege of testing he tells us, ‘This picture was my plans. i couldn’t resist capturing receive a top-quality print of their image on the
Sigma’s new flagship taken last April on a beautiful sunny the rainbow of colours. it was a finest PermaJet paper*. It is important to bring
tele-zoom day. My original plan was to take long day in the sun waiting for the images to life outside the digital sphere, so we
Regulars some long-exposure and sunset
shots of the Norfolk coast. On my
sunset, but the result is magnificent,
in my humble opinion.’
encourage everyone to get printing today! Visit
www.permajet.com to learn more.
3 7 days
14 Inbox
51 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:
53 Tech Talk Email Email a selection of low-res images (up to 5MB of attachments in total) to [email protected].
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 14.
66 Legends 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 Amy Davies

Photo Mechanic 6 upgrade now available

According to its maker, Camera Bits, Photo Mechanic 6 is faster,
offers 64-bit support and is said to have a more intuitive and
compact workspace. The software is an alternative to programs
such as Lightroom and is a way for photographers to organise,
view, export and tag images. The new software will cost US$139,
while existing customers can download it for US$89. Anyone who
bought Photo Mechanic 5 in 2018 will receive a free license key.

Luminar plug-in clarification

Last week we brought you the news that a new Luminar plug-in
for software such as Adobe Lightroom had been announced.
Shortly after the issue went to press, we were advised by Skylum
that the correct name for the plug-in is Luminar Flex. For more
details, visit Skylum.com.

Sony A9 firmware 5.0

ready for download
Announced back in January,
new firmware for Sony’s
pro-level Alpha 9 camera is
now available. Version 5.0 adds
a range of new functions which
boost autofocus performance,
including ‘Real-time Tracking’
Sigma L-mount which makes use of artificial
intelligence to recognise
converter pricing subjects. AP’s Technical Editor
© PEDRO JARQUE KREBS/B RD PHOTOGRAPHER OF THE YEAR

Official pricing has been Andy Westlake recently spent

revealed for Sigma’s MC-21 some time testing Firmware 5.0
mount converter for the new at an exclusive event in
L-Mount Alliance. The mount Tenerife. Look out for a full
allows users of Sigma report in AP 18 May.
SA-mount lenses or Canon
EF-mount lenses to use their
optics with L-mount cameras
such as the Panasonic S1R. The

BIG
MC-21 SA-L is priced at £99,
while the MC-21 EF-L is 249.99. Bird POTY shortlist announced
Both will be available from the
end of April. This stunning image of a group of great white

picture
pelicans (pelecanus onocrotalus) competing
Rugged G-Technology storage to catch their prey is one of the many
outstanding images shortlisted in the 2019
Western Digital has released a range of ArmorATD rugged portable Bird Photographer of the Year (BPOTY)
hard drives under its G-Technology brand. With a USB 3.1 interface competition. ‘Food Chain’ was taken by
promising 135MB/s transfer speeds, they feature triple-layer shock renowned wildlife photographer and winner
protection and water, dust and crush resistance. Prices range from of last year’s competition, Pedro Jarque
£85.99 (1TB) to £162.99 (4TB). See www.g-technology.com/en-gb.

4 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 4
SOURCE: CONSUMER.HUAWEI.COM

Krebs, and entered into the Creative Imagery

category. Now in its fourth year, the highly Words & numbers
celebrated BPOTY competition has grown
in size and reputation to become one of the
highlights of the wildlife photography year. TV I’m known for taking
presenter and conservationist Chris Packham
heads the judging panel. He will announce
pictures very close, and the
the winners at the annual British Birdfair at
Rutland Water on 17 August. View the
older I get, the closer I get Number of Leica cameras
Bruce Gilden on the new Huawei P30 Pro
shortlist at www.birdpoty.co.uk. smartphone (See page 8)
US street photographer

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 © MARIE MUSCAT-KING
Sony World Photography
Awards shortlist revealed

LANDSCAPE (PROFESSIONAL COMPETITION), 2019 SONY WORLD PHOTOGRAPHY AWARDS

© K ERAN DODDS UN TED K NGDOM SHORTL ST PROFESS ONAL
AHEAD of the prize ceremony in April,
the list of photographers shortlisted for the
Professional category of the 2019 Sony World
Photography Awards have been announced.
Winners of the Open categories have also
been chosen.
This year marks another record-breaking
number of entries, with more than 326,000
submissions across four competitions received
from 195 countries and territories.
The Photographer of the Year, ten
Professional category winners, and overall
Open Youth and Student winners will be
announced in London on 17 April.
The shortlisted and winning images have
been chosen by a judging panel which consists

Roger Hicks: of some of the world’s leading judges from

the academia, museums, publishing, festivals

he did it his way

and the media. All the photographers
shortlisted in the Professional categories go on Ethiopia’s few remaining forests are protected
to compete to become category winners, with

2019 SONY WORLD PHOTOGRAPHY AWARDS

© LEAH SCHRETENTHALER USA SHORTL ST CREATIVE (PROFESSIONAL COMPETITION),
IT IS with tremendous sadness that the chance to be selected as Photographer of
we bring you news that long-term AP the Year – an accolade that comes with a
contributor Roger Hicks has been diagnosed US$25,000 prize.
with terminal cancer. Names in the frame for the hotly anticipated
His back-page Final analysis column, which awards include the UK’s Kieran Dodds, for his
since the beginning of the year has rotated aerial images of Ethiopia; South Africa’s Alice
with his Legends of photography column, is Mann, for her images of drum majorettes
one of the most popular sections of the (for which she won the Taylor Wessing
magazine. Indeed, we often receive letters Photographic Portrait Prize in 2018); and
telling us it’s the first thing many of you read Leah Schretenthaler from the USA, who uses
on receiving your copies of Amateur traditional film and silver gelatin to shoot and
Photographer each week. print images in Hawaii.
Roger has been writing for AP for almost An exhibition of all the winning imagery will
20 years, with his columns Back chat, be shown at an exhibition at Somerset House
A matter of opinion, Back from the front, in London from 18 April until 6 May, before
The final frame and Final analysis. the show embarks on a global tour. To see
We would like to thank Roger for the more from the shortlist, visit worldphoto.org. An image from Leah Schretenthaler’s series
open and dignified way he has continued
to provide us with columns in the recent
past, but unfortunately his last Legends of
photography appears on the back page of
Picture Editors’ Guild Awards announced
© PA WIRE/PA IMAGES

this issue, with his last ever Final analysis HUNDREDS of photographers submitted
due to be printed in next week’s magazine over 4,000 images for consideration for
(20 April issue). the UK Picture Editors’ Guild Awards, judged
by a panel of 10 experienced judges.
New contributors The Shutterstock Press Photographer of the
Although nobody will ever be able to replace Year prize went to Daniel Lawson for his image
or replicate Roger’s truly brilliant writing of Meghan Markle walking down the aisle at
style, the Final analysis column will continue her wedding to Prince Harry last May.
with Roger’s blessing. For the foreseeable Other categories included the Canon Sports
future, a number of guest columns written Photographer of the Year, Fixation News
by photographers and critics of note will Photographer of the Year, Dave Benett Photo This image by Daniel Lawson won an award
occupy the slot. The Legends of photography Arts and Entertainment Photographer of
column will also continue, and will be written the Year, Photo Essay, Fleet Street’s Finest Lifetime Achievement Award for his almost
by some of our regular writers. National Newspaper Photographer of the Year, 50-year career. He contributes to our Don
We’re sure that AP readers will be and Fujifilm Student Photographer of the Year. McCullin feature on pages 22-28.
extremely saddened to hear the news about Meanwhile, conflict, documentary and war To see pictures from all of the categories,
Roger – our email inbox is open for any photographer Tom Stoddart was awarded the head to pictureeditorsguildawards.co.uk.
messages that you might like us to pass on
to Roger at this difficult time. Write to us at
ap ti-media.com.
For the latest news visit www.amateurphotographer.co.uk

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Huawei TOF lens
This lens is used to help
create a ‘depth map’ to render
shallow-depth-of-field

P30 Pro
effects more accurately
and naturally.

Amy Davies takes a look at

Huawei’s newest smartphone
camera innovation
WHILE still the subject of some
derision, smartphone cameras
have become so good in recent
years that here at AP we saw
fit to include a brand new Dewdrop
‘Smartphone Camera of notch
the Year’ category at the A tiny notch houses the
2019 AP Awards. front-facing 32MP
That accolade went to camera, which can
the Huawei Mate 20 Pro, shoot ‘Super HDR’.
which was announced in
October last year. While the
smartphone market is packed with
healthy competition, it’s fair to say that
Huawei has impressed the most with its
smartphone camera offerings, thanks
to a range of advanced technologies in
competitively priced devices.
Huawei tends to announce its flagship
models in six-month cycles, with the ‘P’
range usually being unveiled in March,
and the ‘Mate’ range in October.

Built for photographers

Although both of Huawei’s flagship Periscope
models are equipped with excellent The 5x zoom lens gives
cameras, it seems the P range is more an equivalent of 125mm,
squarely targeted at photographers. and uses folded optics to
Indeed, the tag line for this year’s launch make the best use of
was ‘rewrite the rules of photography’. the space.
Interestingly enough, that’s not 100%
marketing hyberbole – some of the
technology used inside the P30 Pro
marks a departure from what we
normally understand to be the
traditional way of doing things.
Last year’s outgoing P20 Pro debuted
a triple-lens Leica camera system. This
year, we’ve got four – with some key
changes to note. Focal length and pixel
count remain the same for the ‘main’
27mm equivalent, 40MP camera
module, but we no longer have a
monochrome sensor as found in the
At a glance Pro mode
P20 Pro. Instead, there’s a super- An impressive feature of
wideangle 20MP camera, giving you
the equivalent of 16mm - we’ve seen this
£899-£1,099 Huawei’s smartphones is the
Pro mode, which can be used
before on the Mate 20 Pro, but Huawei ■ Android smartphone to take full manual control
says that it features improved rectilinear ■ Four-lens Leica camera and record DNG
correction for more natural results. Also ■ 5x ‘periscope’ lens raw files.
replaced is the 3x telephoto lens; now

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 Leica on P30 Pro
Representatives from Leica and Huawei
discuss the smartphone’s technologies
AMY DAVIES joined wasn’t easy - there is a
a select group of good reason why for 40
journalists at the P30 Pro’s years we have used RGGB.
global launch event in Paris There has been some
to talk about the camera experimentation with white
design with Marius pixels in the past, but we
Eschweiler, Leica’s Global think this is a very good
Director of Business compromise to go from
Development; Dr Florian green to yellow to enlarge
Weiler, Project Manager the light sensitivity. We had
of Optical Design; and to change the ISP (image
Li ChangZhu, Vice signal processor), but we’ve
The P30 Pro’s AI algorithms automatically detect a range of subjects, such as flowers President of Huawei’s got a good result that
Handset Business. means colour rendering is
we have a 5x ‘periscope’ lens, which the main sensor and telephoto sensor, Eschweiler talked about excellent and on par with
combines folded optics with an 8MP and it can now also be used when the collaboration between RGGB. It’s something that
sensor. Curiously, it’s labelled 125mm shooting 4K video for more stabilised Leica and Huawei being could be rolled out to
on the device, but reports an equivalent results. Another new feature of the more than just a ‘branding other cameras (with
focal length of 135mm in the EXIF data. camera is the introduction of a ‘handheld exercise’. He said, ‘Since interchangeable lenses).’
As we’ve seen on other models, ‘hybrid’ silky water’ mode, which works in the the very beginning of the The challenges of
zooming is available up to 10x, while same way as the current Night mode collaboration which started creating the folding
digital zooming up to 50x is also present. to create a long-exposure effect with the P9, we set up an periscope lens were also
The fourth lens is where it starts to getby merging together a series of intra-company team. We addressed. Weiler said,
really interesting. This is what’s known as short exposures. specify the concept and ‘We have to make sure the
a Time of Flight (TOF) lens. It is used to The P30 Pro’s display is a curved what level of image quality kind of optic is stable even
create a depth map by casting light into 6.47in curved OLED 2K, and makes use we want to achieve, then if you drop your phone -
a scene, then measuring how long it of what Huawei is calling a ‘dewdrop’ we have one single team this alone we worked on
takes for the light to come back to the notch for the selfie camera. This is found that consists of engineers for months.’ Eschweiler
sensor. By doing this, Huawei claims that in the centre of the top of the screen, from both Leica and added, ‘The depth of
it can build up a richer understanding of and uses as little area as possible. On the Huawei. At Leica, we have the smartphone causes
how to render depth of field. downside, using such a small notch is a team of engineers that a headache - we have
likely to have an impact on the speed are 100% dedicated to to keep it a convenient
Rewriting the rules and security of face unlock. the co-operation.’ size for a smartphone.
Behind all the lenses, the sensors have As with the Mate 20 Pro, the P30 Changzhu added, Therefore, the biggest
been redesigned. Instead of using a Pro features a 4200mAh battery - ‘Image quality technical limitation with
standard RGGB (red, green, green, blue) however, thanks to changes in performance is always creating a 5x zoom
colour filter array, it is now an RYYB (red, processing algorithms, Huawei says the the top priority for the is getting good image
yellow, yellow, blue) construction. Huawei battery should last longer. It comes with joint-development team.’ quality in the size we have
claims that this makes the phones better 8GB of RAM and an option of either Meanwhile, Weiler available - this is the best
suited to low-light photography since 128GB or 512GB internal storage. It is discussed the redesigned compromise we can find
there is more light available in the yellow IP68 water resistant, meaning it can be sensor construction. ‘It right now.’
spectrum than green. We’ve already dunked in water to a depth of 1 metre
been impressed by the low-light for up to 30 minutes at a time.
capabilities of both the P20 Pro and Priced at £899 for the 128GB model,
‘Image quality is the top priority
Mate 20 Pro, so we’ll be keen to or £1,099 for the 512GB model, it’s not for the joint-development team’
evaluate the differences in further depth. what we’d call cheap, but it’s still more
Mechanical OIS (optical image affordable than the iPhone XS or the
stabilisation) is available when using both Samsung Galaxy S10.

First impressions
We continue to be impressed here at AP by Huawei and Leica’s collaboration,
with every new offering seeming to push the boundaries just a little bit further.
Introducing a 5x periscope lens, along with redesigning the sensors and introducing
a ‘TOF’ lens is all very interesting – but a major downside is that it leaves quite a big
One of the most
focal length gap between the standard 27mm lens and the telephoto - but with up interesting new
to 40 million pixels available, you could always rely on cropping. We’re looking features of the P30 Pro
forward to spending a lot more time with the P30 Pro in the near future to find is its folding optic
out exactly what this model is capable of. ‘periscope’ 5x zoom lens

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019

 The latest and best books and exhibitions
from the world of photography Also out now
BOOK

© MARK RUWEDEL
Typical American
House, Nevada

This Empty Test Site,

Yucca Flat,
Apple II
Test Site,

World by Nick Brandt 1995

EXHIBITION
Deutsche Börse Photography
Foundation Prize 2019
The Photographers’ Gallery 16-18 Ramillies
Street, London W1F 7LW; visit www.
© N CK BRANDT

‘Savannah with thephotographersgallery.org.uk

Lion & People, 2018’ Now in its 22nd year, the Deutsche Börse prize is

L
one of the biggest in the photographic calendar. Past
egendary wildlife photographer months being a waiting game for local winners include the likes of Paul Graham, Juergen Teller,
Nick Brandt doesn’t do things animals to become comfortable enough Rineke Dijkstra and Richard Billingham. The results
by halves. His almost 20-year to enter the frame. Once the animals were can be controversial, but it’s always worth a visit.
photographic career has photographed, Nick’s team built the rest This year’s nominees include Magnum veteran
produced some of the most iconic, of the set in the exact spot – with typical Susan Meiselas, who has been shortlisted for her work
thought-provoking and disturbing human elements, such as petrol stations, in Kurdistan; Laia Abril, for her unapologetic insights
conservation photography in the world. bridge construction sites and bus stations into the history of abortion; and Mark Ruwedel, whose
His projects show us what the world that are invading the East African landscape. black & white prints explore the American landscape.
may very well be like if humanity And once the image was captured, sets Finally, Arwed Messmer investigates the Red Army
continues along its path of destruction. were recycled with almost zero waste, and Faction, otherwise known as the Baader-Meinhof
His latest book, This Empty World, depicts no evidence of the shoot now remains. Group. The winner will be announced on 16 May.
a world where humans have invaded The overall aim of each composite Deutsche Börse Photography Foundation Prize
every available inch of the planet, leaving image is that ultimately both humans 2019 is at The Photographers’ Gallery until 2 June.
nothing for the spaces previously and animals will be the victims of the Ailsa McWhinnie
occupied by animals. annihilation of the modern world. As well
As such, in a set of extremely powerful as the hauntingly powerful and detailed
images, he shows how humans and images, there’s also fascinating behind- BOOK
animals have to coexist. Shot on location the-scenes information.
in local Maasai community land in Kenya, This book makes for extremely Te Ahi Kā
the photographs are made up of two uncomfortable viewing – but so it should. Edited by Rafal Milach, £35, 200 pages, Dewi
moments in time, captured from the It may be all too soon before these Lewis Publishing, hardback, ISBN 978-1-
same locked-off camera position. images can be captured without the need 911306-39-9
It always starts with the animal. A partial for false sets – a warning to us all. The Whanganui River, which flows from
set is built, with the following weeks and ★★★★★ Amy Davies the mountains of North Island in New
Zealand to the Tasman Sea, is seen as an
ancestor as well as a source of material
and spiritual sustenance by the Maori.
This unique stretch of water is recognised
as a living being, with its own legal rights, and the
tribes that live in its middle and upper reaches draw
their name, their spirit, and their strength from it. In
1996 Martin Toft spent six months with Maori here,
exploring their physical and metaphysical relationship to
the river through his lens. At the time, the Maori were
in the process of returning to their ancestral land, but
the impact he made was so great that he was given
the Maori name Pouma Pokai-Whenua. Twenty years
© NICK BRANDT

‘River of People with later Toft returned to the River to rekindle the spiritual
Blind Rhino, 2018’
kinship he had experienced, and this clothbound book
is the result. It was shortlisted for the Kassel Dummy
By Nick Brandt, Thames & Hudson, £45, 120 pages, hardback, ISBN 978-0500545140 Award in 2018. ★★★★★ Tracy Calder

10 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Change gear.
Seamlessly upgrade your setup or free up funds from your photography and filmmaking
gear. Commitment free, hassle free, risk free. Collection is free too.

MPB is the easiest way to sell your kit. Get an instant quote, get a box, get paid.

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 Viewpoint In next week’s issue

Jon Bentley On sale Tuesday 16 April

© MICHAEL TOPHAM
The relatively humble Konica made autofocus
available at a reasonable price from day one.
And refreshingly, this is often the case with
groundbreaking photographic developments

D
o products that pioneer new measure contrast levels in the centre of
technologies need to be the frame from slightly different angles,
expensive? There are many analysing them with a microprocessor, and
commonplace gadgets that triggering the lens to move to the correct
started out the preserve of the wealthy few. focusing position as you take the image.
Personal computers, mobile phones, car
radios and, more recently, OLED TVs all Exciting developments

SECOND-HAND SPECIAL
launched with eye-watering price tags and Second-hand, the cameras are widely
took years or even decades to come down available at modest cost and we bought

Digital
in price and gain mass appeal. one for filming. The mechanical controls,
Happily it’s not always the case, as I was focusing system and electronic flash were
reminded the other week when shooting all in perfect working order. While the
an item for The Gadget Show. The subject autofocus is slow by today’s standards,

bargains
was the world’s first production camera to the battery-free operation produces a
feature autofocus. This groundbreaking satisfying mechanical whirr reminiscent
technology didn’t launch on an upmarket of some classic timepiece.
SLR but on the 1977 Konica C35 AF, a There are significant limitations though.
relatively affordable point-and-shoot. There’s no option to focus and reframe
Maybe the fact that Konica was able before you fire the shutter, so your subject We point you to the best
to adopt another company’s expertise can easily end up out of focus if it’s not in
helped keep the development costs down. the centre of the picture. While a dial on second-hand digital cameras
The camera uses Honeywell’s Visitronic the front of the camera gives you a rough that are worth checking out
system, which deploys an early form of indication of the focus distance selected,

© CHARLOTTE BELLAMY
contrast detection autofocus. Sensors you can only see it by turning the camera
round after you’ve taken the shot, which
© JON BENTLEY

is patently too late. But when you get

everything right, and luck’s on your side, it
gives impressive sharpness and contrast.
What’s great though is that the Konica
made autofocus available at a reasonable
price. Which got me thinking how in
photography this is often the case. The
first roll film was made for the mass
market Kodak Box camera, which
Above: The pioneering Konica C35 AF became the Box Brownie. The ultra- Second-hand love
THE V EWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR T MED A L M TED

Below: A shot of Ben Bhatia, The Gadget compact digital pioneer, the relatively We speak to professionals who use
Show series director, taken with the C35 AF second-hand film and digital models
cheap Casio Exilim EX-S1 of 2002, beat
© JON BENTLEY

the first more expensive consumer DSLR

© ANDY WESTLAKE

onto the market, the Canon EOS 300D,

by a year. Today’s computational
photography - digital processing in
camera to create better shots - is being
most impressively developed in mobile
phone cameras, not some inaccessibly
expensive dedicated camera.
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE

Let’s hope other exciting developments

in photography continue to arrive in an
affordable form ready for mass adoption. Film favourites
Andy Westlake reveals some of his
Jon Bentley is a TV producer and presenter best known favourite second-hand film cameras
for Top Gear and Channel 5’s The Gadget Show
Rewind to film
Do you have something you’d like to get off your chest? Send us your thoughts in around John Wade explains the ins and outs of
500 words to the address on page 14 and win a year’s digital subscription to AP, worth £79.99 how to use second-hand film cameras

12 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 CELEBRATING
THE YEAR’S
BEST PRODUCTS

GLOBAL AWARDS 2018-19

visit www.eisa.eu for the winners
EISA is the unique collaboration of 55 member magazines and websites from 27 countries,
specialising in all aspects of consumer electronics from mobile devices, home theatre display and
audio products, photography, hi-fi and in-car entertainment. Now truly international with members in
Australia, India, Canada, the Far East and USA, and still growing, the EISA Awards and official logo are
your guide to the best in global consumer technology!

TESTED BY THE EXPERTS n WWW.EISA.EU

Contact YOUR LETTERS
Amateur Photographer, TI Media
Limited, Pinehurst 2, Pinehurst Road,

Inbox
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Win!
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Arbore tribe in Ethiopia
Old school What’s the F?
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 of stereo photography it is
a simple, low-cost option
allowing us to explore the
Cinderella branch. Subscribe to
© MATJAŽ KRIVIC/TRAVEL PHOTOGRAPHER OF THE YEAR

Mike Rignall

Stereo photography has

a long history dating
back to Victorian times,
Amateur
although it’s never quite
been mainstream.
Photographer
Thanks, Mike, for
showing us your great
Matjaž Krivic’s photo of Onno generated several letters to AP solution to the lack of
stereo cameras on the
for just
mentioned at all should a viewer or two-coloured market. Do other readers
perhaps have been put in a spectacles, but once you have anything similar to
rather less matter-of-fact
way. The eyes are indeed
have looked at a good
stereo image they can
share? – Andy Westlake,
technical editor £24.99*
‘the window to the soul’, as become addictive.
the photographer writes, Fortunately, with the rapid Level playing field
and unfortunately the eyes
of this particular young girl
give a haunting image of
growth of high-megapixel
cameras, the second-hand
market is flooded with
It seems that the
discussion regarding digital
image manipulation has
saving 35%
what’s to come. simple compact cameras, come around again. For
Graham Bolton with which as a matched my part I have no problem
pair can form the basis of with it as I see photography
We received several an excellent DIY digital primarily as an artistic
letters about this. In stereo camera. The picture outlet (with the exception
fact this was the below shows such a design, of documentary/journalism
caption supplied by the employing a pair of Fujifilm type work). I would like to
photographer. FGM is FinePix E510 cameras. It point out that those who
something talked about took me less than two claim that this practice has
in the media but perhaps weeks on eBay to get the been a long-standing one
Matjaž’s intention was for pair, at a total cost of £17. and defend it by saying
us to look into the eyes With such a design, it is that even the likes of
of someone to whom obvious that the lens Ansel Adams altered
this was going to spacing is greater that the his original images,
happen and, in doing so, usual 65-70mm found on sometimes drastically, are
humanise the issue in a professional cameras. With inappropriately comparing
way that mere news the interocular spacing of the two methods.
reports do not. If so, it 110mm on this example, The options that even • Never miss an issue with
seems that he succeeded we are entering the realm the most basic image- delivery direct to your door
– Nigel Atherton, Editor of hyper stereo which is manipulation software
perfect for any shots above make available far exceed • Peace of mind with our money
The Cinderella branch two metres and provides a what could be done back guarantee if you change
The final comment in the stunning landscape shot. by even the most your mind
letter from Vaughan Jones Processing the results is accomplished of hand
(AP 2 March) should serve very easy using any free printers. Maybe if someone • Access to exclusive offers,
as a wake-up call on the anaglyph (two colour) was to market a product giveaways and prizes with
almost abandoned branch software solutions. I use that replicated only the subscriber Rewards
of our hobby: stereoscopic Z-Anaglyph which enables skills that were practised in
photography. We use simple registration of the the pre-digital era, this
stereoscopic vision left and right images and might go some way to
throughout our lives, and can provide a good A4 levelling the playing field
yet we seem content to print, even with the 5MP and quieten the naysayers. Subscribe online at
look at prints in mono. limit of the E510. The David Richards magazinesdirect.com/18AG
I appreciate that the images may not win a
market is not overcrowded place in APOY, but as a
with stereo cameras now starting point into the world
that the Fuji digital stereo 0330 333 1113
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stereo is that viewing the Mike built a stereo

resultant images requires camera using a pair of
additional apparatus, either Fujifilm FinePix E510s

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 Technique avoiding clichÉs

David Clapp
David Clapp is a restless landscape, architectural and
travel photographer. A jack of all trades, he works for
Canon UK, is a stock photographer for Getty Images and
leads exciting photographic tours across the world. He
recently received a direct fellowship from the RPS.
Visit www.davidclapp.co.uk.

When to
avoid the
clichés
Bagging an iconic landscape is great for
many photographers, but knowing when to
All PICtUReS © DAVID ClAPP

After abandoning a clichéd beach on

the Isle of Eigg, Scotland, I walked for
explore alternatives is vital for expressing an hour across a rocky shoreline to a
smaller beach that yielded one of the
identity as an artist, says David Clapp most staggering shots of the trip

T
he modern landscape-
photography world is a
complicated affair. Although
a camera, a few lenses, tripod,
filters, map and a great idea seem to be
all it takes, the reality can be somewhat
different. Desperate for recognition
and social acceptance from peers for
our efforts, especially online, there is
growing pressure to conform with our
creativity, rather than take the more
difficult path – exploring and pushing
our own potential. With a cliché in our
sights, are we paying homage, demoting
our creativity to trophy-hunter status or
are we learning to play a cover song by
copying a popular composition?
I remember when I first began to play
the guitar, the frustration was immense.
Nothing was simple, everything was so
complicated and although I felt I had
potential welling up inside, I lacked the
technique and knowledge. At the end of
your first guitar lesson, your teacher does Not your conventional shot of Cambridge, this was taken with an infrared camera further up river

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not hand you a chord book and say, ‘Now Building identity Aspect ratio
go home and write me a song’. You learn As creative landscape photographers seek Working the camera in new ways can be extremely
by exploring and imitating the work of to define themselves, the importance of helpful. Choosing a different aspect ratio can be
others, connecting with simple and building an identity grows significantly. all it takes to cause a change in compositional
accessible music to inspire, satisfy and Within their local area, there may be a approach and tune your thoughts in a different way.
more importantly, build your confidence. number of go-to opportunities that yield Try choosing a monochrome shooting style to see
Drawing a parallel, photography is a quality results but these change to ‘backup in black & white.
very similar but slightly differing affair. plan status’ as confidence increases. For
Yet alongside this worship, an inherent most, the attempt to reach a new creative One camera – one lens
difficulty starts to build. For most, the goal level is at the forefront of their minds. Yet Head out with just one camera and one lens, forcing
that calls us onwards is the pursuit of a with pressure to produce a constant flow your mind to compose in entirely different ways. By
sublime state – photographic identity of impressive material to an ever-hungry removing the safety of the foreground and choosing
– but this enlightened, self-perpetuating online audience, the return to a cliché a long lens for a coastal shoot, for instance, you
state is very difficult to achieve. Work, alleviates the anxiety and smooths the will create imagery of an entirely different style.
family life and those ever-so-demanding journey. It may be all that was achievable,
children pull us every which way! So when as bad weather, busy work and home life
we do finally catch a break, what’s the pull the photographic handbrake. Change frequency – try an
harm in bagging a cliché or two to keep Creative safety is what causes heavy infrared camera
our creativity on track? The majority of traffic at clichés. A sunrise shoot Work with an infrared camera and see the world
these very tempting opportunities are less with guaranteed mist creates a local in an entirely different frequency. Forcing the mind
than a few hundred metres from the car stampede for Corfe Castle and should you to translate what you see around you will generate
and look absolutely sensational in the right not happen to live near a fabulous area unusual and different results. Do not expect
conditions – after all, they’re clichés for then monetary risk adds to the everyone to appreciate this change, but you
a very good reason. pressure to perform. will certainly feel relief.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019 17

 Technique AVOIDING CLICHÉS

Using long lenses to compress the

long-distance landscape means
you have no idea where you are.
You can be standing at a cliché
and no one will know

Why it works
OVER the years, I have shot the Crown Mines
in Botallack, Cornwall from the classic view,
one to where many photographers head. After
another round of average results, it suddenly
dawned on me that I had never actually
approached the mines from behind. The
footpath leads to the buildings, but was there
anything else to see? After exploring the cliffs
with little result, I came down onto the path
and found another composition that I had
never seen before: a mine facing towards
the open sea, with a few buildings visible
on the hilltop. All these years I had been
photographing a Cornish cliché, but that day
I felt empowered having walked away with
something that was not only unrecognisable,
but my own take on a popular spot.

Going further afield Taken at Ireland’s Fanad

When travelling further afield, the Lighthouse while
risks are not just meteorological, they are standing on a wall. This
also financial. For many photographers, ‘smelly’ image was one
their successes are snatched on an annual of my favourites from
the trip, the antithesis of
family holiday or long weekend away,
the dramatic lighthouse
grabbing photography opportunities I came to shoot
whenever they can. For others, the
adventure becomes specific – a
photography trip with good friends, an
experience together for a week, exploring
in the safety of company. Then there is
the photographic workshop – a great place
to experience new and unknown lands,
especially when travelling overseas.
Of course, all travel has a financial
cost and a ‘return on investment’ is
understandable. So being faced with
the ultimate disaster – no good photos –
forces many photographers to congregate
at the honeypots, to make sure any trip is
not all for nothing.
Professional photographers are often the
worst at this. With every expense being a
business cost, the pressure to get saleable
imagery switches the composition
collecting instincts into overdrive. smartphone full of once-in-a lifetime This collection process is often belittled
Most like to ‘warm up’ with some clichés is not very healthy, yet so many as photographic trophy hunting, a basic
big-hitting clichés, get a few in the bag photographers do this. The need approach, but let’s think about it – for
before moving on to capture greater could be nothing more than drawing those without the time or the room
creative risks. It’s a way of calming the inspiration, but others like myself feel to pursue creative goals, those at the
nerves – a cliché is a keeper. Conversely, that this obsessive research has a beginning of the creative process, this is
wandering around on location with a detrimental effect. the best route by far. There’s certainly

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 David’s top tips
Allow yourself to take that
honeypot shot, but only once
you’ve exhausted all options
Do your research –
then stop
Photographers often do far too much
research before a trip begins. This not only
empowers, but it also antagonises. Nothing
is worse than feeling down because you’re
looking at a smartphone full of amazing
work, which leads many back to the safety
of the cliché. Arrive on location, throw your
arms wide, and then get to work.

The last resort Above: If you want that honeypot shot, reward
Rather than bag a cliché, remind yourself yourself once you’ve explored other opportunities
that you are better than this. If you know
where a popular composition is at the
location you’re in, only visit the concept
when you have creatively exhausted all
other options, or you could find absolutely
nothing else.

Change your vision

Many pictures are clichés because of
popular focal lengths. Many landscape
photographers use a magic formula (like a
rock in the foreground) and simply repeat
the concept again and again rather than Above: Experiment and make your own
experimenting with other far more creative compositional rules; it’s all about trial and error
options. Deny yourself the easy option and
tackle a cliché in a new direction.
nothing wrong with playing other
people’s songs and having a really good Be prepared to fail
time doing it! No one likes to feel that they could lose,
but ultimately such a feeling will empower
Side-step the clichés you. Spending time feeling nervous about
One way of avoiding clichés in your work the outcome, instead of comfortably
is to not visit them at all, but just because photographing clichés, can often create the
you are in a beautiful place, it doesn’t mean very best work. Walking away from a shoot
you won’t see other things that are far more knowing that you tried hard to innovate is a
interesting. Some photographers seem to good feeling, whatever the result.
decode the world around them effortlessly Above: Putting yourself under pressure and
wherever they are. While staying away It’s not good enough preparing for failure can often yield great results
from clichés is good for the mind, it can It can work wonders if you set the bar high
also be a terrible struggle. Although it may and restrict your approach. Spend some
appear so, you don’t have to walk a time on refining the concept of a
miserable and lonely path. What you have composition. It will improve your vision and
to do is think differently and stop confidence. Trust your instincts to call you
approaching photography with the same onwards to a better picture and enjoy a far
clichéd mindset – that’s where the clichés better result without a cliché in sight. This
are really lurking. Norwegian image (below right) took 40
Something as simple as changing the minutes to find, after many compositions
focal length can be all it takes to trigger were abandoned.
the mind to see a new and exciting way.
Approaching the same subject from a Communicate
different angle and position can not only your vision
stimulate a new idea, but can also be all Walking the path of an innovator is going
it takes to generate an entirely different to take guts. Do not expect a rapturous
picture. Why not try a completely different response to a fresh perspective even from
time of day? Or how about shooting a a known location. Clichés always pull a
well-known location in a different guaranteed audience, but often their vision
frequency? Personally I use an infrared is less comfortable with change.
camera to help me to see things in a Nonetheless, show your strength by
completely unique way. communicating your concept.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019

 Technique avoiding clichÉs
Deprive the scene of colour
and think graphically. This
mono-silhouette image
really packs a punch

David’s alternative techniques

Namibia – but not as you know it
Think namibia and everyone envisages with just a few head torches (below). i regret
orange sand dunes, black trees and blue skies. that i didn’t have a hatchet to give him.
Yes, namibia’s minimal composition has On a helicopter flight over Deadvlei, i was
elevated it to one of the most popular able to photograph an incredible cracked mud
geographical destinations on the planet. Go pattern that i have never seen before (right),
there and it’s hard not to revel in its beauty, despite aerial photography over the dunes
no matter how derivative your precious images being a popular adventure.
may appear. it’s possible to think well outside inside Deadvlei itself, a team of equidistantly
the box, with the use of different equipment spaced tourists climbing a nearby dune
and a different approach. became the perfect silhouettes, producing one
A night shoot in kolmanskop was the of the strongest images of the trip (above).
antidote to all those sand-filled rooms keeping my eye on the party as they
and doors. it took my night-photography ascended, i used a 560mm focal length to
knowledge to build a fun image of my ‘zombie’ isolate them from considerable distance.
friend Greg lurking in the abandoned hospital not an orange sand dune in sight.

Above: If you’re lucky enough to get in the air and

capture a different perspective of a popular
location, home in on detail, shapes and patterns

Left: Don’t make experimentation become a

chore, have fun with it. A little knowledge and
creativity can go a long way
Don MCCullin

History
lessons
A major retrospective of
Don McCullin’s unparalleled
60-year career is currently
on display at Tate Britain.
Amy Davies discovers more

T
hroughout history, few photographers have
boasted the kind of longevity and impact of British
photographer Don McCullin. Many will naturally
think of him as a war and conflict photographer – a
title which he hates. Nevertheless, his shocking, but always
empathetic, conflict work is embedded in the country’s
national consciousness.
Currently on show at the Tate Britain in London, a huge
retrospective charts the past six decades of Britain’s greatest
living photographer. It depicts not just his war imagery, but
also many years of documentary and landscape work. Each and
every image was printed by McCullin himself in his Somerset
darkroom, with the 83-year-old photographer working closely
with the curators.
Some of you may have already had the chance to visit the
exhibition, which according to curator Aïcha Mehrez is
boasting record numbers that has far exceeded expectations.
If not, there’s still time – the exhibition doesn’t end until May.
all pictures © don mccullin

To celebrate the retrospective, I spent some time chatting

with Mehrez about the show. Also over the next few pages,
three conflict photographers choose an image from the show to
discuss, and tell us about Don’s influence on them and the
wider photography world.

Amy Davies: When did you start

planning this exhibition?
Aïcha Mehrez: I co-curated the
exhibition with Simon Baker who
had been photography curator at
the Tate for 10 years. He left and
now works in Paris, but he had a
long-standing relationship with
Don, and has curated exhibitions
of his before. He has previously
worked on acquisitions of Don’s
work into the Tate collection, of
which we have about 85.
Simon and Don had been
working on this for a while before it
actually came to fruition, but
Simon and I have been working on
it for about two and a half, or three
years. It’s a big show, in terms of
acreage, it’s expensive. We’ve got Above: Northern AD: How involved was Don with AD: Why do you think Tate
more than 250 works in the Ireland, the curation of the exhibition? Britain is the ideal location for
exhibition, because it covers 60 Londonderry, 1971 AM: He reprinted about 130 of his a show like this?
years of history. You need a lot of photographs for the show – those AM: It’s always a bit tricky showing
space to cover all of that. are the ones that we included; he conflict photography in an art
What we’ve tried to make sure reprinted even more than that. He context because you’re always going
that we’ve done is contextualise is constantly refining his prints and to have a problem with the
works that might be quite well has a tendency to print very dark, fetishisation of images of conflict.
known. Exhibitions of conflict which he says is a reflection of the That’s a real problem for Don, too
photography are often criticised darkness of the really traumatic – he doesn’t consider himself an
in art galleries when shown in things he’s seen, so that translates to artist. He always says that he’s
isolation. We’ve also had to balance the landscapes. a photographer rather than a
the conflict photography with lots We wanted to make sure that photojournalist or an artist. Now
of documentary work. We didn’t people got a sense that he is a that his images aren’t consumed
want to make yet another conflict master printer and that is quite with the immediacy of news, it’s
photography exhibition, so we’ve Left: The Murder unusual: to see a show of this kind really important that they have a
balanced that with lots of work, of a Turkish of contemporary photography life beyond his archive. Somewhere
documentary and travel Shepherd, Cyprus that is completely printed by the like Tate, which has such a big
photography as well. Civil War, 1964 artist himself. footfall, and brings in

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019 23

don Mccullin

Right: Grenade Thrower,

Hue, Vietnam, 1968

‘This is the ultimate

exhibition. It’s a great
thing that the Tate
has done, to display
photojournalism in
such a venue’
audiences from lots of different
countries, backgrounds and
ages, is a really wonderful thing.
From the art angle, I think that
even Don would acknowledge that
there’s a certain artistry to his work
that can’t necessarily be learned.
Susan Sontag says that in this
moment when we’re completely
bombarded with the ubiquitous
flow of news footage and television
and colour pictures in magazines,
actually the black & white
photograph offers space for
reflection and thought, and I think
that’s something that’s offered in
this exhibition. It means you take
that time to stop and look and think
– and then those images haunt you.
I think going back to that kind
of formal clarity, and even that
uncomfortable beauty, that
encourages the viewer to linger
a little bit longer, means that the
content, and the atrocities that
are going on in these images are
embedded in the viewer’s memory.
It’s that kind of artful angle to the
way that Don approaches his work
and prints his work, that means
that it should fit in among lots of the
other photography that we have at
Tate Britain.

AD: What has been the reaction

to the exhibition so far?
AM: I wasn’t expecting it to be quite
as popular as it has been. I think it’s
done something like 285% of the
projected visitors that we were TOM STODDART
expecting. There’s so much of Don’s
work that appeals to so many The reason that I’ve chosen this image is The first time I met him was in 1982, in West
different people – you’re looking at because it demonstrates the extreme courage Beirut. I was there covering the war in West
60 years of history and 60 years of that Don had when he was working, especially Beirut when the Israelis were trying to bomb
the history of photography. There during the Vietnam War. he has many wonderful Yasser arafat’s headquarters. Don was in the Le
are many different audiences who pictures, but this image shows how close he was Commodore hotel – the war hotel if you like,
are attracted to his work for many working to the front line - he’s actually right in where all the journalists stayed. Don was sitting at
different reasons – people relate to among the fighting. It’s not very often you see a the bar and he was at the height of his powers.
so many of the various conflicts. We picture like that. he’d just shot an amazing set of pictures at a
have people who come in who are McCullin has been an inspiration to me and hospital where there were about 15 mentally
Northern Irish, people who are many other photographers for many years, and handicapped children who were tied to the beds
Lebanese, or Cypriot, and there he was one of the reasons that I wanted to work during the fighting – the pictures had run in The
are all of those collections, and the for The Sunday Times. I did get to work for The Sunday Times. I managed to get to talk to him -
secondary collections that Sunday Times, but unfortunately he’d left by the he was very relaxed because he’d already shot
relate back to that. But also he time I got there. this amazing story, and he generously invited me

24 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

to go out with him the next day, just walking He decided then that this would be his last just caught up in events that politicians and
and shooting photographs. Of course, I was major war, but for me, that moment was when dictators decide. People are intrigued by Don;
amazed and privileged that he would allow I decided I wanted to be shooting serious he’s a very interesting and complex character.
me to tag along. pictures. As he was deciding to stop, I was People think they know him, and if they don’t
So, we went out shooting pictures, and there deciding this is exactly what I want to do, so it know him, they want to get to know him.
was an almighty explosion when a suction has stuck in my memory for quite a long time. This is the ultimate exhibition – it’s a
bomb was dropped by the Israeli forces on It’s no coincidence that people are flocking great thing the Tate has done, to display
an apartment block. We ran to where this to his work. He kind of transcends photography photojournalism in such a venue.
demolished building had just landed, and there and the photographs reach out and touch the
was lots of smoke and chaos. A woman, viewer. You can’t really believe what you’re
Tom Stoddart’s almost 50-year career
wearing a kind of leopard-skinned patterned seeing because we all live in very comfortable
dress, saw us taking pictures and she ran at worlds now - looking at McCullin’s pictures has seen him photograph many
Don and kind of attacked him. He, says, in really brings it home to the viewers about how international events, including the war
[McCullin’s biography] Unreasonable Behaviour, lucky they are. I think it makes them feel guilty in Lebanon, the election of President
© DaNIeLa SbrISNy

this is the last serious war picture because of that they don’t do anything to help or that the Nelson Mandela, the siege of Sarajevo
what she did; he was very ashamed at world hasn’t changed. It’s still going through and the wars in Iraq. To see more from
snatching the picture. terrible situations where innocent people are his long career, visit tomstoddart.com.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019 25

don Mccullin

This image is titled ‘The disgusting way that some poor people without support have to live’. It was taken in Brick Lane, London, in the mid 1970s

is a very well-known person

who represents an age of Giles Duley
photojournalism that was really
uncompromising and doesn’t Without Don McCullin i may never me he stripped away any of the last
necessarily exist nowadays. It’s not have become a photographer. it vestiges of romance it may have
only exciting for people who have was the gift of his autobiography, otherwise had for me.
those events in living memory to Unreasonable Behaviour, and an i think his life’s work will remain
come back and look at them, but is olympus oM-10 camera at the age the most important collection of
© SImon VInaLL

also for audiences of a different of 18, which sparked my passion for war photography. Never again will a
generation who might never have photography. Growing up i’d always photographer have the opportunity
heard of Biafra, or might know been interested in military history or access to document wars so
absolutely nothing of the treatment and images of war; seeing Don’s work broadly or for such a long period. Giles Duley is a conflict
of the Kurds in Iraq, or the situation for the first time was a revelation. Now, the nature of war is changing photographer who
in Northern Ireland, to come and For the first time the figures in the and thankfully and rightly the lost both his legs and
learn about these things for the photographs were no longer narratives and diversity of storytellers his left arm in 2011,
first time. anonymous figures caught in the are evolving. So Don’s work is a after stepping on an
maelstrom of war; through Don’s unique legacy. Improvised Explosive
AD: Why do you think Don has photographs i saw them as So why then did i choose an image
Device (IED). He returned
been so successful? individuals. For me, his ability to make from this exhibition that is not of war
AM: Well, one thing that I think is eye contact in the midst of such but from his social documentary to work and has
really interesting to consider, we’re chaos and to connect with humanity work? For me it is the most documented stories in
often aware of the way that he was in both those who kill and those who underrated of his work, and with time Lebanon, Bangladesh,
shaped by war, but what we neglect fall victim is unparalleled. the most relevant. While in much of Colombia, Iraq and
to talk about as much is the fact So i not only owe my own start in his war photography Don is telling Jordan among others.
that by 1958, he had already been photography to Don’s work, but also the stories of others, in his work You can see some
through so much. He had spent to opening my eyes to war’s raw recording the lives and history of of his extraordinary
two years in the RAF, he had been brutality. i see myself as an anti-war post-war British slums and industrial imagery at his website,
evacuated three times and photographer and that stance is in no towns Don is telling his own story. legacyofwar.com.
undergone some really harsh small part owing to Don’s imagery of in that, for me, it becomes his most
treatment which was probably war’s raw brutality and violence. For insightful and powerful work.

26 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 ‘Part of the huge appeal of his work is
the fact that he’s so empathetic’

tantamount to abuse as a document the human condition,

child. He grew up in Finsbury whether it’s the frailty of life or the
Park, post Blitz, which was still futility of war.
completely bombed out as a result
of the Blitz and was a really poor AD: Do you think modern
area. He’d also had to deal with photographers stand a chance of
the death of his father when he replicating the success he’s had?
was really young – he had to leave AM: I think it’s a very different
school at 14 to become the world, now. When he was first
breadwinner to his brother and working, photography was still
two siblings, working in a tin a relatively new medium – not
solder factory and in the dining everybody had cameras. When
car of the railway line. He’d Don was first setting out, there
already had this violent, at times, was a sort of fascination with the
and itinerant beginnings which camera and that enabled him to do
I think really gave him the basis a little bit more.
for this emotional awareness The conflict photography era
that’s really at the heart of all has completely transformed
of his work. beyond recognition – that age of
We have a quote on the wall: ‘If photographers working in the way
Starving 24-year-old mother with child, Biafra, 1968 you can’t feel what you’re looking that Don was doing; in part, it was
at then you’re never going to get down to those photographers. The
ALISON BASKERVILLE anyone else to feel anything
when they look at your pictures.’ I
governments and different bodies
of people who were involved in
I remember reading Susan Sontag’s extended essay think there’s that huge emotional these conflicts understood all of
Regarding the Pain of Others, which is a problematic title in awareness, right through all of his a sudden that they needed to
some ways as who gets to decide who is the ‘other’? I’m work, whether it be conflict, make sure that people weren’t
looking at this image displaying a woman reduced to showing documentary or landscape. Cornell documenting them in the way that
her naked, thin and traumatised body with her starving child. Capa – the art historian and Don was, because photographers
This woman of colour is shown at her most vulnerable and curator, and Robert Capa’s brother like Don ended up providing
with little to no dignity. She is semi-naked and her breasts – coined the term ‘concerned images that shaped the world’s
are on display. Her name is absent. photographers’ for this group of understanding of things like the
I chose this image as it represents so much of the photographers who had this huge Vietnam War. People setting out
conversation and actions we need to take as 21st-century capacity for empathy. Don was one today have a completely different
photographers in relation to ethics and representation. At the of those that Cornell identified. jumping-off point which means it
time this image was taken there was perhaps an idea that this I think that part of the huge appeal can’t necessarily be replicated in
could bring about some form of change. I’m sure these are of his work is the fact that he is so the particular way in which he
the images that still haunt the photographer. I know from my empathetic – the real drive to forged his career.
time as a soldier and photographer there are moments still
The exhibition, ‘Don McCullin’, is on now at the Tate Britain, Millbank, London, until 6 May 2019.
etched into me. In my own practice I have become acutely
aware of how we represent people of colour, especially in Tickets cost £18 – advance booking is recommended. See tate.org.uk for more information.
relation to trauma. As photographers working in 2019 we
have to ensure we don’t replicate the Western view of
depicting the pain and suffering of people of colour.
We are more connected digitally than ever before
and it’s simply not enough to say we ‘didn’t know’. While
I respect and admire much of Don’s work I feel it’s time to
avoid this style of photography as we are now in a position
to understand how to break down racist structures which
appear in our media and society and are often perpetuated
in our style of photography. For anyone looking into
photography I think the first step is looking at yourself and
your own identity. Also look at who is already there telling
these stories. There are some exceptional photographers
working in Africa and the middle east right now. Sometimes
it’s as simple as using Google.

Alison Baskerville works on projects exploring conflict and

the military. Formerly a soldier, she has worked for various
charities including the Royal British Legion and Humanity
& Inclusion. Her first solo show, ‘The White Picture’,
documented the lives of women serving in the British Army
and was exhibited at The Oxo Gallery in London in 2012. Christian Phalange Gunmen in the Holiday Inn Hotel, Beirut, 1976

28 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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 When Harry Met...

Tom Daley
Harry Borden looks back on two shoots with the Olympic
diver, TV presenter and national treasure, Tom Daley

I
n the mid-2000s I was it was almost entirely filled bronze medal in the 2012 and
working on a series with a trampoline that Tom 2016 Olympics. He also
of portraits called used for training. became a TV presenter on
‘Contenders’ which had Even at that young age, Tom shows including the celebrity
been commissioned by The had something about him. He diving show Splash!.
Observer Sport Monthly. The had striking dark eyes and was Tom came out as gay in 2013,
series went on for several years quiet and intense. I took shots and two years later announced
and I probably photographed of him around the house, his engagement to the
about 25 people. All the including some of him with his American screenwriter, film
subjects had been identified mum in his bedroom, which producer and director Dustin
as the possible ‘next big thing’ was a very small box room with Lance Black. In November
in their specialist sports and his diving medals on the wall. 2015, I was commissioned to
some of them went on to great One of the shots I arranged shoot the first portrait of Tom
success, including young was a family photo with Tom, and Dustin for the cover of
footballer Fara Williams and his two brothers and his the glossy, large-circulation
sailor Ellen MacArthur. parents sitting on a black American LGBT lifestyle
One of the subjects was a leather sofa (below). It was a magazine, Out.
young and virtually unknown poignant shot because it was Tom’s status had changed
diver called Tom Daley, who I Father’s Day and Tom’s father enormously in the eight years
photographed in June 2008, died three years later from a since I had last photographed
when he had just turned 14. He brain tumour at the age of 40. him and the second shoot was
had been diving since the age Tom achieved national fame a much bigger production than
of seven and specialised in the when he competed in the 2008 the first. It was an all-day shoot
10-metre platform event. Summer Olympics. He won the and the magazine hired a
His father, Robert, had FINA World Championships venue – an atmospheric old
arranged the shoot and I had in 2009 and 2017, as well as a pub near Mile End in the East
been given a half-hour slot on a End of London. It was almost
Sunday afternoon at the family ‘Tom seemed quiet completely unmodernised and
home in Plymouth. I remember half falling-down, had lots of
arriving with my assistant and and difficult to read, creative possibilities and
looking out into their modest- but at the same interesting light.
sized back garden. You could I was also able to hire a stylist
hardly see the ground because time very likeable’ and chose to use a friend of
ALL PICTURES © HARRY BORDEN

Harry took this family portrait in 2008 on Father’s Day, three years before Tom’s father died of a brain tumour

32
This portrait, lit only mine, David Bradshaw, who at
by daylight, is the time was creative director
Harry’s favourite at Versace menswear. David
from his 2015 shoot brought a lot of Versace outfits
with Tom Daley
for Tom and Dustin to wear.
It was nice to meet Tom
again and I took along some
prints of him and his family.
Given the level of fame he had
achieved in the intervening
years, I was expecting him to
be a prima donna but he
wasn’t. As in our first meeting,
Tom seemed quiet and difficult
to read, but at the same time
very likeable and with an
undeniable aura of glamour.
One of my favourite images
from the second shoot is of him
sitting on the edge of a bed.
Although I used ring flash and
other lighting for some of the
shots we took, this one was
only lit with daylight from a
side window. I used my Canon
EOS 5D Mark III and favourite
portrait lens, the 50mm.
Some of the outfits and
scenarios David suggested
were quite extraordinary and
involved Tom wearing next to
nothing, or in one instance, a
silk shirt that almost looked
like a negligee. I think because
I had photographed him
before, he trusted me and was
more inclined to agree to some
of the unusual scenarios David
and I suggested. We also took
Tom and Dustin outside and
photographed them standing
beside the A13 on a winter’s
day wearing Versace outfits.
Although Tom was (and is) a
national treasure and images
of him were a great addition to
my portfolio, he was helpful
and very easy to photograph.
I was also being well paid to do
it. For a portrait photographer,
jobs don’t get much better
than that.
As told to David Clark

Harry Borden
Harry Borden is
one of the UK’s
finest portrait
photographers. He
has won prizes at
the World Press
Photo awards
(1997 and 1999)
and in 2014 he was awarded an Honorary
Fellowship by the Royal Photographic
Society. The National Portrait Gallery
collection holds over 100 of his images.
See harryborden.co.uk.

33
 Technique

James Paterson
James is as skilled a photo editor as he is a photographer. His
work has appeared in countless magazines and books, and in
2014 he was appointed editor of Practical Photoshop magazine.
His subjects range from portraits to landscapes, architecture
and underwater scenes. For James, Photoshop is more than
just a work tool. Visit www.patersonphotos.com.

Lightroom tips
Master
Photomerge 1 Get started

in Lightroom
Lightroom’s Photomerge command
makes it easy to create natural-looking HDR
images or stitch panoramas. Simply Cmd/
Ctrl+click to select a set of photos, right-click
them and choose Photomerge>HDR or
Panorama; then work through the simple
settings. Upon completion, a brand new DNG
file will be saved alongside your original
Get to grips with Lightroom’s powerful photos, with the suffix *-HDR or *-Pano.

HDR and Panorama Merge features with

James Paterson’s 20 top tips
2 Shoot HDRs the easy way
To make an HDR image we ideally need
a set of three or more varying exposures,
taken with a tripod to keep the frames in
alignment. The easiest way to do this is
to make use of your camera’s bracketing
mode, making sure it’s in Aperture Priority
so that the shutter speed varies rather than
the depth of field.

4 Merge in the background

If you’re happy to run the merge
command using the last-used settings, then
there’s no need to enter the settings. You can
Merge files on the go in Lightroom CC using controls that are near-identical to the desktop version quickly set off a new merge in the background.
Highlight the images you want to use, then hit

3 Using merge in LR CC
As of February 2019, both HDR Merge
and Panorama Merge as well as the combined
Lightroom Classic), so you can now merge
on the go. The settings and controls are
Shift+Alt+M (Windows) or Shift+Ctrl+M (Mac)
to merge a panorama, or Shift+Alt+H
(Windows) or Shift+Ctrl+H (Mac) to merge to
HDR-Pano command are now featured in near-identical to the desktop version and HDR. The top-left progress bar shows the
Lightroom CC (the cloud-based cousin to just as effective. merge has been initiated.

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5 Know your ‘most selected’ file
When you select several files in Lightroom,
one of them will be the ‘most selected’ and
therefore given priority. If, when making an For greater
HDR or panorama, the ‘most selected’ is mono, stitching control,
buy dedicated
the merged image will carry the same settings.
software

6 Go pro with panoramas

For greater control over panorama
stitching, consider buying dedicated software
7 16 bit or 32 bit?
Lightroom produces a 16-bit HDR in
the Adobe DNG raw format. If you prefer
like PTGui (£88 for a personal licence). This to work with a bigger 32-bit HDR, you can
takes panorama stitching to the next level. easily create one using Photoshop’s Merge
You can choose from multiple projections to HDR feature. This will also give you the
The most and create multi-level or 360° panoramas, option to send the image file to Camera
selected file will plus – unlike Lightroom – there’s no Raw for toning (which handily offers
have a slighter
maximum image size. near-identical controls to those in
brighter box
Lightroom’s Develop Module).

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 Technique

8 Don’t waste time

on adjustments
Don’t bother making adjustments to files
before merging, as some will be discarded
during the process. For panoramas and
HDRs, local adjustments, upright settings,
crops and spot healing won’t be carried
over. In addition, HDRs discard exposure,
shadows, highlights and contrast.

12 Align mismatched
frames
The Auto-Align feature within the HDR
Merge dialog box fixes small discrepancies
between frames, caused by nudging the
camera or tripod. To an extent, even bigger
misalignments can be fixed. So it is possible
to shoot handheld HDRs – set your camera
9 Shoot panoramas around
the nodal point
to fast drive mode and fire off the frames
quickly while bracing the camera.
When shooting panoramas where there
are objects close to the camera, parallax
can be a big problem as the swing of the
lens causes the misalignment of objects.
Rather than swinging, it’s best to rotate
around the nodal point of the lens. Buy
13 Local adjustments
After merging photos to HDR, the
results can look a little underwhelming.
a dedicated tripod head for this. But by making local adjustments, you can
tease out hidden details. For example, we

10 Warp messy edges

A common problem with panoramas
is that the edges will often bulge and contract,
used the Graduated Filter tool to darken
and enhance a sky; we then switched to
the brush (Shift+T) and erased parts of
which means you have to crop them off for a the mask that covered the land like this.
tidy frame. But this could result in the loss of
important details. One solution is to use the
‘Boundary Warp’ slider with the Panorama
settings. This automatically fills in messy edges.

11 Apply auto toning

This feature applies an automatic fix
to HDRs within the HDR Merge box. It’s similar
to clicking the ‘Auto’ button in the Develop
Module’s Basic Panel. The setting is non-
destructive in that it simply alters the basic
tonal settings (usually by lifting shadows and
dropping highlights), but these settings can be
changed afterwards.

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 16 Correct for movement
in HDRs
This seeks out movement and inconsistencies
between frames, like blowing clouds, water or
grass, and in areas where things have changed,
it uses the information from a single exposure
in the set, so that you don’t end up with messy
areas of transparency. There are four strength
settings to choose from. You can see how
each affects areas of the image by enabling
the overlay (Y).

17 Try HDR plug-ins

If you want to explore further HDR
options beyond those found in Lightroom
then there are plenty of dedicated apps
out there, including many – like Photomatix
here – that work as a plug-in for Lightroom,
meaning you can export your images to the
app with a right-click.

18 Change the preview

The preview box for HDR and
Panorama Merge can be dragged to resize
it. However, for performance reasons the
maximum resolution of the preview displayed
Give plug-ins such as
within the box is only 1024px on the long edge
Photomatix a go (2048px for retina displays). As such, the
image may initially look like it’s low quality.

19 Crop and correct after merging

It’s best to apply lens correction and
transform settings to the combined HDR rather
than attempt to make these corrections beforehand,
as they’ll be discarded. However, if you’ve already
spent time correcting one photo in the set, you can
always sync the corrections with the HDR file once
it’s merged.

20 Two merges in one

A recent update to Lightroom sees the
introduction of a new combined HDR Panorama
feature that lets you do both at once by merging
bracketed overlapping frames into an HDR
panorama. The HDRs automatically have the

14 Pano projections
Each of these affects the way images
are stretched or warped. Perspective uses the
auto-align and auto-settings options turned on, so
if you don’t want these to factor in then you’ll need
to first create the HDRs manually before merging
centre image as a reference, then stretches to a panorama.
and skews the others to match it. Cylindrical
maps the panorama as if on the inside of a
cylinder and corrects for bowing between
frames in wide panoramas. Spherical works
by mapping the frames as if they were on the
inside of a sphere – best for 360° panoramas.

15 The size limit

Panoramas will be limited in size to
65,000 pixels along the long side, or 512
megapixels (whichever comes first). This is
plenty for most of us, but if you want to build
hyper-detailed giga-panoramas from dozens Merge bracketed
files that overlap
of photos then you’ll need to use other
in one go
stitching software like PTGui.

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COMPETITION

Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round Two
Setting the scene
If you like cityscapes or landscapes then this round is for you. The brief is
purposefully loose, and we are happy to receive images featuring anything
£10,000
from contemporary architecture to grand mountain vistas. From the early
morning sun throwing shadows onto a skyscraper, to the undulating form of of
receding hills, the possibilities are endless. Don’t be afraid to be abstract in
your interpretation: architecture, for instance, is filled with interesting details. prizes to
When it comes to shooting the landscape, light is everything – pay attention
to sunrise and sunset times, weather forecasts and tide timetables, where be won
appropriate. Whether you go urban or rural, planning is a must.

Plan your APOY 2019 year

Below is a list of all this year’s rounds including when the rounds open,
when they close and the dates the results will be announced in AP.
THEME SYNOPSIS ANNOUNCED CLOSES RESULTS
Mad about mono Black & white 23 Mar issue 18 Apr 8 Jun issue
Setting the scene Landscape/cityscapes 13 Apr issue 3 May 29 Jun issue
Animal magic Wildlife 4 May issue 24 May 27 Jul issue
Perfect portraits Portraiture 1 Jun issue 21 Jun 31 Aug issue
Small worlds Macro 6 Jul issue 26 Jul 28 Sep issue
Street life Documentary/candid 3 Aug issue 23 Aug 26 Oct issue
Whatever the weather Weather 7 Sep issue 27 Sep 30 Nov issue
After dark Night shots 5 Oct issue 25 Oct 21 Dec issue

YOUR FREE ENTRY CODE

Enter the code below via Photocrowd to get one free
entry to Round Two – Setting the Scene

APOY81134952
© MICHAEL EPEL

To enter visit www.amateurphotographer.co.uk/apoy

ROUND 2: PHOTOGRAPHY TIPS
How to capture your best landscapes and city scenes
Less is more Figure it out
© HELEN TRUST

© MARCO TAGLIARINO

A deceptively bold A landscape doesn’t

composition. Placing have to be devoid of
the lighthouse so far human presence. By
into the corner of the including a figure in this
frame is a confident monochromatic scene,
move. Our eye goes we are given a sense of
straight to its shape scale. A telephoto lens
and colour, then compresses the view,
moves slowly through making the background
the rest of the image. loom large.

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her of the Year
petition for amateur photographers
In association with

PRIZE
WORTH
£1,000

Choose your prize

The winner of Round Two - Setting the
Scene can choose products of up to
£1,000 in value (based on Sigma’s RRP)
as their prize. If the winner’s choice of
lens is above this amount, they can
choose to pay the difference. Of
particular popularity with landscape
photographers is the Sigma dp0
Quattro. One of four fixed-lens cameras
in the Quattro range, its ultra-wide optic
is the full-frame equivalent of 21mm,
making it the ideal tool for shooting both
dramatic landscapes and eye-catching
cityscapes. Its CMOS Foveon X3 Direct
Image Sensor is unique to Sigma, and
gives rich tones and subtle gradation
throughout the image. Other cameras in
Stunning light is guaranteed to the range are the dp1, dp2 and dp3, with
bring a scene alive, while a 28mm-, 45mm- and 75mm-equivalent
longer exposure flattens out
lenses, respectively. All four cameras in
potentially distracting textures
the Quattro range retail at £899.99.

Repeat yourself Lead the way

© ROB AMSBURY
© RICHARD EYERS

Architecture is the There’s no harm in

ideal subject for a shooting classically
study in repetition composed scenes.
and symmetry. The When they’re done
few open windows well, they are
in this composition extremely effective.
add depth. Frame Keep things balanced
the scene with and harmonious in the
precision and correct frame, and shoot in
converging verticals low, raking light to add
in post-production. depth and texture.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019 39

 Testbench IN THE FIELD
Leopard bounding across the
river in the direction of a cheetah
Sony A7 III, Canon EF 600mm f/4L IS II USM,
1/8000sec at f/10, ISO 5000

T
he leopard bounded across the dry a leopard, though, was rare indeed. With the
At a glance Mwagusi riverbed. In attacking mode, lenses I usually carry, maxing out at 400mm,
its eyes were fixed on a target, not I could have taken good pictures, but perhaps
prey – a cheetah that had been not quite as incredible as scenes like these
£10,899 nervously drinking from a pool of water. deserve. But in Tanzania’s wild Ruaha National
● 16 elements in 12 groups Cheetahs are the weakest and most vulnerable Park I was carrying a special piece of kit, a
● 9 aperture blades of the big cats; leopards sometimes attack match for such an occasion. It was a Canon EF
and even kill them, a pre-emptive strike over 600mm f/4L IS II USM lens that comes with a
● 4.5m minimum focus distance
territorial rights and feeding grounds. The slim staggering price tag of £10,899.
● 52mm filter thread female cheetah looked terrified as the powerful So what’s it like to work with an £11k lens?
● Compatible with EF 1.4x II male leopard picked up its pace and bore down Absolutely exhilarating. Such a powerful,
and EF 2x II teleconverters on her. It would not be an even fight… high-quality lens opens up a world of creative
● 168x448mm A sighting of either of these big cats would possibilities, allowing shots that wouldn’t
● 3.92kg be special. To have the opportunity to otherwise be possible. It not only allows you
photograph a face-off between a cheetah and to get closer, but also creates pictures with a

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Working
574 species of birds, from marabou storks to
the endemic Ruaha hornbill.
Such a world-class wildlife location merits
a world-class lens. I arranged a loan of a
Canon EF 600mm f/4L IS II USM: a high-
magnification, super-telephoto lens from

with an
Canon’s professional L-series, designed for
sport and wildlife photography. Without a spare
£11,000 kicking around, I opted to hire the
lens for a couple of weeks, which set me back
£627. Would the photos I hoped to capture be
‘next level’ enough to justify such an expense?
First, I had to get the lens out to Tanzania. It’s
a big, chunky, tough-looking piece of kit, built

£11,000
from magnesium and titanium, and dust- and
moisture-resistant – a good fit for the hot,
humid, dusty and sometimes rainy conditions
of East Africa’s national parks.
The lens arrived the day before my trip in
a giant protective case that would be hugely
impractical to transport to Africa. Instead, I
wrapped it in thick bubble wrap for protection

lens
and secured it in its own backpack.

Travelling with a brute

As a professional photographer and journalist,
Heavyweight or just I travel frequently for work. My kit bag usually
contains two camera bodies, a Canon and a
a heavy weight? Sony, along with three lenses, including a
Canon EF 100-400mm f/4.5-5.6L IS II USM
Wildlife photographer that usually covers my wildlife photography
Graeme Green puts needs. Add to all that a tripod, a set of LEE
Filters, a handful of batteries, chargers,
a pro-spec 600mm memory cards, external hard drives and
a MacBook, and my gear usually weighs
Canon lens to the test around 8-10kg. Carrying an additional 4-5kg
backpack made getting through the airport,
in Tanzania’s Ruaha especially security queues, arduous work. Of
National Park course, security staff at each stage also wanted
to inspect the lens, which was understandable,
given that it looked like I was in possession of
an air-to-ground rocket launcher.
There’s also the extra cost of travelling with
so much weight; you need to pay for extra
baggage allowance on international flights
and domestic flights into the national park.
That was all soon forgotten, though, as the
little 14-seater plane from Dar es Salaam
ALL PICTURES © GRAEME GREEN

came into land at Ruaha’s Jongomero airstrip

and I spotted elephants and impala sheltering
from the sun under acacia trees. Clearly,
finding and photographing wildlife here
was not going to be a problem.
© ANDREA MORENO

sharpness, level of detail and richness of colour Graeme Green at work with the Canon
that makes them a pleasure to look over at the EF 600mm f/4L IS II USM mounted
end of each day. to his Sony A7 III
I’d been working towards a trip to remote
Ruaha National Park for several years, tipped
off by expert contacts that this is one of – if
not, the – greatest, wildest national park on the
continent. At 20,226km (around the same
size as Wales), it’s Tanzania’s largest national
park, yet also one of its least known. Named
after the Great Ruaha River that winds through
it, the sprawling wilderness is home to one
of the continent’s largest lion populations,
Tanzania’s largest elephant population, one of
the largest remaining cheetah populations and
 Testbench IN THE FIEld
‘Without the 600mm reach, I’m not sure the results
would have technically matched what I’d had in mind’
There hadn’t been time to give the lens Time after time, the lens came into its own. I
much of a test before leaving the UK. photographed vervet monkeys climbing down
Sitting on the deck of my safari tent, I started lala palm trees and infants hitching rides on the
to get to grips with it. A rock agama lizard backs of their mothers, dik-diks (tiny antelope)
scurried up a boulder, watching me with its scurrying through the undergrowth, and rock
beady eye. With a luminous orange head, a hyraxes basking in the sun. Without the
face resembling Admiral Ackbar and a bright 600mm reach, I’m not sure the results would
blue body, it’s a creature that looks as though it have technically matched what I’d had in mind,
belongs to another world, certainly deserving with subjects too far off to be crisp or to
of a close-up. I studied my images immediately manage a decent composition. But the images
afterwards; the colours were vivid, the I produced were sharp, vibrant and incredibly
sharpness fantastic, including scales running satisfying. The ultra-low dispersion (UD) glass
from its neck to tail-tip, like a minute mosaic. also helped me to capture clean shots free of
‘Ruaha comes from the old Hehe word flare, aberrations and distortion.
Ruvaha, which means “the old river that never
gets dry”,’ guide Theo Myinga told me, as we Sensational sharpness
drove out to Kariakoo, a forest clearing. ‘Ruaha The lens’s in-built Ultra Sonic Motor (USM)
is the most unique national park in Tanzania, is fast and quiet; even when animals or birds
for the isolation and feeling you are in the were close to the vehicle, I didn’t scare them
middle of the animals and nature. It’s not away with loud beeps or clicks. I enjoyed
touched by many people or vehicles, making picking out details of the animals that came
the many species of animals feel relaxed.’ near – skin textures, faces, the patterns on a
I rested the lens on a beanbag on the safari Maasai giraffe’s belly or a leopard’s coat. I took
vehicle’s dashboard and flexed its muscles on ‘portraits’ of elephants, where each crack in
impala, warthogs, black-backed jackals and a the skin, each fleck of dry mud, each whisker
couple of tawny eagles, and later, around the and eyelash was sharp and clear.
Ruaha river, on hippos, crocodiles and The lens’s 4-stop image-stabilisation unit
elephants. A new piece of kit can provide has three modes for tracking moving subjects.
inspiration. Getting to grips with the lens’s I used shutter speeds as low as 1/640sec
capabilities, I started to think of new without any evident blurring. But for most of
compositions and creative ways to use it, hoping the trip, because I was photographing from a
to push my limits, as well as that of the lens. vehicle that wasn’t always still and I was using a
From Jongomero, we drove north into the heavy, hard-to-keep-still lens on moving
heart of the national park. ‘Ruaha is very targets, I kept shutter speeds high – usually
diverse in terrain and wildlife,’ explained above 1/4,000sec, often higher, depending on
guide Tony Zephania. ‘You can see how the the light. I tend to stick to f-numbers around
shape of the landscape keeps changing. There’s 9-14 with wildlife, for balanced pictures, but
much more open woodland here, which is good even when I pushed up into the 20s, sharpness
for game and being able to see the wildlife.’ remained good across the whole frame.

Solo lioness watching Red-headed rock agama

for signs of prey climbing a tree trunk
Sony A7 III, Canon EF 600mm f/4L IS II Canon EOS 5D Mark III, Canon EF
USM, 1/5000sec at f/11, ISO 8000 600mm f/4L IS II USM, 1/640sec
at f/7.1, ISO 5000

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 Baby elephant shelters behind mother’s legs on a dry Mwagusi riverbed
Sony A7 III, Canon EF 600mm f/4L IS II USM, 1/3200sec at f/10, ISO 12,800

The lens was most pleasant to operate in avoiding a possibly fatal clash by turning and
places where many animals had congregated sprinting away, there was no way I was putting
together, times when the camera could be the lens down with two beautiful, rare big cats
fixed into position and I could spend time right in front of me, but I certainly felt the
picking out ‘moments’, like a woodland where physical effects later in the day.
I photographed monkeys somersaulting, Likewise, when we later witnessed the same
swinging, leaping, tugging each other’s tails, leopard leap from the branches of a sausage
munching leaves and grooming. The weight tree onto an unfortunate impala below, I held
of the lens demands something to rest it on, the lens and kept it firmly focused on the
such as a tripod with a gimbal head or a door once-in-a-lifetime event. The leopard pinned
mount; I used a beanbag, which did the trick down the impala, first with its paws, then with
and allowed me some freedom of movement. its jaws over the muzzle. The two animals
Even in the low light of the forest and shooting mouth-to-mouth, eye-to-eye made for a
with fast shutter speeds, the lens sucked up striking image, like a deadly kiss.
light and colour. Photographing the leopard’s attack from
It’s not so much fun to use it freehand. the tree, a pride of lions feeding on a giraffe
Without anything to take the weight, it’s a carcass, bat-eared foxes scampering along the
struggle to hold a lens of this size and weight roadside, or a herd of elephants marauding
in position for long, and it’s quickly painful on through the forest, it wasn’t always possible to
the neck, shoulders, arms and lower back. The rest the camera on a beanbag or tripod during
adrenaline of photo opportunities frequently such constantly shifting situations. I wanted to
overrode practicality. When I saw the move not only the camera but also myself –
confrontation on the dry Mwagusi riverbed to stand, to crouch, to move to the back of the
between the aggressive male leopard and vehicle for different angles. That kind of
terrified female cheetah, the cheetah narrowly movement is easy with a smaller, lighter

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 lens, but hard work with this 4kg monster. Final thoughts
The newer, recently launched Canon EF The 600mm lens dominated my attention in

Hiring a 600mm f/4L IS III USM, costing £12,999,

has reduced the weight to 3.05kg, so I’m
other ways, too. So remarkable were the new
possibilities that I tended to over-use it, when

costly lens
keen to get my hands on it in the future to see another lens may have been a better choice.
how it compares. The heavy lifting took its toll; After a few days in Ruaha, I looked back at my
on some evenings and mornings, it was painful pictures, which were mainly those where I’d
to move my neck, shoulders and back – until been trying to get as close as possible to the
the next unmissable photo opportunity wildlife. There were far fewer of the wider
presented itself. photos I liked, with the whole of an animal in
Occasionally, I missed the flexibility and the frame or an animal set within its natural
freedom I have with my 100-400mm lens. environment. The landscapes of Ruaha are
Some of my favourite pictures from the trip as diverse as the inhabitants, from twisted
were of Ruaha’s birds: a lilac-breasted roller baobabs and candelabras to open savannah
at sunset, or an eastern chanting goshawk and rocky outcrops, and the winding blue-
perched on a treetop with a glint in its eye. But green of the Ruaha river. But I’d been taking
Hiring a lens is a great way to get
your hands on expensive kit for less
most of those shots were of stationary birds. few landscape photos, distracted by the
With the hefty 600mm, following a Ruaha 600mm’s novel potential. One morning, I
SHELLING out over £10k on a lens isn’t hornbill flitting from tree to tree or an African chose to go out without it, which felt a bit like
realistic for a lot of people. However, that fish eagle in flight, while managing to hold and spending £89 million on Pogba and leaving
doesn’t mean you can’t get your hands on a move the massive lens without any support, him on the bench, but I wanted to free myself
costly lens for a one-off trip or special and then trying to find the subject and focus on to photograph the park in different ways.
shooting opportunity. Hireacamera (www. it, was challenging. At such times, I wanted to I’d also arranged to explore the remote
hireacamera.com) rents out lenses and switch to a different camera, but it’s not easy to eastern section of the park on foot. There, too,
other gear. A two-week rental of the Canon find a secure spot to rest an £11,000 piece of I decided to leave the big lens safely back at
EF 600mm f/4L IS II USM costs £627, glass quickly, especially in a moving vehicle. I camp. There was a chance I might miss a few
including VAT. The newer Canon EF 600mm often ended up with the cumbersome, costly photographic opportunities, but walking for
f/4 IS III can be hired too for around £264 a lens in my lap, hindering my movement with 15km each day, carrying the heavy 600mm,
day/weekend or £443 for a week. other cameras. The lens needed ‘babysitting’. in temperatures up to the mid-30s would have

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 IN THE FIEld Testbench
Leopard attacking an impala after
leaping from a baobab tree
Sony A7 III, Canon EF 600mm f/4L IS II USM,
1/5000sec at f/13, ISO 12,800

Lone giraffe watching from the

trees in Ruaha National Park
Sony A7 III, Canon EF 600mm f/4L IS II
USM, 1/4000sec at f/10, ISO 10,000

Sunset over the palm trees in

Ruaha National Park
Sony A7 III, Canon EF 600mm f/4L IS II USM,
1/4000sec at f/9, ISO 10,000

been exhausting. Instead, I worked with my

standard kit producing landscape photos,
action shots and different kinds of wildlife
images, just not so many close-ups.
Returning the lens to the hire company
was tough. It is undeniably both a heavyweight
and a heavy weight, but certainly not a
dead weight.
On a recent assignment to Kenya’s Maasai
Mara Conservancies, where I travelled without
the 600mm, I got results I’m equally proud
of, using smaller and less expensive lenses,
and it was a pleasure to travel and work
without such a heavy burden. But looking
back at my photos from Ruaha and the few
days of using it in Tanzania’s larger Selous
Game Reserve, I have images that more than
justify the rental cost and inconvenience. The
occasional pain of working with it was easily
outweighed by some of my favourite wildlife
photos from my career. Life will be a
little duller without it.

Graeme Green is a photographer and journalist for publications

including The Sunday Times, The Guardian, The Sunday
Telegraph, BBC, Wanderlust and South China Morning Post.
See more of his work at www.graeme-green.com and follow
him on Instagram @graeme.green.
 In association with

See Amateur
Photographer
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© CLOCKWISE FROM TOP LEFT: 1. STU MEECH 2. LEE ACASTER 3. RICHARD CRAZE 4. NAF SELMANI. BOTTOM ROW L-R: 1. JIRI KUCIK 2. JEVGENIJS SCOWLOKOVS 3. STEVE CHEETHAM

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 LENS TEST Testbench

Maximum aperture was used to good

effect to blur the foreground puddle
and emphasise the Caterham car
Canon EOS R with EF-EOS R mount adapter,
101mm, 1/1300sec at f/2.8, ISO 100

F2.8
22 elements in 17 groups, t is new examp e
After a long wait, a new flagship tele-zoom has arranges 24 elements in 22 groups with 11
arrived in Sigma’s Sports series. Michael Topham diaphragm blades as opposed to nine. As part
of the design, nine FLD (‘F’ low dispersion)
had the privilege of finding out just how good it is glass elements and one special low dispersion

S
(SLD) element are used to curtail colour
igma had a busy end to last year, Perhaps the biggest draw of this lens is the aberrations, with Sigma’s super multi-layer
adding no fewer than five new lenses saving it offers over its rivals. The Canon EF coating used not only to reduce flare and
into its already extensive line-up. 70-200mm f/2.8 L IS III USM (£2,099), ghosting, but also to maximise sharpness and
We’ve reviewed three so far: the beast Nikkor AF-S 70-200mm f/2.8 FL ED VR contrast when shooting directly towards the
of a telephoto lens that is the 60-600mm (£2,299) and Sony FE 70-200mm F2.8 GM light. A water- and oil-repellent coating is
F4.5-6.3 DG OS HSM Sport, the insanely sharp OSS (£2,399) all cost significantly more applied to the front and rear elements too.
40mm F1.4 DG HSM Art and the super- money than the £1,349 for this lens. Does it Sigma’s hypersonic motor (HSM) is used
compact 56mm F1.4 DC DN Contemporary for compete in the same playing field and offer to keep focus operation fast and quiet. It has
Sony E mount and Micro Four Thirds. We’re yet just as much good for less? It’s time to find out. been refined since the older version, delivering
to test the 28mm F1.4 DG HSM Art, but over extra torque and providing a more stable
the next few pages we’ll be focusing on the Features performance across its 120cm to infinity focus
70-200mm F2.8 DG OS HSM Sports – a lens The optical construction of the lens is entirely distance range. The lens is also equipped with
that has been in the offing for quite some time new and features more elements in more optical image stabilisation that enables users
and is successor to Sigma’s APO 70-200mm groups than the previous version. Whereas the to shoot 4-stops slower than is otherwise
F2.8 EX DG OS HSM from 2010. APO 70-200mm F2.8 EX DG OS HSM had possible. When this is set to Mode 2 via

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 13 April 2019 47

Stopping the lens down by a stop or
two sees an improvement in centre
and corner sharpness. This was shot
close to Bodiam Castle, East Sussex
Canon EOS 5DS R, 131mm,
1/640sec at f/5.6, ISO 200

the OS switch, an acceleration sensor as Sigma’s MC-11 (£199), which supports both ‘The permanently attached
teams up with an updated stabilisation autofocus and optical stabilisation.
algorithm to deliver effective stabilisation tripod collar has click stops’
when the camera is moved horizontally, Build and handling
vertically, or diagonally, regardless of the The lens is an altogether larger and heavier The barrel is constructed from magnesium
position of the lens. If you don’t intend to pan optic than the one it replaces. The additional alloy to give it maximum strength, and between
with a moving subject, Mode 1 is best for elements and groups contribute to it being the rubberised manual focus and zoom rings
general shooting. 375g heavier and at 1.8kg on the scales it’s you’ll find three AF function buttons. With
Elsewhere, there’s a manual override (MO) not a lightweight lens. Compared to Sigma Sigma- and Nikon-mount versions of the lens
option that can be used to quickly switch the lenses of old, which are known for their smooth it’s possible to change the function of this
lens to manual focus by rotating the focus ring, finish to the barrel and gold embellishment, button with Sigma’s USB dock device, whereas
it has an 82mm filter thread, plus it’s fully this new version conforms to the look of with a Canon-mount example, like our review
compatible with Sigma’s current TC-1401 and Sigma’s latest Global Vision lenses. The white sample that was tested with the Canon EOS
TC-2001 teleconverters, which when coupled lettering on the mottled black paint finish has 5DS R, it’s possible to change what these AF
between the camera body and lens turn it into a much cleaner, high-end aesthetic. With function buttons are assigned to from the
a 98-280mm f/4 or 140-400mm f/5.6 lens, dust- and splash-proof seals at the mount camera’s custom controls. Having the option
respectively. Canon, Nikon and Sigma mounts connection, manual focus ring, zoom ring to acquire and hold focus directly from your
are all available for the same price, however and cover connection, it’s far better protected left hand made for a highly intuitive operational
the Sony E mount isn’t catered for. Those than its predecessor, offering improved experience in both shooting orientations.
wishing to pair it with a Sony full-frame protection against the wet weather conditions Positioned between the AF/MF and optical
A7-series camera will require an adapter such outdoor photographers can come up against. stabilisation switches is a focus limit switch.
This can be set to FULL (1.2m to infinity) or
3m to infinity. If you’d like to customise the
focus limit range, the sensitivity for engaging
full-time manual override or autofocus speed,
this is achieved using Sigma’s optional USB
dock in connection with the C1 and C1
settings from the custom switch. As for the
operation of the zoom and focus rings, both
operate smoothly, with no sign of any change
in resistance through their range.
The petal-shaped lens hood features a lock
and the permanently attached tripod collar has
click stops every 90°. If you own an Arca-Swiss
tripod head, the tripod foot can be mounted
directly to it, although in use I found the tripod
foot gets in the way of operating the manual
Chromatic aberrations are focus ring, so it’s good practice to twist it
well controlled through the through 180°. Doing so allows the barrel to
zoom and aperture range
Canon EOS R with EF-EOS R mount adapter,
143mm, 1/1250sec at f/4, ISO 100
 LENS TEST Testbench
An image captured at the
sweet spot of sharpness
Canon EOS 5DS R, 70mm, Sigma 70-200mm F2.8
1/1250sec at f/4, ISO 400
DG OS HSM Sports
Resolution
The lens delivers a strong set of MTF results from
our Image Engineering tests. Centre sharpness
improves at all focal lengths by stopping the lens
down from its maximum aperture to f/4 and f/5.6.
Sharpness holds up well at f/8 and f/11, but starts
to drop off beyond this point. The sweet spot of
sharpness is found around f/5.6, with the solid
and dotted red lines indicating central and corner
sharpness is superior at wider focal lengths.

rest comfortably in the palm of your hand

during long spells of handheld shooting.

Image quality Verdict 70mm centre 70mm corner

Inspecting real-world images confirmed what We’re looking at a lens that improves on its
I was seeing on the back of the camera. It’s predecessor in some key areas. Serious 135mm centre 135mm corner
a lens that produces impressively sharp and enthusiasts and professionals will love the 200mm centre 200mm corner
attractive results. One of its key strengths is fact it’s now a weather-sealed optic for when
the way it controls chromatic aberrations. outdoor conditions are against them, and Shading
Colour fringing is very well handled along the three AF function buttons around the
high-contrast edges, and at the corners you barrel give it an advantage over Tamron’s SP There’s a drop in illumination of around 1.4 stops in
won’t find yourself rushing to place a tick in the 70-200mm F/2.8 Di VC USD G2 – a lens the corners wide open at 200mm, but this quickly
‘Remove chromatic aberration’ box or adjust that offers some benefits of its own being reduces to 0.6 stops by stopping down to f/4. Users
the defringe sliders during raw processing. The some 300g lighter and £60 cheaper. Out of will find the fall-off more gradual and less abrupt
fairly fast fall-off in focus when shooting at the the two though, I must say the build quality at 200mm. At 70mm, corners are a stop darker than
lens’s maximum aperture at its maximum focal of this Sigma zoom trumps its Tamron rival, the centre at f/2.8, reducing to 0.5 stops at f/4.
length also requires you to be watchful of your with more of a premium, pro-spec feel to it.
focus point positioning. Nail it and you’ll be The effective image stabilisation, fast
rewarded with a wonderful depth to images. autofocus and excellent image quality, not
Studying our Image Engineering results tells forgetting its impressive sharpness at wide
us that the lens resolves its sharpest results at apertures and excellent control of chromatic
the widest end of its focal range. Stopping the aberrations, all combine
aperture down to f/4 and f/5.6 sees centre to make it an extremely Data file
sharpness improve at all focal lengths. Edge appealing fast tele-zoom.
sharpness never matches that which is Lighter alternatives are Price £1,349
resolved in the centre, and the dotted lines out there, but if you can Filterdiameter 82mm
70mm f/2.8 200mm f/2.8
on our MTF graph reveals that corner put up with carrying a bit Lens elements 24
sharpness, like centre sharpness, is best more weight you’ll get a Groups 22
at the wider end of the zoom range. trusty performer offering Aperture f/2.8-f/22
Curvilinear distortion
Vignetting is evident when the lens is used at excellent value in return. Minimum focus
As is typical of telephoto zooms, the lens exhibits
its maximum aperture, both at the long and distance 120cm barrel distortion at 70mm, turning to pincushion
short ends of the zoom. It’s more gradual at Dimensions distortion around 100mm. The level of distortion
200mm than it is at 70mm and users will find 94.2x202.9mm
isn’t a major concern and is unlikely to be an issue
that the corner shading can be alleviated fairly Weight 1.8kg
for the majority of subjects it’ll be used for. If you’d
quickly by closing the aperture by a couple Lens mount Canon,
Nikon, Sigma
like to produce distortion-free images, shoot in raw
of stops. The lens displays mild barrel distortion
Included
and take advantage of lens profile corrections.
at the wide end, which turns to pincushion
distortion at telephoto lengths, but this isn’t a accessories Lens
major concern and can be easily fixed as and cap, rear cap, lens
when lens profiles start to become available. hood, lens case
The lens was tested over a three-week SMIA TV = -0.7% SMIA TV = 1.5%
period with multiple Canon full-frame DSLRs,
but it’s important to note that it can also be
used with crop-sensor (APS-C/DX) models and
is equivalent to a 105-300mm telephoto
GOLD
zoom on a camera with a 1.5x crop factor.
70mm 200mm

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 ACCESSORIES Testbench

Lowepro Whistler At a glance

● Airline carry-on friendly

350 BP AW II
● Laptop compartment
● All Weather cover
● 2.65kg
● 29x24x53cm (external
dimensions)
Michael Topham tests an ultra-resistant
outdoor backpack
● £269 ● www.lowepro.co.uk
Colour
LOWEPRO is up there as one of the leading
The backpack is finished
camera bag manufacturers, offering a carrying
in an attractive dark grey
solution for all types of photographers, with a vast
with flashes of orange on
range of models for those who spend a majority of
the inside and around
their time in the great outdoors. The company’s
the exterior.
Whistler series is now into its second generation and
is once again designed for adventurists and lovers of the
landscape looking for a high-performance outdoor backpack
that’s as good at carrying camera kit as it is a variety of Front pocket
outdoor gear. Lowepro labels its Whistler 350AW II and The front pocket benefits
450AW II as its most versatile packs for extreme conditions, from a waterproof lining to
and it’s the smaller of the two we’re looking at here. protect any expensive kit
To keep contents safe and secure, the pack features from wet-weather gear.
access from the rear to the main compartment, accessed by
large orange YKK zips with tags that allow you to pull them
around easily, even when wearing gloves. Inside you’ll find a
roomy interior spacious enough to swallow a pro-spec DSLR
or mirrorless camera with 70-200mm f/2.8 lens attached,
with space on either side for four or five additional lenses.
The two interior pockets are useful for storing thin
accessories or valuable items and you also get two memory-
card pockets. The thick and protective camera and lens
dividers can be fully removed if you’d like to use it as a
general-purpose backpack and it provides a CradleFit
compartment to slot in a large tablet or 13in laptop. This is
accessed via the top of the bag, where you’ll find a handy
storage space for larger accessories, cables or filters, with a
Camera
zipped pocket being dedicated to the All Weather cover.
The large front pocket expands to fit essentials such as
compartment
The space allocated to
a cagoule, and has a waterproof barrier with a drain hole to
carrying camera kit
separate wet gear from the main compartment. An easily
measures 26x15x39cm.
adjustable waist belt and elasticated sternum strap provide
extra stability and prevent the pack from swaying from side
to side when you’re on the move, with the back panel Waist belt
offering reasonably firm but essential padding. Out of its The padded waist belt,
packaging I found the bag sat quite high on my back, so along with the sternum
I’d recommend loading it with your gear and making the strap, helps to give the
necessary strap adjustments first to backpack better support
ensure it’s comfortable before refining and stability.
the strap position during use.

Verdict
Testing the bag on a trip away revealed no discomfort or any BUCKLES AND HOOKS
major issues. The grab handle at the top made it easy to pull
from luggage racks and the materials, stitching and overall A distinctive feature of the bag is its bright orange straps at the front
quality of its construction gives you the reassurance that that comprise a Nifco-type release buckle and Duraflex hooks. These
ALL PRICES ARE APPROXIMATE STREET PRICES

your kit is safe inside. The only thing it doesn’t have, which support the attachment of heavy equipment and will most often be
I always look for on a backpack, is a pocket on the side to used by photographers to carry a tripod, but they’re also strong enough
store a water bottle. A stretchy Neoprene bag such as the to carry a snowboard, with the Nifco release buckles at the side of the
S&F bottle pouch (£18) that Lowepro produces would be backpack offering additional support for carrying skis. This makes it a
the first thing I’d buy to go with this otherwise excellent superb option for winter sports photographers. The orange straps can
example of a durable backpack that’ll serve outdoorsy
GOLD be removed, although they’re rather good to keep on as the Duraflex
types extremely well. hooks in their fixed position prevent full access to the front pocket.

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 THE EISA PHOTOGRAPHY
MAESTRO CONTEST 2019
1ST PRIZE
This Year’s Theme: h1500 & EISA Maestro Trophy
2ND PRIZE
Power h1000 & EISA Maestro Trophy
3RD PRIZE
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STOCK.ADOBE.COM/VISDIA

HOW TO ENTER UK DEADLINE: 1 MAY 2019 INTERNATIONAL JUDGING: JUNE 2019

Provide 5-8 photographs on the AP has teamed up with Photocrowd The winning entries from each of
theme of ‘Power’. All entries must to host the contest. To enter, go to the 16 participating EISA countries
be in digital format (from a digital www.photocrowd.com/maestrouk. will then be judged together at the
camera or scanned film originals). The top three will be chosen by Association’s general meeting in
the AP team and the results will be June 2019. The final results of the
inners will also be published in a June issue of AP. The International Maestro contest will
All National Maestro w
at the end of June
published on Facebook winner will win a print subscription be revealed at the EISA Awards Gala
oice competition.
for the EISA Public’s Ch to AP and go forward to the Inter- on 6 September 2019.
Prize for the winner: 81
000.
national round of the contest.

Results will be published in the September or October issues of all 16 EISA photo magazines/websites.
All three winners will be invited to Berlin at the official EISA Awards ceremony on 6 September

For further details, terms and conditions visit www.eisa.eu/maestro

 Tech Talk

ofessor Newman on…

Rapid Subscribe to

elaboration
For specialised photography markets, do mirrorless
Amateur
Photographer

cameras have an edge over DSLRs? for just

I
n August last year Nikon
and Canon announced
Two related Canon
cameras with different £24.99*
specifications. Since
their first full-frame both are mirrorless,
mirrorless cameras: the Z 7 it might be that they
and EOS R, respectively. Now, both share most of their saving 35%
manufacturers are fielding two internal components
examples, with Nikon having added
the Z 6 and Canon producing the Saturday 6 January 2018

Leica CL rangefinder style

TESTED Why this gorgeous ess yet
EOS RP. Nikon has disclosed that it camera is Leica’s best mirrorl

will add to the system with a new m

oney sa

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usive

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camera below the Z 6 (which the PORTRAIT SPECIAL
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camera has a
creative portraits
mid-range camera it seems to be a APOY’s top
portraits
fair bet that the Canon R range will Which people shots

be supplemented fairly soon by a very simple did well, and why?

Top-notch
Tokina
Superb fast 20mm

top-end model (EOS R1, perhaps?). mechanical

prime tested

By the normal speed of camera

introductions, this is an design’ Collodion
creativity
exceptionally fast rate of new A modern twist on
a classic technique
The perfect small camera bag Lovely new Billingham ticks the boxes
model production. How is this structure of the camera needs to substantive change to any other
possible? I can see two reasons. be sufficiently robust to support part of the camera.
First, for both Nikon and Canon this mechanism in full flow, without As a result, it is much simpler to
the cameras are quite similar, allowing it to provoke enough build a complete range of
which in the context of the second vibration to spoil the shots. Such a mirrorless cameras around the • Never miss an issue
reason, makes their variation quick mechanism is inevitably expensive same engineering base. The with delivery
and easy to develop. The second and possibly quite large. These camera may appear to have direct to your door
reason is to do with the nature of two factors preclude its use lower different sizes and shapes, and
mirrorless cameras: they are much down the range. Thus, the design may even be constructed from • Peace of mind with
simpler than single lens reflexes. of a full range of DSLRs requires different materials but in the days our money back
It’s not only the mirror mechanism the development of several of computer-aided engineering, guarantee if you
and focusing screen that have completely different mechanisms. this does not require a large change your mind
been removed, but also the design effort. The range will be
internal mechanical dependence Simplicity of mirrorless built using a selection of
• Access to exclusive
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high degree of precision. the shutter, and these are Further, since the connections are
The internal complexity of an generally mass produced by electronic, differences between
SLR means that in general it is specialist suppliers. Freed from the models may often simply be a
hard to support a whole range of requirement for linkages to a matter of firmware.
cameras around a single set of mirror mechanism, they can be As the overall size of the
components. In both the Canon simply selected as appropriate to a specialist photography market Subscribe online at
and Nikon ranges the top-end particular camera model. The contracts, one strategy that magazinesdirect.com/18AG
models can support frame rates of same is true of the viewfinder manufacturers can adopt is
over 12fps. A mirror mechanism assembly in a mirrorless camera. increasing the number of models
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Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
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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

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Sell your Nikon to

Grays of Westminster are always seeking fine examples of Nikon cameras, lenses & accessories including:
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and as with all VisibleDust products, they are suitable for all camera ACAM-701 shown, ACAM-706 also available.
brands and sensors, with or without anti-aliasing filters.
Further details and your nearest stockist can be obtained from...
See the entire range in detail at Alpha Optical Distribution Limited
www.visibledust.co.uk Tel: (Frazer Allen) 07725 081436
Tel: (Frazer Allen) 07725 081436
(Denys Nelson) 07909 227517
Email: [email protected]
For details of your nearest stockist please contact... Tel: (Denys Nelson) 07909 227517 Product website: www.artisan-n-artist.com
 TAMRON 28 - 75mm f2�8 XR Di LENS LATEST �������������������������������MINT £345�00 BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ���������������� MINT- £199�00 SIGMA 2X EX DG TELECONVERTER �������������������������������������������������MINT £145�00
Digital Photography TAMRON 28 - 300mm f3�5/6�3 I/F LD DI ASP VIB CONTROL���MINT BOXED £375�00 BRONICA 50mm f3�5 PS LENS & CASE ������������������������������ MINT-BOXED £199�00 SIGMA TC2001 ED GLASS LATEST MODEL ���������� MINT BOXED AS NEW £225�00
TAMRON 70 - 300mm f4/5�6 SP Di VC ULTRASONIC���������� MINT+HOOD £225�00 BRONICA 65mm F4 ZENZANON PS FOR SQ������������������������ MINT-CASED £145�00 SIGMA 24mm f1�4 DG HSM ART LENS NIKON FIT ��������������MINT BOXED £485�00
CANON EOS 5D MK3 BODY, BATT,CHGR,LEADS etc ������� MINT-BOXED £1,075�00
TOKINA 10 -17mm f3�5/4�5 ATX DX FISHEYE (LATEST) �����������������MINT £299�00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �������� MINT-CASED £365�00 SIGMA 50mm f2�8 EX MACRO D���������������������������������������������������EXC++ £129�00
CANON EOS 7D BODY COMPLETE WITH ALL ACCESS���������MINT BOXED £345�00
TOKINA 11 - 16mm f2�8 ATX - PRO ASPHERICAL���������������MINT BOXED £279�00 BRONICA 150mm F4 PS ZENZANON FOR SQ���������������������� MINT-CASED £145�00 SIGMA 105mm f2�8 EX APO DG MACRO ���������������������������� MINT-BOXED £245�00
CANON EOS 6D BODY COMPLETE�������������������������������������������������� MINT- £599�00
BRONICA 180mm f4�5 PS LENS & CASE ���������������������������� MINT-BOXED £199�00 SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �������������������������MINT BOXED £199�00
CANON EOS 350D BODY�������������������������������������������������������� MINT-BOXED £65�00
Contax ‘G’ Compacts & SLR & Ricoh BRONICA SPEED GRIP FOR SQA/SQAI��������������������������������������������� MINT- £69�00 SIGMA 15 - 30mm f3�5/4�5 DG EX IF ASPHERICAL����������������������� MINT- £245�00
CANON 270EX SPEEDLITE + MANUAL�����������������������������������MINT CASED £69�00
BRONICA FILMBACK SQ-i220 FOR SQA/SQAi������������������������MINT BOXED £79�00
CANON 430 EX����������������������������������������������������������������������� MINT-CASED £69�00 SIGMA 150 - 600mm f5�6/6�3 DG HSM OS “C” LENS���������MINT BOXED £625�00
CONTAX 28mm f2�8 BIOGON “G” HOOD,FILTER CAP BL ����MINT CASED £295�00 METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA������������MINT BOXED £150�00
CANON 430 EX II ������������������������������������������������������������������������������ MINT- £79�00 TAMRON 16 - 300mm f3�5/6�3 Di II VC MACRO LATEST ���MINT +HOOD £299�00
CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*���������MINT BOXED £395�00 HASSELBLAD SWC + 38mm f4�5 BIOGON T* & FINDER ������������ MINT- £1,475�00
CANON 430 EX II ������������������������������������������������������������������� MINT-BOXED £99�00 TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO �������� MINT+HOOD £299�00
CONTAX TLA 140 FLASH FOR G1/G2�������������������������������������MINT CASED £65�00 HASSELBLAD 28mm f4 HC FOR H SYSTEM����������������������MINT BOXED £1,475�00
CANON 580EX MK II SPEEDLITE����������������������������������������� MINT-CASED £169�00 TOKINA 16 - 50mm F2�8 ASPHERICAL AT-X PRO DX ���������MINT BOXED £275�00
CONTAX GD1 DATABACK FOR CONTAX T3��������������������������� MINT-BOXED £69�00 HASSELBLAD 120mm f4 HC FOR H SYSTEM�����������������������������EXC++ £1,195�00
CANON 580 EX SPEEDLITE�������������������������������������������������EXC++CASED £125�00 TOKINA 80 - 400mm f4�5/5�6 AT-X D����������������������������������MINT BOXED £245�00
CONTAX TLA 200 FLAH FOR CONTAX “G”�����������������������������MINT CASED £99�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������������������MINT £365�00
CANON 580 EX SPEEDLITE�������������������������������������������������� MINT-CASED £149�00 TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��������MINT BOXED £295�00
CONTAX RX BODY��������������������������������������������������������������� MINT-BOXED £265�00 HASSELBLAD 150mm f4 SONNAR T* BLACK�������������������������������EXC++ £195�00
CANON 550 EX SPEEDLITE���������������������������������������������������� MINT-BOXED £99�00
CONTAX RX BODY�������������������������������������������������������������������������� MINT- £199�00 HASSELBLAD 150mm f4 SONNAR CF��������������������������������� MINT-BOXED £395�00
CANON 550 EX SPEEDLITE���������������������������������������������������EXC++CASED £75�00
CONTAX 167 MT BODY�������������������������������������������������������� MINT-BOXED £115�00 HASSELBLAD 50mm f4 DISTAGON SILVER ����������������������������������EXC++ £195�00 Nikon Manual Focus
CANON ST-E2 SPEEDLITE TRANSMITTER����������������������������MINT BOXED £125�00
CONTAX 167 MT BODY��������������������������������������������������������������������� MINT- £99�00 HASSELBLAD 150mm f4 SONNAR SILVER �����������������������������������EXC++ £175�00
CANON BG-E4 BATTERY GRIP FOR EOS 5D���������������������������MINT BOXED £49�00
YASHICA ML CONTAX FIT 28mm f2�8 �����������������������������������������������MINT £99�00 HASSELBLAD 250mm f5�6 SONNAR SILVER �����������������������������������EXC+ £179�00 NIKON F3 HP BODY REALLY NICE WITH MANUAL�������������� MINT-BOXED £595�00
FUJI X10 WITH CASE, HOOD & FILTER ��������������������������������������������MINT £199�00
CONTAX 28mm f2�8 DISTAGON WITH FILTER ���������������������������������MINT £225�00 HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR���������MINT BOXED £2,995�00 NIKON F3 BODY UNUSED FROM A COLLECTION NEW���������MINT BOXED £895�00
FUJI XT 10 BODY WITH CHGR, 2 BATTERIES ��������������������� MINT-BOXED £265�00
CONTAX 35mm f2�8 DISTAGON MM WITH FILTER��������������MINT CASED £225�00 HASSELBLAD GPS UNIT FOR H SYSTEM �����������������������������MINT BOXED £399�00 NIKON F3HP BODY REALLY NICE��������������������������������������������������� MINT- £595�00
FUJI X30 SILVER WITH BATT & CHARGER ��������������������������MINT CASED £295�00
CONTAX 50mm f1�4 MM PLANAR WITH FILTER������������������������������MINT £225�00 HASSELBLAD H13 EXT TUBE �����������������������������������������������������������MINT £165�00 NIKON F3 BODY WITH MD4 MOTOR DRIVE ����������������������������������� MINT- £375�00
FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW) ��������MINT CASED £425�00
CONTAX 50mm f1�7 AE LENS ������������������������������������������������������������MINT £95�00 HASSELBLAD PM90 PRISM FINDER ���������������������������������������������� MINT- £275�00 NIKON F3 BODY��������������������������������������������������������������������������������EXC+ £245�00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��������MINT BOXED £195�00
YASHICA/CONTAX 55mm f2�8 ML MACRO LENS ����������������������������MINT £175�00 HASSELBLAD PME3 METERED PRISM FINDER ����������������������������� MINT- £275�00
NIKON D700 BODY WITH BATTERY AND CHARGER ������������������������EXC+ £265�00 NIKON F2AS BODY BLACK ������������������������������������������������������������EXC++ £200�00
CONTAX 135mm f2�8 SONNAR WITH FILTER ����������������������������������MINT £175�00 HASSELBLAD VFC-6 METERED PRISM��������������������������������MINT BOXED £175�00
NIKON D600 BODY WITH 2 BATTS,CHGR��������������������������������������� MINT- £499�00 NIKON FM2n BLACK BODY�������������������������������������������������EXC++BOXED £265�00
CONTAX 300mm F4 TELE TESSAR MM �������������������������������MINT BOXED £295�00 HASSELBLAD A12 BACK CHROME������������������������������������������������� MINT- £129�00
NIKON D4 BODY COMPLETE ONLY 7678 ACTUATIONS ��� MINT-BOXED £1,495�00 NIKON FM2n CHROME BODY ���������������������������������������������� MINT-BOXED £285�00
CONTAX MAGNIFIER F2 ���������������������������������������������������������MINT BOXED £49�00 HASSELBLAD WINDER CW AND REMOTE����������������������������������������MINT £275�00
NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS����������������������MINT £175�00 NIKON FM2n CHROME BODY ������������������������������������������������������EXC+++ £245�00
CONTAX TLA 30 WITH DIFFUSSER�����������������������������������������MINT CASED £69�00 MAMIYA 55mm f4�5 SEKOR FOR C220/330 etc������������������MINT BOXED £165�00
NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II������������� MINT- £175�00 NIKON F2 A BODY FULLY WORKING ������������������������������������������������EXC+ £199�00
CONTAX TLA 280 FLASH������������������������������������������������������������������ MINT- £59�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £199�00
NIKON D300S BODY + BATT GRIP, BATT & CHARGER�����������������EXC++ £245�00 NIKON F2 BODY FULLY WORKING����������������������������������������������������EXC+ £169�00
CONTAX TLA 280 FLASH UNIT�����������������������������������������������MINT BOXED £75�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ���������������MINT £365�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�������� MINT-BOXED £195�00
CONTAX TLA 360 FLASH������������������������������������������������������� MINT-CASED £65�00 MAMIYA M645J COMPLETE WITH 80mm f2�8 ������������������������������ MINT- £299�00 NIKON F2 BODY BLACK WITH DW2 FINDER ���������������������������������� MINT- £265�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP������������������� MINT- £179�00
MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC��������������������� MINT-CASED £365�00 NIKON F2 PHOTOMIC BODY CHROME�������������������������������������������� MINT- £275�00
NIKON 1 V1 WITH 10 - 30MM ZOOM LENS��������������������������MINT BOXED £175�00
NIKON SB 800 SPEEDLIGHT WITH CASE����������������������������� MINT-CASED £145�00 LEICA “M” , “R” , & SCREW & RANGEFINDER MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ������������������������������������MINT £299�00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS���������������������EXC++ £250�00
NIKON SB 910 SPEEDLIGHT COMPLETE ����������������������������� MINT-BOXED £225�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ����������������������MINT £145�00 NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4������������������ MINT- £399�00
NIKON ML-3 REMOTE CONTROL SET�����������������������������������MINT BOXED £145�00 LEICA M7 BLACK BODY WITH LEICA 1/2 CASE�������������������������� MINT- £1,495�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £295�00 NIKON FE2 BLACK BODY���������������������������������������������������������������EXC++ £165�00
NIKON MB-D16 BATTERY GRIP FOR NIKON D750���������������MINT BOXED £195�00 LEICA M MONO 10 760 COMPLETE���������������������������������� MINT-BOXED £2,995�00 MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��������������������������������������MINT £199�00 NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ���������������������������MINT £975�00
SIGMA EF 610 DG SUPER FLASH NIKON FIT �������������������������MINT BOXED £95�00 LEICA M9 BODY WITH CHARGER AND BATT etc������������������������ MINT- £1,795�00 MAMIYA 250mm F4�5 LENS FOR RZ ��������������������������������������������� MINT- £195�00 NIKON 24mm F2�8 AIS SUPERB SHARP LENS���������������������������������MINT £199�00
SIGMA EF-530 DG ST ELECTRONIC FLASH ITTL NIKON FIT��MINT BOXED £75�00 LEICA MDA BODY SER NO 12659XX CIRCA 1970�������������������������� MINT- £425�00 MAMIYA 210mm F4 SEKOR C FOR 645�������������������������������MINT CASED £195�00 NIKON 28mm f2�8 SERIES E SUPERB CONDITION���������������MINT BOXED £115�00
PENTAX 18 - 50mm f4/5�6 DC WR RE LENS + HOOD ���������������������MINT £125�00 LEICA MDA BODY SER NO 14111XXCIRCA 1975-76��������������������EXC++ £399�00 MAMIYA 180mm F4�5 SEKOR FOR RB���������������������������������������������MINT £169�00 NIKON 28mm f2�8 AI������������������������������������������������������������������������MINT £165�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS����MINT CASED £325�00 LEICA IIIG BODY WITH 5cm f2 SUMMITAR & CASE������������������� MINT- £1,195�00 MAMIYA 220 BACK FOR RZ 67�������������������������������������������������������� MINT- £95�00
NIKON 28mm f3�5 AIS������������������������������������������������������������������������MINT £89�00
OLYMPUS 40 - 150mm F3�5/4�5 ZUIKO DIGTAL ED 4/3RDS���� MINT + HOOD £69�00 MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ������������EXC++ £375�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ���������� MINT- £199�00
LEICA 35mm f2�8 SUMMICRON WITH SPECS�������������������������������� MINT- £475�00 NIKON 35mm f2�8 PERSPECTIVE CONTROL LENS������������������������� MINT- £295�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM������������������������MINT £95�00 PENTAX 55mm F4 SMC FOR 6X7 ����������������������������������������������������MINT £175�00
CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR ���������������������� MINT- £275�00 NIKON 45mm F2�8 GN NIKKOR ������������������������������������������������������ MINT- £199�00
PANASONIC LUMIX G 20mm f1�7 ASPH ������������������������������������������MINT £145�00 PENTAX 55mm F2�8 FOR PENTAX 645��������������������������������MINT BOXED £199�00
ZEISS FOR LEICA M 50mm f1�5 ZM SONNAR����������������������MINT BOXED £599�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008������������� MINT- £575�00 NIKON 50mm f1�4 AI���������������������������������������������������������������������� MINT- £195�00
PANASONIC 45 - 200mm f4/5�6 MEGA OIS ASPH���������������������������MINT £175�00
7 ARTISANS 50mm f1�1 FOR LEICA M MOUNT �������������������MINT BOXED £295�00 YASHICAMAT 124G COMPLETE WITH HOOD + CASE��������� MINT-CASED £325�00 NIKON 50mm f1�4 AIS FROM A COLLECTION����������������������MINT BOXED £225�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS�������MINT BOXED £145�00
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ������������������������EXC+++ £695�00 YASHICA 124G TELEPHOTO AUX LENS SET������������������������������������� MINT- £69�00 NIKON 50mm F1�8 AIS SERIES E �������������������������������������������������������MINT £69�00
PANASONIC 45-200mm f4/5�6 LUMIX G VARIO M 4/3RDS�MINT BOXED £199�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS����������������������������MINT BOXED £325�00 LEICA 50mm f2�8 COLLAPSIBLE ELMAR��������������������������������������� MINT- £375�00 NIKON 55mm f2�8 MACRO AIS ������������������������������������������������������ MINT- £165�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��������������������������������MINT BOXED £115�00 LEICA 90mm f2�8 TELE ELMAR + HOOD ��������������������������������������� MINT- £395�00 Nikon Auto-Focus & Digital, Lenses Accessories NIKON 85mm f2 AIS����������������������������������������������������������������������� MINT- £215�00
SONY 500mm f8 REFLEX LENS WITH FILTERS��������������������MINT BOXED £395�00 LEICA 90mm f2 SUMMICRON BLACK�������������������������������������������� MINT- £895�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��������������������MINT BOXED £295�00
SONY ECM - XTST1M STEREO MICROPHONE���������������������� NEW UNUSED £69�00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M������������������������� MINT- £295�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE�������������������������MINT BOXED £399�00 NIKON 135mm f2�8 AIS������������������������������������������������������������������ MINT- £125�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��������������������������MINT BOXED £95�00 LEICA 90mm f4 ELMAR M MOUNT ������������������������������������������������ MINT- £165�00 NIKON 16mm f2�8 A/F D FISHE EYE LENS WITH FILTERS���������������MINT £495�00 NIKON 180mm f2�8 AI SHARP SHORT TELE LENS���������������MINT CASED £275�00
SONY DSC-HX90V COMPLETE VERY LOW USE��������������������MINT BOXED £275�00 LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE�������������MINT BOXED £375�00 NIKON 28mm f2�8 A/F “D” ��������������������������������������������������������������MINT £165�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
LEICA 135mm f4�5 HEKTOR���������������������������������������������������������������EXC+ £75�00 NIKON 28mm f2�8 A/F����������������������������������������������������������������������MINT £135�00 NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS�����MINT-CASED £1,295�00
LEICA 90mm FINDER �������������������������������������������������������������������������MINT £99�00 NIKON 35mm f1�8 “G” ED AF-S L��������������������������������������MINT + HOOD £365�00
Canon Autofocus, Digital Lenses, Canon FD VOIGTLANDER BESSA T WINDER�����������������������������������������MINT BOXED £149�00 NIKON 35mm f1�8 “G” DX AF-S LATEST����������������������������� MINT+HOOD £119�00
NIKON 1000mm f11 MIRROR LENS WITH CAPS���������������������������EXC++ £495�00
NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS��������������� MINT- £169�00
CANON 14mm f2�8 USM “L”����������������������������������������������� MINT-BOXED £795�00 VOIGTLANDER BESSA R GRIP FOR R,R2,R3 ETC�������������������MINT BOXED £49�00 NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD���������������MINT £189�00
LEICA 35mm f3�5 SUMMARON SCREW ����������������������������������������� MINT- £295�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO�����������������������������MINT £145�00
CANON 24mm f1�4 “L” USM������������������������������������������������������������MINT £499�00 NIKON 50mm f1�8 A/F D ������������������������������������������������������������������ MINT- £79�00
LEICA 5cm f2 SUMMAR SCREW ���������������������������������������������������� MINT- £175�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��������������������������EXC++ £119�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL���������MINT BOXED £1,045�00 NIKON 50mm f1�8 “G” AF-S WITH HOOD����������������������������������������MINT £145�00
LEICA 135mm f2�8 ELMARIT M WITH SPECS�����������������������������EXC+++ £299�00 NIKON 50mm f1�4 A”G” AF-S LATEST ������������������������������� MINT-BOXED £295�00 NIKON 35 - 135 F3�5/4�5 AIS ��������������������������������������������������������� MINT- £149�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £895�00
LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT�����������������������������EXC++ £99�00 NIKON 60mm F2�8� A/F D MACRO LENS������������������������������������������MINT £265�00 NIKON 35 - 135 F3�5/4�5 AIS �����������������������������������������������������������EXC+ £125�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�����������������MINT CASED £825�00
CANON 400mm f5�6 USM “L” LATEST VERSION���������������� MINT-CASED £699�00 LEICA 135mmf4�5 HEKTOR IN KEEPER���������������������������������������EXC+++ £199�00 NIKON 85mm f3�5 ED DX AF-S VR MICRO NIKKOR������������� MINT+HOOD £325�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������EXC+++ £99�00
CANON 8 - 15mm f4 USM “L” FISHEYE ������������������������������MINT CASED £799�00 LEICA 90mm f4 ELMAR BLACK SCREW ���������������������������������������EXC++ £145�00 NIKON 600mm f4 IF-ED AF-S WITH HOOD AND FLIGHT ���������EXC+++ £2,495�00 NIKON PK13 AUTO EXTENSION RING������������������������������������ MINT-BOXED £55�00
CANON 16 - 35mm f2�8 USM “L” MK 2 ������������������������������MINT CASED £725�00 LEICA 135mm f4�5 HEKTOR + HOOD SCREW���������������������������������EXC++ £99�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�������������������������������� MINT- £425�00 NIKON PK12 AUTO EXTENSION RING����������������������������������������������EXC++ £49�00
CANON 17 - 40mm f4 USM “L”�������������������������������������������MINT CASED £395�00 LEICA SF20 FLASH FOR M6 etc���������������������������������������������MINT BOXED £89�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S����������������������������MINT BOXED £395�00 NIKON PK11 AUTO EXTENSION RING�������������������������������������������������MINT £49�00
CANON 24 - 70mm f2�8 “L” USM MARK II LATEST ������������MINT BOXED £995�00 LEICA FONOR BLACK RANGEFINDER���������������������������������� MINT-CASED £175�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��������������������������� MINT-CASED £365�00 NIKON TC 200 CONVERTER����������������������������������������������������������������MINT £69�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT CASED £645�00 LEICA R8 BLACK BODY WITH STRAP �������������������������������������������� MINT- £395�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST ����������������� MINT-CASED £1,075�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2������������������ MINT-CASED £115�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £795�00 LEICA R7 CHROME BODY��������������������������������������������������������������� MINT- £365�00 NIKON 16 - 35mm f4 IF ED AF-S VR NANO GLASS������������ MINT-CASED £595�00 NIKON SB 16 FLASH FOR F3�����������������������������������������������������������EXC++ £65�00
CANON 70 - 200mm f2�8 USM “L”��������������������������������������MINT BOXED £699�00 LEICAFLEX BODY CHROME ������������������������������������������������������������ MINT- £195�00 NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS�����������MINT BOXED £795�00
CANON 20mm f2�8 USM����������������������������������������������������������������EXC++ £245�00 LEICA 28mm f2�8 SUPER ANGULON PC WITH HOOD�����������MINT CASED £745�00 NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS���������� MINT-CASED £725�00
CANON 24mm f2�8 EF ����������������������������������������������������������������������MINT £175�00 LEICA CURTAGON 35mm f4������������������������������������������������ MINT-BOXED £395�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL����MINT BOXED £745�00 Olympus Manual
CANON 28mm f2�8 EF ����������������������������������������������������������������������MINT £169�00 LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR����������EXC++ £395�00 NIKON 28 - 85mm f3�5/4�5 A/F NIKKOR AS NEW���������������� MINT+HOOD £125�00
LEICA 90mm f2�8 ELMARIT 2 CAM������������������������������������������������ MINT- £299�00 OLYMPUS OM4 Ti BODY DATA BACK 4 ����������������������������������������EXC++ £345�00
CANON 50mm f1�8 MARK 1 (VERY RARE NOW)������������������������������MINT £129�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS���������������������������������������������EXC++ £49�00
LEICA APO-EXTENDER 2 X ROM������������������������������������������MINT CASED £475�00 OLYMPUS 28mm F3�5 ZUIKO������������������������������������������������ MINT-CASED £39�00
CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��������������������������MINT £345�00 NIKON 35 - 135mm f3�5/4�5 A/F + HOOD�������������������������������������� MINT- £129�00
SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS ���� NEW UNUSED £1,695�00 OLYMPUS 35mm F2�8 ZUIKO����������������������������������������������������������� MINT- £69�00
CANON 50mm f2�5 COMPACT MACRO ��������������������������������MINT BOXED £169�00 NIKON 70 - 200mm “G” IF ED AF-S VR +HOOD����������������� MINT-BOXED £795�00
CANON 60mm f2�8 EFS USM MACRO LENS ������������������������MINT BOXED £325�00 SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS���������������� MINT- £565�00 NIKON 70 - 200mm f2�8 “G” ED AF-S VR MK 2 + HOOD����������� MINT- £1,075�00 OLYMPUS 50mm F1�8 ZUIKO�������������������������������������������������MINT BOXED £49�00
CANON 60mm f2�8 EFS USM MACRO LENS ���������������������������������� MINT- £295�00 LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ������������������������MINT £595�00 NIKON 80 - 400mm f4�5/5�6 ED AF “D” VR������������������������ MINT-BOXED £575�00 OLYMPUS 50mm F1�8 ZUIKO�������������������������������������������������������������MINT £39�00
CANON 100mm f2 USM WITH HOOD������������������������������������������������MINT £285�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN ��� MINT-CASED £275�00 NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST ���������MINT BOXED £995�00 OLYMPUS 50mm F3�5 MACRO��������������������������������������������������������� MINT- £99�00
CANON 100mm f2�8 MACRO���������������������������������������������������������EXC++ £195�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK ��� MINT-CASED £279�00 NIKON TC20E II 2X AF-S TELECONVERTER ����������������������������������� MINT- £195�00 OLYMPUS 35 - 70mm F3�5/4�5 ZUIKO�����������������������������������������������MINT £75�00
CANON 10 - 22mm f3�5/4�5 USM �������������������������������������������������EXC++ £295�00 TAMRON 1�4X A/F “D” TELECONVERTER NIKON FIT ������������MINT BOXED £69�00 OLYMPUS 35 - 70mm F4 ZUIKO ������������������������������������������������������ MINT- £75�00
CANON 10 - 22mm f3�5/4�5 USM ����������������������������������������������������MINT £325�00 Medium & Large Format TELEPLUS MC7 2 X CONVERTER NIKON A/F D�������������������������������� MINT- £59�00 OLYMPUS EXT TUBE 14mm, 25mm������������������������������������������������� MINT- £55�00
CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ���������������������������MINT £499�00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ��������������������������MINT £75�00 OLYMPUS VARIMAGNI FINDER ����������������������������������������������MINT BOXED £59�00
CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��������������MINT £149�00 BRONICA ETRSI COMPLETE WITH S/GRIP, AEII FINDER ��������������� MINT- £445�00
CANON 18 - 135mm f3�5/5�6 EF-S IMAGE STABILIZER������������������MINT £175�00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS�������������������EXC++ £325�00
CANON 18 - 200mm f3�5/5�6 EFS IMAGE STABILIZER��������MINT BOXED £285�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS �����������������EXC++ £295�00
CANON 70 - 300mm f4�5/5�6 IS USM DO REFRACTIVE����������������� MINT- £345�00 BRONICA 45 - 90mm f4/5�6 PE ASPHERICAL����������������������MINT BOXED £425�00
CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ������MINT BOXED £269�00 BRONICA 40mm f4 PE LENS������������������������������������������������MINT BOXED £199�00
KENCO DG CANON FIT TUBE SET 12,20,36MM����������������������MINT BOXED £99�00 BRONICA 50mm f2�8 PE LENS���������������������������������������������������������MINT £179�00
CANON EF 2�0X EXTENDER MK I������������������������������������������MINT BOXED £129�00 BRONICA 50mm F2�8 ZENZANON MC�������������������������������������������EXC+++ £99�00
CANON EF 2�0X EXTENDER MK II ����������������������������������������MINT CASED £179�00 BRONICA 105mm f3�5 LENS FOR ETRS/i����������������������������������������� MINT- £99�00
KENCO DG CANON FIT TUBE SET 12,20,36MM�������������������������������� MINT- £99�00 BRONICA 110mm F4 MACRO LENS PS������������������������������������������ MINT- £295�00
KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER���������MINT CASED £99�00 BRONICA 135mm f4 PE LENS����������������������������������������������������������MINT £125�00 We urgently require your used photographic equipment.
SIGMA EX 1�4 TELECONVERTER ��������������������������������������������������������MINT £75�00 BRONICA 150mm F4 E��������������������������������������������������������������������� MINT- £89�00
SIGMA 4�5mm f2�8 EX DC HSM CIRCULAR FISHEYE�����������MINT CASED £475�00 BRONICA 200mm f4�5 PE LENS���������������������������������������������������������MINT £95�00 We have customers waiting for: Nikon, Canon, Leica,
SIGMA 10mm f2�8 EX DC FISHEYE HSM �����������������������������MINT BOXED £345�00 BRONICA AUTO EXTENTION TUBE E-14���������������������������������MINT BOXED £45�00
SIGMA 14mm f2�8 EX HSM ASPHERIC ��������������������������������MINT CASED £365�00 BRONICA PROFESSIONAL LENS HOOD E �������������������������������MINT BOXED £45�00 Contax, Bronica, Hasselblad and most other makes of
SIGMA 105mm f2�8 MACRO EX WITH CASE������������������������������������MINT £179�00 BRONICA ETRSI 120 BACK FOR ETRSi LATEST VERSION �����������������MINT BOXED
SIGMA 105mm f2�8 MACRO EX DG OS HSM��������������������������������� MINT- £279�00 BRONICA ETRSI 120 BACK��������������������������������������������������������������� MINT- £69�00 camera lenses, accessories, binoculars and collectables.
SIGMA 150mm f2�8 EX DG-OS HSM MACRO LATEST ���������MINT BOXED £595�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ����������������MINT BOXED £59�00
SIGMA 12 - 24mm f4�5/5�6 DG HSM MK2 II������������������������MINT CASED £475�00 BRONICA AEII METERED PRISM ���������������������������������������������������� MINT- £115�00 We will buy for cash from you, or we are happy to sell on
SIGMA 17 - 35mm f2�8/4 EX HSM APHERIC ��������������������������������� MINT- £179�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI������������������������������������������MINT £75�00
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS ����������������������� MINT-BOXED £165�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI���������������������������������������EXC++ £59�00
your behalf on a commission basis. Best prices paid.
SIGMA 18 - 250mm f3�5/6�3 DC SLD HSM OS ��������������������MINT BOXED £199�00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC��������������� MINT- £75�00
SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II��������������������� MINT- £325�00 BRONICA MOTOR WINDER E���������������������������������������������������������EXC+++ £89�00
We can arrange collection and even call and collect and
TAMRON 180mm f3�5 A/F SP DI MACRO LATEST���������������MINT BOXED £329�00
TAMRON 500mm f8 MIRROR LENS & FILTERS FD MOUNT MINT-CASED £175�00
BRONICA 150mm F3�5 ZENZANON S��������������������������������������������� MINT- £165�00
BRONICA PLAIN PRISM FOR SQAi/SQA ������������������������������������������� MINT- £99�00
pay on the spot if necessary anywhere in the UK.
Visitors are welcome, please phone for an appointment.
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Lenses
EF 100-400mm f4.5-5.6L IS USM II. £1952 24-70mm f2.8E AF-S ED VR................ £1899 8-16mm f4.5-5.6 DC HSM...................... £599
£1702 inc. £250 Cashback* 24-120mm f4 G AF-S ED VR ................ £1049 10-20mm f3.5 EX DC HSM.................... £329
CANON LENSES EF-S 35mm f2.8 Macro IS STM .......... £369 28-300mm f3.5-5.6 G ED AF-S VR .. £799 17-70mm f2.8-4.0 DC OS HSM............ £349
EF 35mm f1.4L II USM............................. £1629 EF-S 60mm f2.8 USM Macro ............... £439 70-200mm f2.8E AF-S FL ED VR...... £2299 18-35mm f1.8 DC HSM ............................ £649
£1409 inc. £220 Cashback* EF-S 10-18mm f4.5-5.6 IS STM ........... £239 70-300mm f4.5-6.3 G ED DX AF-P £329 18-250mm f3.5-6.3 DC OS HSM ........ £349
EF 35mm f2 IS USM ................................. £519 EF-S 10-22mm f3.5-4.5 USM ............... £529 200-500mm f5.6E AF-S ED VR......... £1195 18-300mm f3.6-6.3 C DC OS HSM.... £369
EF 40mm f2.8 STM .................................. £199 EF-S 15-85mm f3.5-5.6 IS USM .......... £679 24-70mm f2.8 DG OS HSM................... £1149
EF 50mm f1.2L USM ................................ £1269 EF-S 17-55mm f2.8 IS USM ................... £779 24-105mm f4 DG OS HSM..................... £579
EF 50mm f1.4 USM................................... £349 EF-S 18-200mm f3.5-5.6 IS.................. £479 50-100mm f1.8 DC HSM Art ............... £949
EF 50mm f1.8 STM ................................... £119 EF-S 55-250mm f4-5.6 IS STM........... £299 70-200mm f2.8 EX DG OS HSM ........ £899
EF 85mm f1.2L II USM............................. £1849 TS-E 24mm f3.5L II .................................. £1799 TAMRON DSLR LENSES 100-400mm f5-6.3 DG OS HSM........ £689
EF 85mm f1.4L IS USM ........................... £1379 TS-E 50mm f2.8L Macro ....................... £2199 with 5 Year Manufacturer Warranty 120-300mm f2.8 OS ................................ £2699
£1279 inc. £100 Cashback* TS-E 135mm f4 L Macro ......................... £2199 85mm f1.8 SP Di VC USD....................... £749 150-600mm f5-6.3 C DG OS HSM .... £779
EF 85mm f1.8 USM ................................... £389 16-300mm f3.5-6.3 Di II VC PZD....... £499 150-600mm f5.0-6.3 S DG OS HSM £1329
EF 100mm f2.8 USM Macro.................. £519 18-200mm f3.5-6.3 Di II VC ................. £199
EF 100mm f2.8L Macro IS USM.......... £859 18-400mm f3.5-6.3 Di II VC HLD ...... £649
£759 inc. £100 Cashback* 24-70mm f2.8 Di VC USD G2............... £1199
EF 135mm f2 L USM ................................. £959 70-200mm f2.8 Di VC USD G2........... £1289
EF 300mm f4 L IS USM.......................... £1269 NIKON LENSES 70-210mm f4 Di VC USD ....................... £599 SONY E-MOUNT LENSES
EF 500mm f4 L IS II USM ...................... £8299 20mm f1.8 G AF-S ED ............................. £729 70-300mm f4-5.6 SP Di VC USD....... £329 FE 24mm f1.4 G Master .......................... £1449
EF 11-24mm f4L USM............................... £2789 24mm f1.4 G AF-S ED ............................. £2179 100-400mm f4.5-6.3 Di VC USD ...... £749 FE 28mm f2 ................................................. £399
EF 16-35mm f2.8L III USM..................... £1899 35mm f1.8 G ED AF-S ............................. £489 150-600mm f5-6.3 SP Di VC USD .... £799 FE 50mm f1.8.............................................. £179
£1649 inc. £250 Cashback* 35mm f1.8 S Lens ...................................... £774 150-600mm f5-6.3 VC USD G2.......... £1129 FE 85mm f1.4 G Master .......................... £1649
EF 16-35mm f4L IS USM ....................... £949 50mm f1.4 G AF-S .................................... £429 FE 85mm f1.8 .............................................. £599
EF 17-40mm f4 L USM ............................ £693 50mm f1.8S L.............................................. £509 FE 100mm f2.8 G Master....................... £1499
EF 24-70mm f2.8L IS USM II................ £1679 60mm f2.8 G AF-S ED ............................ £579 FE 135mm f1.8 G Master......................... £1749
£1459 inc. £220 Cashback* 85mm f1.8 G AF-S..................................... £469 FE 12-24mm f4 G ....................................... £1449
EF 24-70mm f4L IS USM ....................... £789 105mm f2.8 G AF-S VR IF ED.............. £849 SIGMA DSLR LENSES FE 16-35mm f2.8 G Master ................... £2199
EF 24-105mm f3.5-5.6 IS STM ............ £399 300mm f4E AF-S PF ED VR ................ £1709 with 3 Year Manufacturer Warranty FE 24-70mm f2.8 G Master .................. £1829
EF 24-105mm f4L IS II USM.................. £999 500mm f5.6E PF ED VR AF-S ............ £3699 20mm f1.4 DG HSM Art.......................... £699 FE 24-70mm f4 ZA OSS C.Zeiss T* .. £749
EF 28-300mm f3.5-5.6 L IS USM....... £2289 8-15mm f3.5-4.5E ED Fisheye............. £1229 24mm f1.4 DG HSM .................................. £629 FE 70-200mm f2.8 G Master............... £2399
EF 70-200mm f2.8 L IS III USM.......... £2099 10-24mm f3.5-4.5 G AF-S DX ............. £799 30mm f1.4 DC HSM.................................. £359 FE 70-300mm f4.5-5.6 G OSS ........... £1079
£1879 inc. £220 Cashback* 16-80mm f2.8-4E ED AF-S DX VR.... £989 35mm f1.4 DG HSM .................................. £649 FE 100-400mm f4.5-5.6 OSS ............. £2449
EF 70-200mm f4 L IS II USM ............... £1299 18-200mm f3.5-5.6 G AF-S DX VR II£429 50mm f1.4 DG HSM Art.......................... £579
EF 70-300mm f4-5.6 L IS USM .......... £1199 18-300mm f3.5-5.6 ED AF-S VR DX £989 85mm f1.4 Art DG HSM .......................... £929
EF 70-300mm f4-5.6 IS II USM .......... £464 24-70mm f2.8 G ED AF-S...................... £1499 105mm f2.8 APO EX DG OS HSM...... £358 *Canon Cashback ends 14.05.19

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BP 450 AW II ......£199 400 AW II...... £129 Backpack .....................£129 Anvil Pro..............£126 Hadley One .............. £264 Large ............................................................................... £439

Digital Compact Cameras Digital compact camera accessories are available on our website
IXUS 185 HS............................................£99
IXUS 285 HS...........................................£169
£60 £90 PowerShot SX70 HS...........................£519
CASHBACK* CASHBACK* £469 inc. £50 Cashback*
20.2 mp 20.1 mp 24.3 mp PowerShot SX620 HS........................£179
1080p 1080p 1080p PowerShot SX730 HS........................£299
4.2x 4.2x 3.0x PowerShot SX740 HS........................£349
optical zoom optical zoom optical zoom PowerShot G9 X II...............................£379
PowerShot G5 X....................... £599 PowerShot G7 X Mk II............. £529 PowerShot G1 X III................ £1089 PowerShot G3 X...................................£779
£539 inc. £60 Cashback* £999 inc. £90 Cashback* £699 inc. £80 Cashback*
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Black or £478 inc. £50 Cashback*
Silver £50 Lumix FZ2000 ...............................£879
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24.3 mp £579 inc. £50 Cashback*
1080p 17.0 mp 20.3 mp 20.0mp Lumix LX15 .......................................£399
Fujifilm X100F......... £1199 Lumix LX100 II...... £849 Lumix TZ95......... £399 Lumix FZ1000 II......... £769 £349 inc. £50 Cashback*
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 Legends
of photography
© corbiS viA Getty imAGeS

Prostitutes at the
corner of the
boulevard de la
Chapelle and the rue
Fleury in Paris, 1921

Eugène
humility. Reading their financially independent.
version, you might think that Thereafter he photographed
they had rescued him not whatever he pleased, remaining
only from obscurity but also faithful to the 18x24cm format.

Atget
poverty: references abound to Reputedly Man Ray tried to
© AlAmy Stock Photo

his ‘primitive’ camera with its lend him a ‘more modern’

bellows and wooden body. camera but Atget preferred
the camera he knew – and as
On his own terms he was photographing for his
The European Truth is own pleasure, he had no reason
rather more interesting, and to change. Shooting whatever
This pioneering master was the focus considerably more flattering to you like on 20x24cm, the
of both an American Legend and a Atget. After the sort of diffuse Continental version of 8x10in
start which befalls many or 20x25cm, does not exactly
European Truth, writes Roger Hicks photographers – the merchant sound like poverty and

T
navy, the stage, painting and obscurity. But he had
owards the end two American photographers, more – he had settled upon succeeded on his own terms,
of the famous Berenice Abbott (1898-1991) photography in 1890 and which did not suit the
Western, The Man and Man Ray (1890-1976), had already had a long and American Legend.
who Shot Liberty part of a small and often successful career with such When he met Abbott in 1925,
Valance (Paramount, 1962), pretentious clique of artists in clients as the Musée Carnavalet she was in her late 20s; Ray
the newspaperman Maxwell Paris in the mid to late 1920s. and the Bibliothèque (a neighbour) was in his 30s;
Scott delivers the line, ‘This is Decades before, after all, Oscar Historique de la Ville de Paris. and Atget was already well into
the West, sir. When the legend Wilde had said, ‘When good In 1906 the latter had his 60s. He had established
becomes fact, print the legend.’ Americans die, they go to Paris’ commissioned him to himself as a photographer at
Eugène Atget (1857-1927) is (The Picture of Dorian Gray, photograph ‘Old Paris’, a task about the same age as Abbott
a particularly fit candidate for 1891). Bad Americans, he had upon which he had already and Ray, or a little older, and
this column, as the focus of added, went to America. This enthusiastically embarked in an association with the two
both an American Legend clique, which also included the 1890s. In 1920-1921, in his younger photographers must
and a significantly more Matisse and Picasso, has been early 60s, he was able to sell have been pleasing. But he was
interesting European Truth. described as ‘the first to thousands of his negatives to the one who made them (or
The American Legend discover his genius’. They were various institutions for enough at least Abbott) famous,
stresses the importance of not lacking in talent: merely in money to make himself not vice versa.

66 13 April 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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