Amateur Photographer - August 2022

wasn’t familiar to Arteh and he For more information Above: Ramin
quickly became a student of the and the latest updates Left: Arteh
format. He joined The Photobook on the book, visit: (self-portrait)
Club on Facebook and sourced bit.ly/fearsanddreams
advice from those in and beyond the Below: Arteh’s
industry that he trusted. The parents’ early
feedback was a firehose of photos from their
information, a lot to take in at once. migration to
‘Creating a book is not like doing an Europe
exhibition, you have to take so
many more elements into account. 51
The context of enjoying a book is
different from an exhibition space,
or reading something in a magazine.
Understanding and designing an
experience for each format is key.
It was a growth moment. I evolved
from watching and listening to
other artists.’

In the early 1980s, Arteh’s parents
migrated to London from Accra,
Ghana. Initially, when creating his
Stranger Series project, their story
didn’t inform what he was doing but
he later realised that of course it did.
‘My story of migration is my parents’
story of migration, and
understanding them more is how
I relate to every person in the book.
It didn’t dawn on me until years into
the project. My father and I didn’t
always have the closest relationship.
The fact that he was unwell and in
bed and in one place, and I was
older and less judgmental, meant
I could appreciate him a lot more.
Throughout 2018 and 2019, every
fortnight I would go and sit by his
bed and say we need to do our
family history. He was quite
coherent and articulate and took me
through his life history. Family
history is a big part of my faith. A
year into doing that he lost the
ability to speak, so instead of
interviewing him I would just sit
with him. I continued by
interviewing mum and his work
colleagues.’ Arteh’s father Bernard
passed away last year after a
decade-long illness; his words are
preserved at the beginning of the
book alongside family photographs.

The Stranger Series: Fear & Dreams is
as individual as the people it
portrays. Through portraits and
testimonies, it helps understand the
complexities of the push of
oppression and the pull of
prosperity that compel so many
people to cross borders and seek new
places to belong.

At the end of June, Arteh’s book
project reached its full target via
Kickstarter, meaning it will
definitely be produced.

www.amateurphotographer.co.uk

Photo Stories

Fire works

Peter Dench talks to Gideon Mendel about his
award-winning work, Portraits in Ashes

I n 2007 Gideon Mendel photographed unsettling and artistic. ‘You want people to
several floods that happened within look. They are much more than just evidence,
weeks of each other, one in the UK, the they are also metaphors and you need
other in India. He went on to visit flood something aesthetic to make that work.’
zones around the world for his Drowning
World, Submerged Portraits series, floods Gideon spends around ten days in the field
that didn’t discriminate between wealthy and shooting for each trip. Ideally, he works with
poor communities: Haiti, Pakistan, Australia, an assistant who lives close to the
Thailand, Nigeria, Germany, Brazil, Bangladesh, catastrophe. ‘I don’t need a lot of technical
France, the USA and The Philippines. photographic assistance; it’s more fixing and
arranging, the emotional labour. We are
Gideon has switched from floods to fire. working with people returning to the site of
Since the beginning of 2020 he has travelled trauma. Huge sensitivity is required.’
to Australia, Greece, Canada and the USA to
document the aftermath of blazes that have For his portraits of the aftermath of the
destroyed homes, killed numerous people Marshall Fire in Colorado, through some
and burnt millions of acres of land. ‘The university contacts he found Taylor Neumann,
challenge with flooding is to be there. Once a recently qualified film graduate who lived a
you’re there the images make themselves, mile away to assist and help lighten some of
you have a flat plane in front of you, making the tension, keep everyone smiling and
for a very simple composition. To get there grounded when needed.
and be in position before the water subsides
is the hard thing. Photographing the Gideon may not document the drama of the
aftermath of fires, it’s not that hard to be raging orange flames and dense black smoke,
there because you’ve got time. The challenge but his portraits are equally impactful. He has
is finding people,’ he explains. ‘It’s often quite also amassed burnt objects to photograph,
difficult to pre-arrange people. Somehow once treating them as artefacts of climate change:
you’re in the area and also when a few people a warped child’s tricycle, misshapen bottles
have been photographed and they’ve had a and goblets, cups fused together, scorched
good experience of being photographed, it picture frames and 13 Nikon cameras from a
spreads and they tell other people.’ collector’s home – cameras which used to
record, now have an effect of climate change
The people in Gideon’s Portraits in Ashes recorded on them.
are meticulously placed. Before they arrived,
he spent a lot of time to find the right frame For Portraits in Ashes, Gideon provides
for several challenging reasons: fire creates a extensive interviews and quotes, believing in
visually chaotic environment to compose and the importance of asking the people he
he wanted to limit the time survivors returning photographs how they view what happened to
to a place of trauma had to spend there by them in relation to climate change. Jenni
being prepared. Bruce, photographed standing among the
ruins of her burnt home in Upper Brogo,
For Drowning World, Gideon photographed southern NSW, Australia (for which Gideon
on old Rolleiflex cameras. With his eyesight won the 2021 Head On Portrait Award),
not what it was and a few too many film reveals: ‘It was all gone. I had a great
frames returning out of focus, there was a workshop with tools that I’d spent a lifetime
need for change. After being loaned a Fuji gathering. I had a huge collection of paints
GFX 50 system, when the 100 series came and canvases, and I was working on a new
out, the video quality was a game-changer body of work to exhibit. It was devastating to
and he made the shift to digital. The quality lose that amount of hard work... I wish the
of the digital files allowed him to work in people in power would listen; I wish they’d
square format or whatever format he chose. stop using industries that are so bad for our
Using just a camera, tripod and available environment.’ Or as Sharyn Wotton, also
light, his subjects engage the viewer directly photographed in Australia, succinctly
from their devastated lives. The effect is remarks: ‘We’ve pissed Mother Nature
off big time, and she’s paying us back.’

52 www.amateurphotographer.co.uk

www.amateurphotographer.co.uk Gideon
Mendel

Gideon Mendel moved to
the UK in the 1990 and
has since worked on a
number of important
projects. He has been
published in a wide
range of prestigious
publications and won
numerous awards
including the Eugene
Smith Award for
Humanistic Photography
gideonmendel.com

Clockwise from top
left: John Hamar, USA
(2020); Father
Ioannis Siaflekis,
Greece (2021); Kevin
Goss, USA (2021);
Rhonda Rossbach,
Derek Briemand and
Autumn Briemand,
Canada (2021); Jenni
Bruce, Australia
(2021); Danielle
Guerra, USA (2021)

53

THANDIWE MURIU

Cultural I t makes no difference how
deep and meaningful your
Camo intentions are in your
photography if no one
Through extraordinary colour and graphic imagery, looks at your pictures. So many
Kenyan photographer Thandiwe Muriu considers art photographers forget this, and
the balance between individualism while feeling a make images so visually dull that no
sense of culture. Damien Demolder talks to her one gives them a second glance to
notice the hidden metaphor, higher-
plane reflection and intellectual
genius buried in the pixels. To
get your message across through
photography, the first job of your
pictures is to draw attention so that
the viewer has a fighting chance
of benefiting from your globally
transformative brainwaves.

Someone who has the right idea is
Kenyan photographer Thandiwe
Muriu, who lives and works in
Nairobi. Her pictures are so bright,
dramatic, eye-bursting and
attention-seeking I suspect we would
know one was hanging in the
building even if we were in another

54 www.amateurphotographer.co.uk

THANDIWE MURIU

room with our eyes closed. It is hard myself whether I believe in doing From far left here. I remember when I was starting
not to notice them, not to look at those things. That’s what I want to to right: out as a photographer, people would
them, and once we’re captured, we explore in the work. The culture I assume I was the assistant and my
have to spend time paying attention want to look at is not only what it Camo 32 – steel male assistant was a photographer.
to what it is she wants us to see. Her means to be from Kenya but also wool scouring I’ve had to fight for my right to
series, Camo, uses themes so how being Kenyan makes us think.’ pads are turned speak in this space just because I’m a
unmistakably African we can almost into aviators woman and just because Kenya’s a
hear the music. Some of that Kenyan thinking more patriarchal society.
questions Thandiwe’s existence as a Camo 35 – the
But finding this sense of African photographer in a society that still eyewear is made ‘As a consequence of this I like the
culture in her life, and recognising sees women in more domestic roles. from plastic hair women in my pictures to be strong,
what culture is and how it affects ‘I’m one of only two women in rollers confident and defiant, because I
behaviour and attitudes, has been a advertising photography in the want to show that standing up for
process that Thandiwe has been able whole country – it’s very much a Camo 38 – the yourself doesn’t make you any less of
to bring into her photography only man’s sport. I always felt like I chrome-plated a woman. You don’t need to be
by standing back to consider what it needed to explain or give reasons for eyewear is submissive to be feminine. I hope
means to be Kenyan. my decisions whereas a man inspired by the this project will be a platform for
wouldn’t, so a big part of my project brake pedal of a Africans to have these discussions
‘I kind of don’t quite fit in in is about disappearing into the ‘matatu’ (taxi about culture and to see just how
Kenya or when I go abroad. I’m background and being swallowed by minibus) healthy or unhealthy it can be
almost a third culture kid and caught culture. My grandmother is of the sometimes. I hope women and little
between two places because of my very old traditional generation and Camo 41 – girls in Kenya will look at the work
upbringing. The foundations of the she continues to ask me, “Oh, so are inspired by and say, “These women are strong
Camo series has been about me you still doing that job for men?” Princess Leia from and confident. I can be that too, and
having to ask questions around my She doesn’t mean it badly, but it’s Star Wars, Camo maybe I have something
culture – why do we do the things just that’s the way everyone thinks 41 represents all unique to bring by being a
we’ve always done, and to then ask African princesses

www.amateurphotographer.co.uk 55

THANDIWE MURIU

woman.” So it is these ideas
about culture that I’ve been
looking at.
‘It can be easy to see the big issues
around culture in Africa, but Camo
has forced me to go into the details,
to be uncomfortably intimate with
my culture and to really ask
questions about who we are and
what we believe.’

Positive image of Africa that might make nice accessories for Above: Camo 34 Personal projects
my pictures. The challenge is to use – the bursting
‘I’m part of what we call a New accessories that you could find in loops are designed ‘When I began my career as a
Africa. I’m very much African but we any Kenyan home no matter what to bring to mind photographer I thought I’d be
have global exposure now and there the economic status or the location, the atom, the core shooting all these amazing briefs and
are big pieces of our culture that are so anyone can look at the images of every human that I’d be so creatively satisfied. I
changing, so we need to find a new and laugh because they probably being quickly realised that while I was
identity within that. There are things have whatever is being featured in getting amazing briefs I was also
about our culture that I don’t their homes and they’ll have never always shooting somebody else’s
necessarily disagree with which just thought about using it that way. This vision or dream, so I felt like
exist in a different space to my life. can also create a sense of nostalgia creatively there was this hole that
because you may look at the bottle wasn’t being filled. Some other
‘I think many Africans got tired of caps and you won’t see what I see photographers advised me to do
hearing the usual narrative about but you have a memory somewhere personal work. I decided that if I was
Africa and being shown just the bad of how you used them as a child.’ going to do a project, I wanted
side of poverty – the side that’s all something impactful to my context
about starving children. Africa is Thandiwe’s images feature and that reflected who I am. Beauty
about so much more than that, so repurposed items, mostly used as is something all women struggle
one of the things I knew right off the sunglasses or jewellery, such as with, so I asked myself how I could
bat was that I didn’t want to create cooking pot scrubbers, coils of fuse being an African, being a
personal work that was negative or mosquito repellent, hair rollers, woman in beauty and my love of
sad. Camo is playful, it’s happy. It metal bottle tops and cupcake colour. Camo is what came out. I
addresses some really strong cultural moulds. The items are so well started the project in 2015 but then I
strongholds but it doesn’t make you disguised at first, we don’t notice put it away thinking I’d done it. In
feel bad. I want to be part of the what they are, so there’s a delayed 2018 I had a year of burnout and
narrative that celebrates my culture. reaction when the realisation hits us. decided I hated photography.
We are quick to see everything that’s
wrong but let’s find the good things.’

It is usual for photographers to
concentrate on one message in their
pictures, but Thandiwe’s seem to
cover a whole lot of issues, from
personal identity, reminiscence,
culture, nostalgia, innovation and
empowerment, on top of the visual
themes of colour and pattern. It
makes her pictures feel very full. As
well as the very African colours and
patterns, she references many other
important aspects of the continent
too. One of those elements is reusing
everyday items for new purposes.

‘We don’t really have a recycling
culture in Kenya in the same sense as
you do. In fact, one of our big
problems is littering and trash
clogging drains so the roads flood.
But also, part of poverty is that we
reuse things and don’t throw objects
away that could come to life in a
different way. People reuse plastic
bottles, metal drums and wood and
make use of them again and again.

‘I’m Kenyan so I really like
innovating things too. I have what
I call a junk box and I go around
collecting the most random objects

56 www.amateurphotographer.co.uk

Luckily I realised I was just tired; I encouraging as it means there is THANDIWE MURIU
knew I loved photography but room for everyone in photography
needed to shoot things I enjoy. I because we all have a unique vision Top: Camo 01
picked up the project again, it made – and there are people who will – the very first in
me fall back in love with connect with that vision deeply.’ the series, from
photography. I liked that there were 2015
no rules, I was shooting for myself, Ideas of beauty Above: The artist,
and I could play without pressure. Thandiwe Muriu
‘The women in my pictures are Far left: Camo 42
‘No one tells you when you start models but I pick them to represent – sink strainers
out that you can end up being so different aspects of Beauty. For are used to evoke
busy shooting you forget to explore example, one of the models I picked the joy of
your voice and vision, and to ask because she has a gap between her collective
who are you as a creative. front teeth and in my culture that’s dishwashing, a
called a “thenya”. A woman with a key part of Kenyan
‘When you start out we tend to thenya is deemed more beautiful, so culture
replicate the work we’ve seen before, when it comes to dowry negotiations Left: Camo 30 – a
which is what I did for many years. her dowry will be higher. In Nairobi mosquito-repelling
It’s a way of learning, so there is it’s become a negative thing and coil is repurposed
definitely a place for it in the many people with gaps want to close into distinctive
process. I tried styles and ideas, and them with braces. So I intentionally eyewear
found that some resonated with me pick my models to speak to the
and others didn’t, so it helped me beauty culture here and challenge it.
discover what I like and what Some of the models have short hair.
I don’t. At some stage though I Here if you have long hair, you’re
stopped replicating and started to considered more beautiful. There’s
create work unique to me, that was also a culture of bleaching skin as
about me and everything that had the lighter you are the more
gone into my life experience. I beautiful you’re deemed – so I have
realised I love colours and used lots models who are way down there in
of gels on my lights, and found there the dark scale. These are beautiful
were other ways to incorporate women but very dark skinned. That’s
colour – by grading and including okay – they’re different faces of
colours in the frame. That’s when I beauty. Maybe some things that we
became sure about what I wanted to reject are beautiful and we need to
say in my images, and my work celebrate instead of hiding, changing
became more about me rather than or taking away. I think that’s just a
what I thought I should be and what curse of being human – we feel we
I saw other photographers doing. are never quite enough.’

‘That is when my work began to See more of Thandiwe’s work
really resonate with people and at thandiwemuriu.com
when my big break came. That’s

www.amateurphotographer.co.uk 57

Technique SMARTPHONE MACRO

Smart portraits

The latest smartphones are fantastic tools for to excellent effect to show us exactly what
portrait photographers, as Amy Davies discovers can be achieved by using the device in
your pocket, including one who has been
A nybody with a half-decent powered by clever AI and algorithms, have using smartphones to take portraits
smartphone is probably already become ever more impressive. remotely, sometimes – impressively – from
more than aware of its prowess the other side of the world.
for capturing off-the-cuff shots. A lot of smartphones also have full
But, when used in a considered way, manual modes, which is useful too. Most On the last page, we’ll discover which
they’re also superb for portraiture. high-end smartphones also include short smartphones on the market are ideal for
telephoto lenses, giving you a close this kind of work, to help you to choose
Most modern smartphones have some approximation to shooting with something one for yourself.
kind of portrait mode, designed to mimic like a classic 50mm or 85mm optic.
the effects of shooting with a wide-aperture As always, we’d love to see your pictures.
lens. The results from these modes, In this piece, I asked three photographers So if you’ve been using your smartphone to
who have all been using their smartphones take portraits, send them via the usual
methods listed on page 3.

Billy. Rhodes, Billy. Greece, Charlie. At
2018 2019 Home, 2019

Elaine Taylor Lifeproof waterproof case for their surroundings which tell a ELAINE’S TOP TIPS
holidays to take underwater story, as well as close-up shots
Elaine is a moderator of a number of shots. It’s worth noting that which convey some kind of 1 It’s a very basic – but
Instagram groups, a jury member for many modern smartphones are emotion or character. important – tip, but make
international mobile photography waterproof without the need for sure you have a clean lens.
awards, a beta tester for a range of a case (but always check the ‘I don’t really compare my
mobile apps and has delivered rating of any smartphone you phone to “standard” 2 Aim to get the best possible
smartphone photography workshops. have before dunking them!). equipment. I just use it like any photo at the point of
Alongside that, her iPhone photos have other camera. The same basic shooting, without taking too
been exhibited, published and ‘A phone is perfect for any principles of photography much time and risking losing
featured in photography competitions. kind of portrait shot,’ says apply. The Portrait mode on the the shot. Taking a moment to
See more of her work at Elaine. ‘I can get near people for iPhone is a great function – but quickly scan the scene before
Instagram.com/sunflowerof21 close-up portraits without being I don’t use it that often. I prefer taking the shot should become
too intrusive, and I can take to shoot in standard mode and second nature. Sometimes all
Elaine uses an iPhone 11 Pro candid “environmental” if I feel blur will enhance my it takes is a slight repositioning
Max, but an iPhone of some portraits of people going about shot by eliminating unwanted of you or your phone to make
kind has been her only camera their business without being distractions, I will apply it later an okay shot into a great one.
for over 12 years. Although she noticed. Sometimes you have to with an editing app.
has a number of add-on lenses, be quick to get the shot, so 3 Take multiple photos of the
she says she doesn’t use them having my “camera” always ‘The only major challenge same scene and choose
all that often, preferring to close is perfect. I’ve found is low light. I never the best afterwards. The
capture moments as she goes use the flash as it often creates a phone’s burst mode is great for
about her day. One accessory ‘I take all kinds of portrait harsh, unnatural effect and can that. I often find that, with
she can’t be without is the shots – a portrait doesn’t just change skin tones. Instead I portraits, the best and most
phone’s protective case and have to be head and shoulders. seek out outdoor light or an natural one is usually when the
battery pack, and she also has a The ones I prefer are candid indoor position near a natural subject is not aware that I’m
whole-body shots of people in light source.’ still shooting.

58 www.amateurphotographer.co.uk

Amira,
Aberaeron,
Wales

Kourosh, Trowbridge, Wiltshire

Ellie, Corsham, Abbie Asadi with movement, the phone can
Wiltshire sometimes not be quick enough
Abbie uses her iPhone for her or powerful enough. This is
photography business, working in her even more true with children
home studio, but she will also travel to and animals.
create imagery in a range of
situations. She’s recently been running ‘If you are running a shoot,
a portrait project on Inspiring Women preparation is key. I always aim
in Business, for which she has used to have a mood board per
her iPhone to take the pictures. See session – planning my shots,
more at studioaphotography.co.uk ensuring I have any props
necessary (chairs, tables and so
Currently Abbie is using an on). I can then take my time
iPhone 12 Pro Max, but she has with the shot, taking multiple
used a variety of other models. images to choose from when
editing and creating the story.
‘My Inspiring Women in I find that iPhone photos print
Business project has involved a well and to large sizes which
really diverse mix of portraits I have even used in galleries.’
and styles incorporating both
close-up and whole body shots. ABBIE’S TOP TIPS
I also like to take into
consideration the environment 1 Always ensure that your grid
that we are in and am always lines are turned on in your
looking for lines, shapes and camera app. This will really
framing to complement the help with composition.
person. I do love getting in
close though and picking out 2 Don’t be afraid of going in
details – it helps tell their story. close for a portrait. I always
ask my clients if it’s okay to
‘Compared to “standard” come in close, as some people
equipment, a phone is cheaper, don’t enjoy you being in their
lighter, fits in my pocket and I space. Most are accepting
don’t need to change lenses. I when you ask.
can preview, edit and send very
quickly if I wanted to all in one 3 Keep talking to the people
phone – I am a big fan of its you are photographing. It
convenience. I very often use keeps you at ease, them at
portrait mode as I like the depth ease and helps if you are
of field it creates. directing them to capture the
shot that you have planned.
‘The limitations I find are

59

Technique SMARTPHONE MACRO

Shady – UK Fabiana – Italy Alina – Italy

Monika Sergiejew from my laptop or my phone. I always that easy and it can take MONIKA’S TOP TIPS
can talk to them via the app to a little while to set the camera
Monika is a professional photographer, discuss a few things – up as I want it. 1 Don’t put pressure on
who uses smartphones to carry out sometimes they might show me yourself – just have fun.
remote portrait shoots using an app around their place, and I can ‘I like shooting whole/half
called Shutter App. Her models can be advise where to put the phone body shots a lot, as I think that 2 The same applies to the
found all around the world, while she to get the most from the space, using arms and hands creates model – ignore the
stays at home in the UK to take the or where the light is best etc. the most interesting poses. I use photographer, be yourself and
picture. See more at And then, I simply take photos the same techniques as when allow them to capture you
Instagram.com/monikaremote using their phone.’ doing my face-to-face portrait acting naturally.
work. I often tell my models to
Monika started taking remote Shutter App works with either close their eyes and dance to a 3 Use whatever is around
photos during lockdown, iPhone or Android, and when song they have in their head, you. Don’t overthink things;
something which became quite you’re shooting remotely, and of course, forget that I am sometimes the simpler
popular in a short space of time you’re reliant on the quality of there. I am also a fan of approach is the best one.
because of the obvious the other person’s smartphone close-ups, they tend to feel When shooting outside, look
restrictions on face-to-face – though of course most more intimate and emotional.’ around for interesting features,
meetups. She found Shutter modern smartphones offer very strong lines or structures.
App – and found it very easy to good image quality. Monika Agnieszka
use. After her first ‘foreign’ says, ‘The biggest challenge – Poland
shoot with a model living in when I started doing my mobile
Italy, Monika loved the process phone portraits was accepting
so much that she decided to the fact that the quality will
carry out a project contacting never be the same as a DSLR/
people from as many countries mirrorless, or perhaps what we
as she possibly could, are used to. There was a time
something which carried on for when I was worried that my
months. She says, ‘I felt like I viewers would think that my
was on holiday for an hour standards had dropped. Phone
even though I was sat on my cameras are amazing these days
sofa in the UK. It was brilliant – a lot of people may not be
and it was still being creative. It able to tell the difference
was a great way of getting to between a phone or a camera,
know new people in lots of especially when they are posted
different countries. It’s not just on Instagram.
about the photos themselves –
it’s about the social aspect of ‘I use “standard” mode most
photography. of the time. Sometimes I might
use the wider angle lens, but
‘How it works is that the generally I like to be able to
model needs to download the focus on a model and not have
free app, create an account and too many background
share a unique ID number with distractions. Shooting in
me. I can access the app either people’s homes or rooms is not

60 www.amateurphotographer.co.uk

BEST SMARTPHONES FOR PORTRAIT PHOTOGRAPHY

Almost all modern smartphones offer either a specific portrait Here are three of the best current smartphones on the market for
mode, sometimes it might be called something else such as ‘Live this type of work: the iPhone 13 Pro, the Google Pixel 6 Pro and
Focus’ or ‘Bokeh’ mode. These modes are generally designed to the Samsung Galaxy S22 Ultra – which recently took home the
throw the background out of focus, and sometimes will also Smartphone of the Year award at the AP Awards).
include enhancements to things like brightness and sharpness.
I shot a portrait with equivalent settings using each model.

iPhone 13 Pro Google Pixel 6 Pro Samsung Galaxy S22 Ultra

l From £949 l From £849 l From £1,149

l 3 lenses, including telephoto l 3 lenses, including telephoto l 4 lenses, including two telephotos

l iOS l Android l Android

l Portrait mode l Portrait mode l Portrait mode

With the iPhone 13 Pro (and Max variant, Google’s Pixel range was one of the first to With the S22 Ultra’s dedicated Portrait
which uses the same camera setup), you create truly impressive shallow-depth-of- mode you can use either the 1x or 3x lens,
can use Portrait mode using either the 1x or field-effect images in its Portrait mode. with the wider-angle lens being ideal for
the 3x lens – the former allowing for more keeping some of the background in view.
environmental-type portraits. With the Pixel 6 Pro’s Portrait mode, you
can use either the 1x or the 2x lens to You can experiment with different types of
You can also choose different ‘lighting achieve an environmental-type portrait, or lighting mode, including studio lighting, or
modes’, with the default setting being a more traditional type. removing the background entirely. It’s also
Natural Light. Night mode will also possible to change the intensity of the blur.
automatically activate if low levels of light Portrait mode can combine with low light Night mode will automatically activate
are detected. mode, but you should advise your sitter to should low light be detected.
keep as still as possible for the best and
You don’t have to use Portrait mode for sharpest results. Once again, you can use the standard
your portraits, you can use the standard Photo mode should you wish to. With this
Photo mode if you prefer, giving you the Again here, you don’t need to use the you can use an ultra-wide lens, or 1x, 3x
option to use any of the three lenses Portrait mode, you can instead use the or 10x lenses. The 1x and 3x lens deliver
available. You might prefer to do this if you standard ‘Camera’ option, which will also the best results.
want to make more of the background than give you access to the super-wideangle
might be blurred out with the specific lens, and won’t blur out the background. Raw format shooting can be activated in
portrait mode. Raw format shooting is You can also shoot in raw format when Photo mode, and there’s also an option to
available in the standard Photo mode. in the standard Camera mode which can use ultra-high resolution 108-million-pixel
also be useful. mode, if you’re looking for maximum detail.

The iPhone gives the best overall results A great result, if ever so slightly cool Another good result, but slightly distorted

www.amateurphotographer.co.uk 61

Technique EDITING MASTERS

Diana Kenyeres

Welcome to our new series where photo-editing and retouching experts
share their tips and best practice. Pro portrait photographer and retoucher
Diana Kenyeres starts things off by walking us through her workflow

A lthough Diana has ‘only’ been a portrait photographer Photoshop, not even Lightroom,’ she adds. ‘I didn’t understand
since September 2019, she has already built a solid layers or masking or anything else much at the beginning, but
reputation; indeed, her stunning image of model Astrid persevered. Photoshop can be scary at the beginning but once you
graced the cover of our 28 May issue. ‘I first got into understand the basics you start to love it.’
photography when working for a building company as they
asked me to shoot interiors,’ Diana recalls. ‘But I was much more Diana uses both natural light and studio lights, but one of her
interested in being a portrait photographer!’ favourite tools is a handheld LED light stick. ‘I shoot with a DSLR
with heavy lenses, and as I have an injury, these lightweight sticks
She turned pro in 2020 and used the extended lockdowns to her are great for outdoors.’ When it comes to choosing models, she
advantage, honing her Photoshop retouching skills. Soon after the started with friends but now she only uses pro models, particularly
restrictions ended, Diana began to teach her processes. ‘I only use people who are keen to build up their portfolio.

AFTER Georgina Valentine Valtcheva

Canon EOS 5D Mark IV, Sigma 35mm Art f/1.4
lens, 1/200sec at f/2.8, ISO 250
Instagram: @georginavalentinee

This is one of my favourite edits of Georgina.
Soon after we started to shoot in the park it
started to rain so I had to come up with a quick
solution. I invited Georgina to my house and we
basically did a photoshoot in my kitchen. Set-up
was fairly simple – I used two studio lights from
Amazon, which cost approximately £60 (including
backdrops and stands) along with a small RGB
LED light held closer to her face.

BEFORE

62 www.amateurphotographer.co.uk

Georgina Nodaa

Canon EOS 5D Mark IV, Sigma 35mm Art f/1.4
lens, 1/320sec at f/3.5, ISO 100
Instagram: @georginanodaa

This shot was taken in Primrose Hill in London. It
was a sunny day and the sky was beautiful so I
wanted to capture Georgina from a low angle to
use the sky as backdrop. In order to achieve this,
I had to expose for the sky. I used an RGB LED
light stick to light up her face and keep it sharp.

BEFORE

AFTER

Andreia Correia AFTER DIANA’S TOP TIPS

Canon EOS 5D Mark IV, Canon 85mm 1 Before you go on a
f/1.8 lens, 1/500sec at f/2.8, ISO 100 shoot, get ideas and
Instagram: @andreeia_correeia poses from your
favourite portrait
We met in Hampstead Heath’s pergola photographers and other
garden and I was amazed by Andreia’s artists. Think about the
natural beauty, so when I saw the magnolia kind of poses you favour
tree I thought they would be a perfect before you start with the
match. I used my Yongnuo light stick to model, so you can give
light up her face and get a sharp shot, as them as much guidance
the light was not great that day. as possible.

BEFORE 2 I always tell my
models to come in
clothes they feel
comfortable in, as they
will be more relaxed
during the shoot.

3Always explore
different angles –
don’t get stuck to one
spot. Move in and out,
closer, further away.
Focus on making your
shoots by more creative
by using props, trying
different hairstyles, etc.
A studio lighting course
is a good idea, too.

www.amateurphotographer.co.uk 63

Technique EDITING MASTERS

Diana’s editing process in more detail

‘I always break down my workflow to four different parts – skin Then I will open the image in Photoshop. With Photoshop
retouch, colour grading, makeup enhancement and stylisation,’ open, the first task was to crop the image in a 4:5 ratio for
Diana explains. ‘I begin the process by opening up the image in Instagram. I filled the canvas on the left side by using Content
Adobe Camera Raw and doing some basic light adjustments. Aware Fill and clone stamp.

1) Skin retouching 2) Colour grading

On the first layer I did a general clean-up, including skin blemish Moving on, I used the HSL (Hue, Saturation, Luminance) tools to
removal using the Photoshop Healing Brush tool. On a merged layer, desaturate the yellows and greens in the background, change the
I added some extra texture to the skin on her face via Camera Raw > colour of the model’s top to yellow, and tone down the reds in the
texture slider. Then I applied a small amount of frequency separation skin. I then used the Colour Balance tool to add a tint to the
to speed up the dodging and burning, using Noise > Median and midtones, and cyans and blues to the highlights in order to match the
applied with the mixer brush tool (dodge and burn is used for local scenery. In Camera Raw, I then desaturated the background even
and global adjustments to even out the lighting on the model’s skin). more, added tint to it and further desaturated the yellows in her top
Then I smoothed the skin using an inverted merged layer, applying via the HSL tools to blend better with the overall image. I then used
High Pass and Gaussian Blur to the layer. subject selection in Camera Raw to boost the exposure and the
whites to make the model ‘pop.’

3) Make-up enhancement 4) Stylisation

Using a normal blending mode and a hard round brush, I filled in the For the final step, I liquefied the model’s hair and enlarged some of
gaps in the eyebrows and gave them a fuller look. Then, on a new the magnolias. I added a white gradient fill to the left side of the
layer, I switched to colour dodge blending mode, and used the image to create an incoming light, and lowered the opacity to make it
eyedropper tool to pick the colour of her eyelid in order to enhance it look more natural. On a new layer I used colour dodge blending mode
and make the eyes look bigger. Opening a new layer, I then used a and white colour to create a glow on the highlights on the magnolias
soft light blending mode to contour the model’s face, using the in the background. With the soft light blending mode I made her hair
colours I picked from her skin. This is how I dodge and burn across slightly darker so it contoured her face better. Via Camera Raw I
the image. I further enhanced the catchlight in her iris by using added a vignette, excluding the left side of the image where the light
normal blending mode/white colour, blended by separating the comes in. On a new layer I picked the colour of the magnolias and by
underlying layer sliders. The Curves tool enhanced the reflected light using colour dodge blending mode I painted few light flares to the
in the model’s eyes. I used a HSL layer to further whiten the eyes and background. Finally, I used a levels adjustment layer to make the
then enhanced the highlights on her skin via a Curves layer. image brighter and shinier.

64 www.amateurphotographer.co.uk

www.amateurphotographer.co.uk 65

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ADVERTISEMENT FEATURE

Portrait master

Celebrity shooter GregGorman tells AP why he uses Rotolight's
award-winning lighting to illuminate his world-famous subjects

F rom Ali to Bowie, Keanu to
Pacino, Greg Gorman has
photographed pretty much
everyone in the worlds
of entertainment, art, sport and
music. Over a long career his work
has graced the pages and covers of
the likes of Time, LIFE, Vogue, Rolling
Stone, GQ, Esquire and Vanity Fair.
For the past few years Greg’s lighting
of choice has been Rotolight, a
brand he discovered during a photo
shoot in Canada.

‘I was in Toronto working on a
project, and had been using big,
heavy focusable strobe lights that
were hard to travel with,’ he recalls.
‘One free afternoon I went to visit a
camera store and said “show me
what you’ve got in high-end LED
continuous lights.” They showed me
a few of the options, including the
Rotolight. This was in the early days
– the company was just getting
going. I thought they were pretty
good and bought myself the first
Anova. In the beginning there

wasn’t a lot of power behind the calibrate each and every light, even
lights, but the colour temperature their cheapest ones, it really says a
was always great. And I’ve just lot for the company. I’ve had almost
watched them improve with every every LED lighting brand virtually
new iteration.’ throwing their lights at me, asking
me to try them out, and I think
Greg recalls an incident early on in “you know what, I’m so happy
his relationship with Rotolight that with my Rotolights and the results
really impressed him. ‘I was in they give me, and they have been
London and went to visit their HQ such a great company to work with,
at Pinewood Studios, and there was that I have no reason to even look at
a guy literally sitting in a closet, any other lights.”
hand-calibrating every single NEO,
which is their little portable light. Greg can’t speak highly enough of
And I thought that if Rotolight takes the new AEOS 2 and NEO 3, which
this much time to personally were launched earlier this year. ‘They

68

IN ASSOCIATION WITH

Images, clockwise
from far left:

Grace Jones, shot
in Jamaica for her
book cover. Lit
with natural light
and an Anova 2

Perrine Pletsch,
shot at a winery
in the Dolomites.
Lit with two
AEOS 2 units

Andy Garcia, for
the cover of Cigar
Aficionado. Lit
with an Anova 2

A personal shoot
with Austrian
photographer and
artist, Kibo. Lit by
an Anova 2

Actor James
Paxton, son of Bill,
shot in Greg's
studio using a
Titan X1

www.amateurphotographer.co.uk came out with the Titan X1 and X2,
which are terrific studio lights but
heavy and burdensome to take on
the road, and now with the new
AEOS 2 and NEO 3 lights you’ve got
everything you need rolled into a
really lightweight, transportable and
affordable lighting solution. The
colour temperature is great, the
portability is fantastic, and with the
new accessories they have added,
like the dome diffusers, the light
output is amazing.’

Greg now spends much of his time
teaching his skills in workshops – he
had just returned from teaching two
back-to-back workshops in the
Dolomites when we caught up with
him – and feels that continuous LED
lighting makes it easier for
newcomers to understand light.

‘I grew up with analogue
photography and learning about
colour temperature, and with these
lights you can dial in a specific
colour temperature if you want to,
but it isn’t necessary. I don’t really
care if I’m shooting in daylight,
or window light, or diffused

69

ADVERTISEMENT FEATURE

Greg at work (far left) photographing Greg’s kit
music legend Quincy Jones for a
Maybach ad, using an Anova 2 light In addition to his
Rotolight Titan,
AEOS and NEO
lighting, Greg now
shoots almost
exclusively using a
Fujifilm GFX100S.
‘It’s the first medium format camera
I’ve found that really fits the bill,’ he
says. ‘This may surprise you but I
generally shoot at around ISO 3200
as a default, and I find the results
are pretty magnificent. I prefer my
pictures to look more like they were
shot on film than to have that clinical
digital “crunch” look. Film was never
that precise. I find that at ISO 3200
it’s still very sharp but that little bit
of texture in the pixels more closely
resembles the film look, and the level
of detail I can pull out of my shadows,
and the amount of highlights I can
bring back should, God forbid, they
be a bit blown, is quite extraordinary.
The latitude of that camera is insane.
I generally shoot at about 1/160th
second at around f/8-11. And I can
pretty much dial that in by eye.'

‘The company has come so far, so quickly, that
it’s quite extraordinary,’ – Greg Gorman

late afternoon light, I can pretty lighting solutions company. And
much just dial those lights in their lights are exceptional. People
by eye to what looks right, visually. who know me and have endorsed
‘I rarely ever shoot flash, now. The me will know that I always say what
combination of natural light, my I believe and don’t give a s*** about
Rotolights, and my California my sponsorship. I was sponsored for
Sunbounce reflectors give me many years by Canon and when I
everything that I could want in refused to work with their printers
almost any kind of lighting because I preferred Epson for my
situation. I occasionally get into printing, Canon didn’t feel I should
situations where I need flash, and of still be sponsored by them. And
course the Rotolights also flash as I said, “That’s fine with me, I’m a
well, though not at as high an photographer first and foremost. I
output. If I need more-powerful flash don’t endorse anything that I don’t
for whatever reason, I go to those believe in 100%.”’
– every light source has its • To see more of Greg’s work and find
limitations. But for most people,
who don’t need enormous power, out more about his workshops visit
the Rotolights are very sophisticated
in everything they do.’ www.gormanphotography.com
Greg is now a Rotolight
ambassador, but it is important to The Rotolight NEO 3
stress that he became one because he (left) and AEOS 2
already used and loved the lights, with dome diffuser
not the other way around.
‘I’m not just saying all of this US actress and model Mitzi Martin photographed in Greg's
because Rotolight sponsors me,’ he studio in LA using Rotolight's Titan X1 light
insists. ‘I’m saying it because I truly
believe in them. I like that it’s a
small, family-owned business, but
also that they’re so progressive as a

70 www.amateurphotographer.co.uk

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Testbench CAMERA TEST

At a glance

£2,499 body only

l 26.1MP APS-C stacked CMOS sensor
l ISO 80-51,200 (extended)
l 40 frames per second shooting
l 6K 30p video recording
l 5.76m-dot viewfinder
l 3in fully articulated touchscreen
l 5-axis in-body stabilisation

Fujifilm X-H2S

This pro-spec, high-speed flagship is designed to tempt
users of high-end APS-C DSLRs into the Fujifilm fold.
Andy Westlake puts it through its paces

For and against Data file F our years ago, Fujifilm newcomer also gains Fujifilm’s
launched the X-H1, its first AI-based subject-recognition
Super-fast shooting and Sensor 26.2MP CMOS, 23.5 x 15.6mm first camera to feature system for autofocus tracking.
responsive operation in-body stabilisation.
Output size 6240 x 4160 While it was a capable performer, Without doubt, the X-H2S is the
Great image quality in both it was eclipsed just six months most ambitious APS-C camera
JPEG and raw Focal length mag 1.5x later by the appearance of the we’ve yet seen. It’s clearly trying
X-T3, which debuted a new to tempt photographers currently
Effective subject-recognition Lens mount Fujifilm X 26.2MP sensor offering improved using high-end DSLRs such as
autofocus image quality, while also being the Canon EOS 7D Mark II or
Shutter speeds 15min – 1/8000sec (mechanical), smaller and more charismatic. Nikon D500, who appreciate the
Robust, weather-sealed build 15min – 1/32,000sec (electronic) The firm has been determined advantages the smaller format
quality not to make the same mistake has to offer but don’t see a
Sensitivity ISO 160-12,800 (standard), again, and the new X-H2S is a suitable mirrorless successor in
Highly customisable very different proposition. those firms’ current line-ups. Even
operation ISO 80-51,200 (extended) Canon’s impressively speced EOS
Instead, this is a pro-spec R7 is a significant step down in
Excellent viewfinder and Exposure modes PASM, Movie, 7x Custom model designed for shooting terms of speed and build quality.
screen sports and action, that’s a clear
Metering Multi, spot, average, centre- step above the previous flagship It’ll come as no surprise to hear
Occasionally unresponsive X-T4. It introduces the firm’s that this technology comes with a
touchscreen weighted latest sensor, which is still hefty price tag. At £2,500
26.2MP in resolution, but now body-only, the X-H2S costs more
Expensive for an APS-C model Exposure comp +/-5 EV in 0.3EV steps employs stacked technology for than such impressive full-frame
rapid shooting at up to 40 frames all-rounders as the Canon EOS
Continuous 40fps (electronic shutter), per second. In addition, the R6 and the Sony Alpha 7 IV, both
shooting 15fps (mechanical shutter) of which are £2,400 body-only.

Screen 3in, 1.62m-dot touchscreen

Viewfinder 5.76m-dot, 0.8x magnification

ALL PRICES ARE APPROXIMATE STREET PRICES AF points 117 or 425

Video 6.2K 30fps, 4K 120fps

External mic 3.5mm stereo

Memory card CFexpress Type B, UHS-II SD

Power NP-W235, up to 720 shots

Dimensions 135.3x92.9x84.6mm

Weight 660g

72 www.amateurphotographer.co.uk

Rapid shooting with continuous
autofocus makes the X-H2S

ideal for fast-moving subjects
Fujifilm X-H2S, XF150-600mm f/5.6-8 at 600mm,

1/2000sec at f/8, ISO 2000

However, neither can match the available when using Auto ISO. models, the X-H2S can also looks. These range from the
X-H2S’s sheer speed. Another The headline 40fps shooting is detect and focus on human faces Velvia mode that’s a favourite for
alternative is the excellent OM and eyes. Thanks to the sensor’s landscapes, through to the more
System OM-1, with is even faster available in full resolution raw rapid 120fps readout speed, the muted ProNeg options that are
but uses a smaller 20MP Four when using the silent electronic camera can also take autofocus great for portraits. Meanwhile
Thirds sensor, for £2,000. As a shutter, complete with autofocus readings more frequently, monochrome lovers should
result, the X-H2S promises a and autoexposure tracking, and promising greater accuracy. appreciate the Acros mode.
unique combination of speed and with a 140-frame buffer. Switch to
image quality for the price. the mechanical shutter, and it’ll Another key feature is 5-axis Video specs are just as
keep shooting at 15fps until in-body stabilisation that’s rated advanced. The camera is capable
Features either the power or card space for 7 stops of shake reduction, of internal recording in 6.2K
Let’s take a closer look at the runs out. No other APS-C or and which works in co-operation resolution at 30fps, 4K at
X-H2S’s main specs. Its new full-frame model can match this, with optically stabilised lenses. 120fps, or Full HD at 240fps; all
26.2MP stacked sensor is and while the OM-1 shoots even Unlike the firm’s GFX models, the with 4:2:2 10-bit colour. It can
designated X-Trans CMOS 5 HS. faster, it won’t keep going for as IBIS system doesn’t support a output either ProRes or BMD raw
As the name suggests, it uses long. The stacked CMOS sensor high-resolution multi-shot mode, to an external recorder, via its
the firm’s unique X-Trans colour design promises to minimise any but that’s not surprising with a full-size HDMI port. Subject-
filter array which is designed to rolling shutter distortion. camera that’s much more detection AF is available during
suppress colour moiré. Paired focused towards sports and video recording, and Flog2 output
with Fujifilm’s X-Processor 5, it Turning our attention to action shooting. Additional promises 14 stops of dynamic
offers a standard sensitivity autofocus, Fujifilm’s new AI electronic stabilisation is on offer range. Fujifilm also claims that
range of ISO 160-12,800, which subject detection can recognise for video shooting. the X-H2S can keep recording for
is extendable to ISO 80-51,200. and focus specifically on animals, an extended time of up to
It’s worth noting that the birds, cars, motorbikes, airplanes, Fujifilm’s excellent Film 4 hours at 25 °C.
expanded settings aren’t or trains, with subject selection Simulation modes are on board
available via the onscreen quick for in-camera colour processing, To avoid over-heating and
menu. Like Fujifilm’s previous providing an array of attractive enable extended recording

www.amateurphotographer.co.uk 73

MODEL: ASTRID FLINT. THANKS TO VIEWSONIC AND UK SHOOTERS Face and eye detection is
especially handy when your
subject is off centre
Fujifilm X-H2S, 16-55mm f/2.8 at 32mm,
1/75sec at f/2.8, ISO 320

at higher ambient scheme. It boasts twin control R LM OIS WR. The key controls aids such as gridlines and a
temperatures, the add-on dials for changing exposure all fall nicely to hand, and once dual-axis electronic level are
FAN-001 cooling fan is available settings, a conventional exposure you’ve got a feel for where available, with the latter toggled
for £169. This simply bolts onto mode dial, an AF-area joystick, everything lies, it’s quick and on or off via a button on the front.
the back via two large screws, so and a large monochrome efficient to operate. Indeed, There’s also a Natural Live View
you don’t have to put up with the top-plate LCD showing key current DSLR users should feel option, which switches off all the
added bulk all the time. However, settings. Other buttons are right at home. However, I must processing to provide an
once it’s installed the screen dedicated to AF mode, ISO, and admit I found it a little soulless experience more akin to using an
can’t fold in, and is left sticking white balance, while the Q button compared to the X-T4’s beguiling optical viewfinder. For movie
awkwardly out the side until you brings up a customisable array of analogue dials and makers, a Log Assist option aids
take the cooling unit off again. on-screen quick menu for setting switches, which brings a more when shooting with a flat log
When it comes to connectivity, everything else. engaging shooting experience. profile, showing a more natural
Bluetooth and Wi-Fi are both built But that’s a very subjective rendition of the scene. Either of
in. As usual, you can connect the One of the advantages of this opinion. these modes can be toggled on
camera to your phone and approach is that it allows much or off using a function button.
transfer images across for further greater customisability of the Viewfinder and screen
editing or sharing. You can also camera to suit different users or While the X-T4 provided a superb Fujifilm’s film simulations give
use your phone as a remote shooting scenarios, both stills viewing experience, the X-H2S lovely colours direct from the
control, complete with a live view and video. Almost every button goes a step further. Fujifilm has camera. This is the Astia mode
feed and the ability to change the and dial can be customised, and equipped it with an electronic Fujifilm X-H2S, XF16-55mm f/2.8 at 37mm,
most important shooting no fewer than seven set-ups can viewfinder that offers 5.76m-dot 1/170sec at f/8, ISO 160
settings. There’s also a simple be assigned to C positions on the resolution, 0.8x magnification
shutter release option via mode dial to cover different and up to 120fps refresh rate.
Bluetooth, which is really handy shooting scenarios, either for It’s one of the best viewfinders
yet surprisingly uncommon. stills or video. These set-ups can I’ve used, providing a bright, clear
even be given meaningful names, view right into the corners of the
Build and handling although they’re only displayed frame. It’s only surpassed by the
One area where the X-H2S stands when you press the Q button. 9.4m-dot, 0.9x unit found in the
out in Fujifilm’s range lies with its much more expensive Sony Alpha
control layout. As it’s aiming to In your hand, the X-H2S is 1 and A7S III.
attract users of high-end APS-C certainly a robust-feeling camera,
DSLRs, it’s designed to look with its large, comfortable By default, Fujifilm previews
approachable and familiar to handgrip and weather-sealed colour processing live in the
current Canon and Nikon users. magnesium-alloy construction. It’s viewfinder, along with exposure
So, rather than use analogue not actually much larger than the across a +/-3 EV range.
dials and switches like its X-T4, but the deep grip provides Half-press the shutter button and
predecessor, the X-H2S employs more secure handling with larger the aperture stops down to its
a purely electronic control telephoto lenses such as the XF set value, previewing depth of
100-400mm F4.5-5.6 R LM OIS field. As usual, compositional
WR or the XF 150-600mm F5.6-8

74 www.amateurphotographer.co.uk

CAMERA TEST Testbench

Fujifilm also offers a uniquely and accurate focus, wherever the Focal points
useful array of boost options. subject might be in the frame.
These allow you to prioritise the Fujifilm has based the X-H2S around electronic
live view feed for resolution, Clearly, though, with the X-H2S dials and customisable buttons
low-light performance, battery we’re really interested in how well
economy, or a high frame rate to Fujifilm’s new subject-detection Connectors Battery Add-on fan
render fast motion smoothly. system works. This enables the
Crucially, these modes are made camera to recognise and Headphone, microphone, Fujifilm’s NP-W235 An optional cooling
easy to access by pressing the autofocus on animals, birds, cars, USB-C and full-size HDMI battery is shared with fan bolts onto the back
‘down’ key of the d-pad, unlike on motorbikes, airplanes, or trains. ports are found on the the X-T4, GFX100S and for longer video
other cameras, which generally It’s one of those features where, left side. There’s also a GFX50S II. It promises recording times at high
require a trip into the menus. if you haven’t tried it, you’ll 2.5mm remote release 390 shots per charge ambient temperatures.
They can also be specified within probably wonder what all the fuss port on the handgrip, when using the EVF, or It costs £169.
custom shooting memories. is about. Then, once you’ve used and a flash PC sync port up to 720 shots with the
it for fast-moving action, you may on the front. LCD in ECO mode.
The rear screen is excellent, decide you can’t live without it.
too. It’s a 3in, 1.62m-dot Storage
touchscreen of the side-hinged, Subject recognition is controlled
fully articulated type. It can be from its own section of the Q The X-H2S employs a
set to face in almost any Menu, separately from (human) CFexpress Type B card
direction, which means it’s great face and eye detection. However, slot alongside one for
for overhead or ground-level the two are mutually exclusive; UHS-II SD. They can be
shooting, in both portrait and engage one, and the camera used simultaneously or
landscape format. Personally, I turns off the other. You can sequentially, or you can
still prefer the X-H1’s triple-hinged specify whereabouts in the frame record raw to the
design for shooting stills, as it’s the camera should start looking CFexpress and JPEG/
quicker to use and stays in-line for a subject using the joystick, HEIF to SD.
with the lens. But the advantage even when using the wide/
of the X-H2S’s screen in tracking AF area mode. If there 84.6 mm
comparison is that it can be set are multiple possible subjects in
facing forwards for self-recording. the frame, you can (in principle) Vertical grip Top LCD
select between them in the same
Autofocus way, although this isn’t always The matched VG-XH vertical grip This panel shows exposure settings at a
When it comes to ‘conventional’ practical in rapidly changing (£399) includes a duplicate set of
autofocusing, the X-H2S performs situations. controls for portrait-format shooting. glance when the camera is turned on,
extremely well. There’s a choice It also holds two more batteries,
between either 117 selectable Once the camera finds a effectively tripling the camera’s and the remaining card space when it’s
focus points in an 13x19 grid, or subject of the selected type, it’ll stamina.
425 in a 25x17 array. The latter outline it in green in the switched off.
is naturally more precise in terms viewfinder and then proceed to
of where focus can be set, but follow it around the frame. The
slower to navigate. A combination system is sufficiently smart to
of on-sensor phase detection and attempt to focus on the most
contrast detection results in fast important part of a subject,
outlining increasingly
specific sections as they

92.9 mm

135.3 mm

www.amateurphotographer.co.uk 75

become larger and clearer. just that bit faster and nimbler Fujifilm’s in-body stabilisation The camera had no problem
With an animal, this will be than its peers. It starts up almost works well, and I was able to get tracking focus on this stunt
the body, then the head, and immediately when you flick the sharp images handheld at shutter motorcyclist
finally an eye; with a plane, it’ll be power switch, and then responds speeds as slow as 0.6sec when Fujifilm X-H2S, XF 50-140mm f/2.8 at 140mm,
the nose. If no subject of the instantly to all the physical using the 16-55mm f/2.8 zoom 1/2500sec at f/3.2, ISO 160
specified type is detected, the controls. The only time it ever at wideangle. This is on a par
camera will revert to conventional feels laggy is when trying to with cameras like the Sony Alpha prepared for the camera to lock
AF tracking based on colour, operate the Q Menu by touch; on 7 IV, although it’s some way off up for a painfully long time as it
pattern, and distance, which also several occasions I found myself class-leading Micro Four Thirds clears the buffer. I saw no
works well. tapping away at the touchscreen models such as the Panasonic obvious disadvantage to shooting
I found subject detection did a and getting no response for GH6 and OM System OM-1. More with the electronic shutter in
good job of identifying cars, birds, second or two. But otherwise, it’s to the point, it means that your terms of rolling shutter distortion.
or animals reliably even when every bit as slick and refined as a handheld images shouldn’t be
they’re distant and small in the professional model should be. affected by camera shake in One oddity is that by default,
frame, and then following them most situations, with subject the exposure is fixed at the start
accurately. It’s not foolproof, It’s also very quiet. The motion blur more likely to be a of a burst. This can be a problem
though. With low-contrast mechanical shutter operates with problem. At the other extreme of shooting outdoors on sunny days
subjects the camera has a just a soft clack, while the the focal-length range, a when the subject may be moving
certain tendency to shift focus electronic shutter is inherently combination of effective rapidly between light and shade.
onto the background, especially if silent. The camera allows you to stabilisation and the extra reach To get the camera to continuously
it’s detailed and close to the play a pre-recorded shutter sound afforded by APS-C means you can adjust exposure between frames
subject (such as with a bird to provide audible feedback that easily handhold long telephoto requires navigating the menus to
perched in a tree). Using the you’re actually taking pictures, zooms such as the 100-400mm find the ‘Shutter AE’ setting, and
default settings, the system also which can be especially useful f/4.5-5.6 and 150-600mm then setting it to ‘Off’.
seems to be quite easily during burst shooting. f/5.6-8, with the latter giving a
distracted when the subject remarkable 900mm equivalent. Raw image quality is every bit
disappears briefly behind an Fujifilm’s metering and auto as good as we’d expect. Older
obstacle, although in principle, white balance are both reliably In my tests, the camera stacked sensors perhaps lacked
this could be addressed using excellent, and usually only need matched its specified continuous a little in terms of dynamic range
the AF-C custom settings menu. to be adjusted for creative shooting speeds, shooting in raw compared to their conventional
My overall impression is of a purposes. The viewfinder also at 40fps for 140 frames before it counterparts, but that’s no longer
system that’s not quite as gives a very accurate preview of started to stutter. Drop the frame really the case. There’s scope to
reliable out of the box as those how the finished image will look, rate to 15fps, and it’ll keep on boost shadow detail in the
from Sony or Canon, but which is which makes it particularly easy going indefinitely. You’ll need to X-H2S’s raw files by at least four
still likely to give better results to judge how much exposure use a CFexpress card to achieve stops before noise becomes at
than simple AF tracking. compensation you may need to this, though, and not surprisingly all problematic. It’s perhaps not
apply to achieve a desired effect. the performance drops with an quite up with the best full-frame
Performance The Film Simulation modes give SD card. If you make the mistake, cameras, but it should be more
Like other cameras with stacked as attractive colour as always – I as I did, of inserting a UHS-I card than sufficient for most
sensors, the X-H2S is noticeably left the camera set to Astia/Soft and inadvertently directing a real-world purposes.
by default, switching to the other high-speed burst to it, be
Here, Classic Chrome mode options for specific looks.
gave a suitably vintage look
Fujifilm X-H2S, XF16-55mm f/2.8 at 41mm,
1/60sec at f/5.6, ISO 400

76 www.amateurphotographer.co.uk

CAMERA TEST Testbench

Verdict

GOLD

ISO and noise FUJIFILM is the only company that’s taking
APS-C mirrorless seriously at the moment,
In terms of image quality, the X-H2S behaves in much the same way as in terms of both camera design and lens
its 26.2MP siblings. It delivers clean, detailed files at lower sensitivities range. With the X-H2S it’s really driven this
up to about ISO 800, with a little luminance noise then appearing when point home, creating a high-performance,
you crank it up to ISO 1600. Even so, I’d still be perfectly happy to pro-spec model that’s especially suitable
shoot at ISO 6400, with the top standard ISO 12,800 setting also for sports, wildlife, and action shooting.
being acceptable when lighting conditions are poor. However, the Crucially, it’s backed up by a sizeable range
extended ISO 25,600 and ISO 51,200 options aren’t great. If you don’t of top-notch lenses.
The crops shown below are taken have to make large tonal adjustments, you’ll get pretty much as good
from the area outlined above in red results from JPEGs as from raw files. Indeed, perhaps the real attraction of the
X-H2S becomes clear when you use it with
RAW ISO 160 RAW ISO 1600 RAW ISO 6400 long tele lenses such as the 100-400mm
f/4.5-5.6 or the new 150-600mm f/5.6-8.
RAW ISO 12,800 RAW ISO 25,600 RAW ISO 51,200 You get breathtaking shooting speeds in a
relatively lightweight package that’s easy to
use handheld, and which offers impressive
reach at a much lower price than a
comparable full-frame kit. And while you
may well not need 40fps very often, it’s an
impressive option to have available.

Naturally Fujifilm users may be tempted
to wait for a more affordable X-T5, on the
assumption it’ll inherit the same sensor.
But I’m not convinced that’s a certainty this
time. Notably, we haven’t seen stacked
sensors trickle down to more affordable
models in Sony’s line-up, since one first
appeared in the original Alpha 9.

You can’t, of course, ignore the price. The
X-H2S is without doubt the most capable
APS-C camera yet made, but at £2,499
body-only, it’s also one of the most
expensive. This simply reflects the fact that
the added complexity of stacked sensors
makes them more expensive. If you want
the extra speed and performance, you’ve
got to pay for it. In the full-frame world, that
would mean shelling out £4,200 on the
Sony Alpha 9 II. So the X-H2S is arguably
cheap for what it offers. It’s a sensational
camera that offers remarkable performance
in a smaller and more affordable package
than its full-frame competitors.

FEATURES 9/10
BUILD & HANDLING 9/10
METERING 9/10
AUTOFOCUS 9/10
AWB & COLOUR 10/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 9/10
VIEWFINDER/LCD 9/10

www.amateurphotographer.co.uk 77

Technique LENS TIPS FOR VIDEO

What makes a
great lens
for video?

Cameras are important, but the right glass is
critical to capturing great video footage…

T oday’s cameras enable us to shoot creative by allowing you to reduce the
and record the kind of high-res depth of field in your frame. The truth is
video footage that was only a though that not every lens is up to the job,
dream 10-15 years ago. Even more so it’s worth spending some time
modest cameras offer 4K features these researching what optics are preferable for
days, meaning you can capture the world use when capturing video. What features
in detail. However, the camera is only half should you look out for, what key
of the equation. Without a decent lens, components should these optics include,
it’s all for nothing, and you could return and what lenses should you avoid? This
home and find you’ve still ended up with latest article on the basics of video
disappointing footage. recording for stills photographers will
answer all these questions, and more.
A great lens for video should be able to
work well with your camera’s autofocus Module 6 in this series will be in AP’s September 2022
system to keep subjects sharp; it should Premium issue.
also offer you the ability to get more

Fujifilm’s high-quality lenses are KEY FEATURES OF A LENS
often a great option for video
Declicked aperture ring

As the name suggests, an aperture control
ring enables users to change the aperture
setting via the ring on the lens, rather than
needing to fiddle about with the camera body
dials or menu. This is important because
when you are capturing footage you’ll be
using a set shutter speed, such as
1/100sec, so to balance an exposure level,
you’ll want to adjust the aperture instead
(although you can also use ISO and ND filters
to balance exposure). Some aperture rings
are ‘clicked’ meaning you feel a physical click
or step as you turn the ring. It’s more
advantageous for a video-friendly lens to have
a declicked aperture ring, that will turn freely
without resistance, allowing you to balance
the exposure more easily.

78 www.amateurphotographer.co.uk

IN ASSOCIATION WITH FUJIFILM AND

Do your research before buying
and a lens you use for stills can
work well for video recording too

FOR VIDEO SHOOTING

Stabilisation Wide focus ring

Shaky footage is no good to anybody and When filming scenes with a shallow depth of
while there are other options to stabilise your field, you’ll sometimes want to take more
video, using a lens with In-Body Image control over the focusing system and instead
Stabilisation (IBIS) inside the camera body or switch to Manual Focus (MF). In these
using a lens with Image Stabilisation (IS) scenarios, you want to have as much physical
technology makes it a lot easier to keep control over the lens as possible. So avoid
things steady. Most IS-enabled lenses enable lenses with impossibly thin focus rings that
you to switch the stabilisation off and on, are tricky to handle and get precise control
giving even more control. For the ultimate in over. Instead, look out for optics with a big,
stabilisation, pairing an IS lens with a camera wide focus ring that you can get a good hold
body with IBIS will extend the compensation of. Better still, focus rings with a pronounced
limits. Another option is to use a gimbal so rubberised texture will further strengthen your
you can move around while keeping the hold and prevent your fingers from slipping off
camera steady, but getting the camera or lens the focus ring. Check out the handling before
to beat the shakes via image stabilisation is you buy – trying out the lens if possible if you
often more convenient. are buying from a dealer.

www.amateurphotographer.co.uk 79

Technique LENS TIPS FOR VIDEO

Lightweight Enhanced coating Take care
dimensions of your
To mix up your footage, you’ll more than likely want to lenses
Bulky optics are fine shoot a lot of contre-jour shots (when you shoot into
for capturing the light to capture backlit subjects). These high- Lenses are
footage, as long as contrast lighting situations can flummox inferior
you are happy to lenses and produce huge amounts of flare and essential items of
lock off the camera specular highlights. When looking for a lens that you
on a tripod, but this can use for stills and video, make sure it has a decent kit so it’s well worth
delivers static and level of coating to protect against these issues.
uneventful footage. taking the time to
If you are going to
capture motion by look after them.
using the camera on
a gimbal or other Here are a few
device then you
want to reduce the accessories that
load on the gimbal
motors, and this can help
means using a
lightweight and UV filters
compact lens.
Pancake optics such as Fujifilm’s XF27mm F2.8 R WR Also known as lens cap
lens not only measures a mere 62x23mm, but tips filters, these accessories
the scales at only 84 grams, making it a perfect screw on the front of your
choice for those videographers wishing to pair their lens. They don’t stop or
camera with a gimbal, such as the DJI Ronin RS2. reduce the amount of light
that’s able to pass
Fast maximum Mid telephoto through to the sensor, but
aperture focal length they do protect the front
element of your lens from
For those beautiful, One common mistake being scratched or
shallow-depth-of-field shots many photographers knocked. UV filters are
that add a heavy layer of make when moving relatively cheap and much
cinematic class to your into video for the first more affordable than the
footage, you’ll need a lens time is to select a cost of replacing that front
that offers a fast maximum lens that’s too wide. element.
aperture. Regular kit lenses often Of course, there will
have a variable aperture so at be times when a Cleaning cloth
best, you may be able to use f/3.5, wider angle view will
but if you zoom in, you’re more likely to be stuck with suit the scene, but going Every videographer should
a maximum aperture of f/5.6, which won’t give you too wide all the time can leave subjects in the frame always pack a cleaning
the shallow depth of field you’re looking for. Instead, looking too small and generally lost. A mid telephoto cloth in their kit bags –
look for lenses with a maximum aperture of f/2.8 or focal length such as 50mm is a great place to start, eventually dust and muck
faster, which will help create this arty shallow depth of as this is said to be similar to the natural perspective will find its way onto the
field, making scenes look much more cinematic. of the human eye. front of your lens or UV
filter. However, don’t just
Rapid AF Familiar filter grab any cloth or your
motor thread size T-shirt. Instead, use a
quality microfibre cloth
Picking a lens with the ND filters can prove that is made precisely for
right motor system is useful when shooting this job.
crucial when selecting a video as well as stills.
video-friendly optic. With your shutter Lens wrench
Sluggish motor systems speed locked in at
will not only struggle to 1/50sec or 1/100sec, Ever used a filter when
keep up with a moving it can be easy to shooting video and
subject in the frame, overexpose a frame, struggled to remove it?
but they will also particularly if you wish to Don’t worry, there’s a
create ‘lens hum’, employ a fast aperture like f/1.4 to create special tool for this and
which can be picked a shallow depth of field. A video-friendly lens with a it’s called a lens wrench.
up on your microphone and familiar filter thread size (such as 67mm, 72mm or They’re affordable, and will
ruin your audio. By contrast, a lens with a fast, 77mm) will mean you probably already have a ND filter quickly remove a stuck
modern motor system will be quiet, swift and (whether it be a screw-on or via a filter holder) that you filter. Using brute force
accurate, helping ensuring your footage is usable. can use to balance your exposure level. sometimes works, but you
really don’t want to
damage the filter or, god
forbid, your lens.

80 www.amateurphotographer.co.uk

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Testbench ACCESSORIES

Nitecore Air USB-C
BlowerBaby filter charge

This powerful but pricey cleaning tool Air is drawn in through an The built-in 1500mAH
is put to the test by Andy Westlake interchangeable, battery is recharged via a
USB-C port, with a small
bayonet-fit dust filter. A
finer sensor-cleaning LED to indicate its
filter is available for status.

£12.95.

● £104.95 ● www.nitecore.co.uk

Nitecore launched the BlowerBaby with the grand Nozzle Brushes Recommended
claim that it’s ‘the first electronic photography
ALL PRICES ARE APPROXIMATE STREET PRICES blower in the world’. Essentially, it’s a motorised air The yellow blower nozzle is Buy the optional
blower for cleaning your camera kit, that draws in constructed from soft silicone Camera Cleaning Pen,
air through a large circular fine-mesh filter to and you get two brushes
remove any dust, and then blows it out through a to prevent any damage to
soft silicone nozzle. It costs £105, which sounds your kit. that push into the
crazy when you consider that manual bulb blowers nozzle.
can be bought for a fraction of the cost. At a glance
ALSO IN THE RANGE
Nitecore does at least offer an explanation for ● High-power air blower Nitecore’s camera care range also
why you might buy such a device. The firm claims ● Incorporates dust filter includes sensor cleaning fluid and
that it generates an impressive wind speed of ● USB-C rechargeable swabs, for all sensor sizes from Four
about 44mph using the standard air filter, or 31mph ● Accepts add-on brushes Thirds through to medium format.
using the optional sensor cleaning filter (£12.95). It However, the firm is perhaps best
also gives a sustained, directed output, unlike bulb known among photographers for its
blowers which only provide very short bursts, with camera batteries and USB chargers,
somewhat uncertain directional control. which it offers for brands such as
Canon, Nikon, Sony, and Fujifilm.
There’s no denying the build quality. The device is
robustly constructed from aluminium alloy, indeed
it’s probably over-engineered for most users.
Operation is simple enough, via a single yellow
button. You can either hold this button down for as
long as you want the blower to run, or double-tap to
turn the motor on, then tap again to switch it off.

It’s also possible to add some accessories. Buy
the Camera Cleaning Pen (£29.95) and you’ll find
two brushes inside that push into the BlowerBaby’s
nozzle. One is purple and intended for cleaning your
camera, while the yellow one is for lenses, with
softer, longer bristles. You’ll have to remember
which is which, though, because they’re not
marked. Strangely these brushes don’t fit onto the
cleaning pen itself, which just has a carbon felt tip
for cleaning glass.

Put to the practical test, the BlowerBaby does its
job well, blasting loose dust from cameras and
lenses with ease. However, it’s clearly much more
effective at thoroughly cleaning away stubborn dirt
when it has a brush attached. I’d consider the
brushes essential additions and think they really
should come as standard.

Verdict
Nitecore’s BlowerBaby is a great tool for keeping
your cameras and lenses clean. But it’s
impractically expensive, especially if you add the
sensor filter and brushes, which you really need to
get the most from it. I’d like to see the firm offer an
affordably made version in a comprehensive bundle
that doesn’t push you towards buying more extras.

82 www.amateurphotographer.co.uk

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Buying

Guide 111
cameras
listed &
rated

Our comprehensive listing of key camera specifications

Cameras Controls Viewfinder Compact cameras

Cameras come in three types: Entry-level cameras The biggest difference These range from
DSLRs with optical viewfinders, tend to have simple, between DSLRs and small, pocketable
mirrorless models with electronic easy-to-understand mirrorless cameras models to large
viewing, and compact cameras controls, while more is that the latter use bridge-type cameras
with non-interchangeable lenses expensive models add electronic, rather than with long zoom lenses
lots of buttons and optical viewfinders. and SLR-style designs.
dials to give quick Some advanced In this guide, we’re only
access to settings. compact cameras including those with
also have built-in relatively large sensors
electronic viewfinders for high image quality,
to complement their raw format recording
rear LCD screens. and manual controls.

Handgrip Lens mount ALMOST all serious photographers manufacturers offer a range of
prefer to use cameras with options, from simple, relatively
DSLRs traditionally Each camera brand interchangeable lenses, as this inexpensive beginner-friendly
have relatively large uses its own lens gives the greatest degree of creative designs, to sophisticated
handgrips, while many mount, and mirrorless flexibility. At one time, this meant professional models. In the middle
mirrorless models have cameras use different digital single-lens-reflex (DSLR) of the range you’ll find enthusiast
much smaller grips lenses to DSLRs even cameras, but these have now been cameras with more-advanced control
to keep size down. from the same brand. joined by mirrorless cameras that layouts. Meanwhile the term
However, some can However, mirrorless use electronic viewfinders. The ‘compact’ refers to cameras with
accept accessory grips models can often latest models are true alternatives built-in lenses, regardless of their
to improve handling use DSLR lenses via to DSLRs, offering the same image size. Many offer excellent image
with larger lenses. a mount adapter. quality and creative options. Camera quality and full manual control.

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85

BUYING GUIDE

Mirrorless cameras SENSOR SIZE
RESOLUTION (MP)
LENS MOUNT
MAX ISO
VIDEO
MIC INPUT
AF POINTS
BURST MODE (FPS)
VIEWFINDER
BUILT-IN WI-FI
FLASH
SCREEN SIZE (IN)
ARTICULATED LCD
TOUCHSCREEN
BATTERY LIFE
(SHOTS)
WIDTH (MM)
HEIGHT (MM)
DEPTH (MM)
WEIGHT (G)

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

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

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

Canon EOS RP £1400 4★ Compact and affordable but over-simplified full-frame camera ever FF 26.2 Canon RF 102,400 3840 • 4779 5 • • 3 • • 250 132.5 85 70 485

Canon EOS R £2350 4★ Canon’s first full-frame mirrorless uses the EOS 5D Mark IV’s sensor FF 30.3 Canon RF 102,400 3840 • 5655 8 • • 3.2 • • 350 135.8 98.3 84.4 660

Canon EOS R3 £5880 5★ High-speed, pro-spec flagship model that’s packed full of clever technology FF 24.1 Canon RF 204,800 6000 • 4779 30 • • 3.2 • • 860 150 142.6 87.2 1015

Canon EOS R5 £4200 4.5★ Remarkable 45MP powerhouse capable of internal 8K video recording FF 45 Canon RF 102,400 4096 • 5940 12 • • 3.2 • • 320 135.8 97.5 88 738

Canon EOS R6 £2500 5★ Superb all-rounder with in-body stabilisation and dual card slots FF 20.1 Canon RF 204,800 3840 • 6072 12 • • 3 • • 380 138.4 97.5 88.4 680

Canon EOS R7 £1350 Fast APS-C RF-mount model with sophisticated autofocus from the EOS R3 APS-C 32.5 Canon RF 51,200 3840 • 651 15 • • 3 • • 770 132 90.4 91.7 530

Canon EOS R10 £900 Compact, lightweight yet highly specified RF-mount APS-C mirrorless model APS-C 24 Canon RF 51,200 3840 • 651 15 • • • 3 • • 430 122.5 87.8 83.4 429

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

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

NEW Fujifilm X-H2S £2499 5★ Impressive-looking pro-spec high-speed flagship model APS-C 26.1 Fuji X 51,200 6240 • 425 40 • • 3 • • 580 136.3 92.9 84.6 660

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

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

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

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

Fujifilm X-T30 II £769 5★ Gains higher-resolution screen and numerous small updates over X-T30 APS-C 26.1 Fuji X 51,200 4096 • 425 8 • • • 3 • • 390 118.4 82.8 46.8 378

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

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

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

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

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

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

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

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

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

Nikon Z 9 £5299 5★ Stunning high-speed, high-resolution flagship with pro build and connectivity FF 45.7 Nikon Z 102,400 7680 • 493 20 • • 3.2 • • 700 149 149.5 90.5 1340

NEW Nikon Z 30 £699 Designed for vloggers, with articulated screen but no viewfinder DX 20.9 Nikon Z 204,800 3840 • 209 11 • 3 • • 330 128 73.5 59.5 405

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

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

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

86 www.amateurphotographer.co.uk

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Mirrorless cameras SENSOR SIZE
RESOLUTION (MP)
LENS MOUNT
MAX ISO
VIDEO
MIC INPUT
AF POINTS
BURST MODE (FPS)
VIEWFINDER
BUILT-IN WI-FI
FLASH
SCREEN SIZE (IN)
ARTICULATED LCD
TOUCHSCREEN
BATTERY LIFE
(SHOTS)
WIDTH (MM)
HEIGHT (MM)
DEPTH (MM)
WEIGHT (G)

NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Olympus PEN E-P7
Olympus OM-D E-M10 IV £749 4★ Viewfinderless model with 20MP sensor and creative processing controls 4/3 20.3 Mic4/3 25,600 3840 121 15 • • 3 • • 360 118.3 68.5 38.1 337
Olympus OM-D E-M5 III
Olympus OM-D E-M1 III £699 4.5★ Compact, lightweight, enjoyable to use and takes great-looking pictures 4/3 20.2 Mic4/3 25,600 3840 121 15 • • • 3 • • 360 121.7 84.4 49 383
Olympus OM-D E-M1X
OM System OM-1 £1100 5★ Very capable camera with a small, lightweight, weather-sealed body 4/3 20.4 Mic4/3 25,600 4096 • 121 10 • • 3 • • 310 125.3 85.2 49.7 414
Panasonic Lumix G9
Panasonic Lumix G100 £1600 5★ Super-fast, incredible IS and packed full of advanced features 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 420 134.1 90.9 68.9 580
Panasonic Lumix GX880
Panasonic Lumix GX9 £2800 4.5★ Pro-spec high-speed model with built-in vertical grip 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 2580 144.4 146.8 75.4 997
Panasonic Lumix GH5 II
Panasonic Lumix GH5S £2000 5★ Excellent flagship model includes 120fps shooting and subject-detection AF 4/3 20.4 Mic4/3 102,400 4096 • 1053120 • • 3 • • 520 134.8 91.6 72.7 599
Panasonic Lumix GH6
Panasonic Lumix S1 £1499 4.5★ High-speed, rugged photo-centric flagship camera with in-body IS 4/3 20.3 Mic4/3 25,600 3840 • 225 9 • • 3 • • 890 136.9 97.3 91.6 658
Panasonic Lumix S1H
Panasonic Lumix S1R £590 4★ Small SLR-shaped camera specifically designed for vloggers 4/3 20.3 Mic4/3 25,600 3840 • 49 10 • • • 3 • • 270 115.6 82.5 54.2 345
Panasonic Lumix S5
Sigma fp £400 Tiny easy-to-use pocket camera with tilting screen and 4K video 4/3 16 Mic4/3 25,600 3840 49 5.8 • • 3 • • 210 106.5 64.6 33.3 270
Sigma fp L
Sony Alpha 6000 £699 4★ Compact body with tilting screen and viewfinder, and 5-axis stabilisation 4/3 20.3 Mic4/3 25,600 3840 49 9 • • • 3 • • 900 124 72.1 46.8 450
Sony Alpha 6100
Sony Alpha 6400 £1499 4.5★ Video-focused high-end model with in-body stabilisation and 4K video 4/3 20.2 Mic4/3 25,600 4096 • 225 12 • • 3 • • 410 138.5 98.1 87.4 727
Sony Alpha 6600
Sony Alpha 1 £2199 Professional video version of GH5 with 10.2MP multi-aspect sensor 4/3 10.2 Mic4/3 204,800 4096 • 225 11 • • 3.2 • • 410 138.5 98.1 87.4 660
Sony Alpha 7 II
Sony Alpha 7 III £1999 5★ Impressive high-end video model with new 25MP sensor and 5.7K recording 4/3 25.2 Mic4/3 25,600 5728 • 14 • • 3 • • 330 138.4 100.3 99.6 823
Sony Alpha 7 IV
Sony Alpha 7C £2199 4.5★ 24MP full-frame mirrorless with exceptional viewfinder FF 24.2 Leica L 204,800 3840 • 225 9 • • 3.2 • • 380 148.9 110 96.7 899
Sony Alpha 7R III
Sony Alpha 7R IV £3600 Specialist full-frame mirrorless model designed for pro-level video FF 24.2 Leica L 204,800 4096 • 225 9 • • 3.2 • • 380 151 114.2 110.4 1164
Sony Alpha 7S III
Sony Alpha 9 II £3399 4.5★ High-resolution full-frame mirrorless with in-body stabilisation FF 47.3 Leica L 51,200 3840 • 229 9 • • 3.2 • • 360 148.9 110 96.7 898
Sony ZV-E10
£1800 4.5★ Compact-bodied, enthusiast-focused model designed for both stills and video FF 24.2 Leica L 204,800 3840 • 225 7 • • 3 • • 440 132.6 97.1 81.9 714

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.amateurphotographer.co.uk 87

BUYING GUIDE

DSLR cameras SENSOR SIZE
RESOLUTION (MP)
LENS MOUNT
MAX ISO
VIDEO
MIC INPUT
AF POINTS
BURST MODE (FPS)
VF COVERAGE (%)
BUILT-IN WI-FI
FLASH
SCREEN SIZE (IN)
ARTICULATED LCD
TOUCHSCREEN
BATTERY LIFE
(SHOTS)
WIDTH (MM)
HEIGHT (MM)
DEPTH (MM)
WEIGHT (G)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

88 www.amateurphotographer.co.uk

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Compact cameras SENSOR SIZE
RESOLUTION (MP)
LENS RANGE
(MM EQUIV)
MAX ISO
VIDEO
MIC INPUT
BURST MODE (FPS)
VIEWFINDER
BUILT-IN WI-FI
FLASH
SCREEN SIZE (IN)
ARTICULATED LCD
TOUCHSCREEN
BATTERY LIFE
(SHOTS)
WIDTH (MM)
HEIGHT (MM)
DEPTH (MM)
WEIGHT (G)

NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon G1 X Mark III
Canon G3 X £1149 5★ Rewrites the rule book by fitting an APS-C sensor in a compact body APS-C 24.2 24-72 25,600 1080 9 • • • 3in • • 200 115 77.9 51.4 399
Canon G5 X Mark II
Canon G7 X Mark II £799 3.5★ Long zoom range, but let down by slow shooting and no built-in EVF 1in 20.2 24-600 12,800 1080 • 5.9 • • 3.2in • • 300 123.3 76.5 105.3 733
Canon G7 X Mark III
Canon G9 X Mark II £849 4★ Handles well and gives great image quality, but sluggish AF in low light 1in 20.2 24-120 25,600 3840 30 • • • 3in • • 230 110.9 60.9 46 340
Fujifilm X100V
Leica C-Lux £549 4.5★ Pocketable body that handles well, with really useful zoom range 1in 20.1 24-100 12,800 1080 8 • • 3in • • 265 105.5 60.9 42 319
Leica D-Lux 7
Leica V-Lux 5 £699 4★ Lovely pocket camera that includes 4K video and YouTube live streaming 1in 20.1 24-100 25,600 3840 • 30 • • 3in • • 265 105.5 60.9 41.4 304
Leica Q2
Leica Q2 Monochrom £449 4★ Slim, stylish, pocketable camera gives great image quality 1in 20.2 28-84 12,800 1080 8.2 • • 3in • 235 98 57.9 30.8 206
Panasonic FZ1000 II
Panasonic FZ2000 £1299 5★ Classic rangefinder-like camera with tilting screen and weather-sealing APS-C 26.1 35 51,200 3840 • 20 • • • 3in • • 420 128 74.8 53.3 478
Panasonic LX15
Panasonic LX100 II £875 Customised, re-badged version of the Panasonic TZ200 1in 20.1 24-360 25,000 3840 10 • • • 3in • 370 113 67 46 340
Panasonic TZ100
Panasonic TZ200 £1075 Customised, re-badged version of the Panasonic LX100 II 4/3 17 24-75 25,000 3840 11 • • 3in • 340 118 66 64 392
Ricoh GR III
Ricoh GR IIIx £1049 Customised, re-badged version of the Panasonic FZ1000 II 1in 20.1 25-400 25,000 3840 • 12 • • • 3in • • 440 136.7 97.2 131.5 812
Sony RX0 II
Sony RX10 IV £4250 Update to the Q with high-resolution sensor and weather-sealed body FF 47.3 28 50,000 4096 20 • • 3in • 350 130 80 91.9 718
Sony RX100 III
Sony RX100 V £4995 5★ Variant of the Q2 with a modified sensor that only shoots in black & white FF 47.3 28 100,000 4096 20 • • 3in • 350 130 80 91.9 734
Sony RX100 VI
Sony RX100 VII £700 4★ Updates FZ1000 with higher-resolution, touch-sensitive screen 1in 20.1 25-400 25,600 3840 • 12 • • • 3in • • 440 136.2 97.2 131.5 810
Sony ZV-1
Zeiss ZX1 £600 4.5★ Sophisticated bridge camera with strong focus on 4K video 1in 20.1 24-480 25,600 3840 • 12 • • • 3in • • 350 137.6 101.9 134.7 966

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.amateurphotographer.co.uk 89





Mifsuds Photographic Ltd Est. 1954.

Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

www.mifsuds.com 01803 852400 info@mifsuds.com

Current opening times: - Tuesday - Friday 10am~4pm. Saturday10am~2pm.

FOR A LIMITED TIME ONLY DEDUCT

10%
FROM THE USED EQUIPMENT PRICES
LISTED HERE & ON THE WEBSITE

Use code DISC10 at checkout online, on the phone or in-store.

Check out some of our USED mirrorless favourites...

EOS R5 Body Sony A7R Olympus OM-D Z7 MKII Body
MKIV Body EM1X Body

Mint Mint Boxed £1499 Boxed
Boxed
£2199 £2699
£3899
Z6 MKII Body Mint £1799
EOS R5 Body £2199

CANON NEW STOCK ITEMS

R7 Body R10 Body R3 Body R5 Body 1DX MKIII Body 5D MKIV Body

Body Only Body Only Body Only Body Only Body Only Body Only

£1349 £999 £5879 £4299 £6999 £2869

R6 Body Only £2399

UPGRADE NOW - PART EXCHANGE & COLLECTED

CALL MATT 0736 828 8126 8am till
8pm daily

Sensor cleaning and Pro equipment hire available

ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 22/07/2022. E&OE.

Website www.mifsuds.com The best stocked
updated daily dealer in the

inc. promotions Here to help - just call 01803 852400 West Country

QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.

CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED

Used Canon Used Canon Used Canon7D MKII
body
1DX MKIII 1DX MKI 5D MKIV box R5 body
body body box body Mint box
RF 24-105mm RF 70-200mm 500mm F4 IS
F4 L IS F4 IS 100-400mm 200-400mm F4 USM LII
box F4.5/5.6 LII box IS USM LII

£3999 £997 £1999/2399 £899 £3899 £1099 £1499 £1699 £4997 £6499

CANON R DIGITAL AF USED BG-E20 grip........................................ £199 15-85 F3.5/5.6 EFS........................... £299 70-200 F2.8 IS USM LII .................£1297 1.4x extender MKIII......................... £349 150-600 F5/6.3 DG OS sport......£1197
R5 body Mint box..........................£3899 BG-E16 grip........................................ £179 16-35 F4 USM IS L............................ £799 70-200 F4 IS USM LII box .............. £799 2x extender MKIII............................. £349 150-600 F5/6.3 contemporary.... £799
R6 body Mint box..........................£2199 BG-E13 grip...........................................£99 17-40 F4 L USM ................................ £349 70-200 F4 IS USM box.................... £499 12mm ext tube II ................................£69 TC1401 extender ............................. £179
RF 15-30 F2.8 L IS USM ................£1999 BG-E11 grip...........................................£99 17-55 F2.8 EFS IS USM ................... £599 70-200 F4 L USM.............................. £349 25mm ext tube II ............................. £129 OTHER CAF USED
RF 24-105 F4 L IS............................£1099 BG-E6 grip .............................................£79 18-55 F3.5/5.6 IS STM........................£99 70-300 F4/5.6 IS USM II.................. £499 SIGMA CAF USED TAM 10-24 F3.5/4.5 Di II ...................£99
RF 50 F1.2 L......................................£2197 BG-E4 grip..........£79 BG-E2 grip ....£39 18-135 F3.5/5.6 USM Nano .......... £349 70-300 F4.5/5.6 USM ...................... £299 8-16 F4.5/5.6 HSM DC box ........... £299 TAM 16-300 F3.5/6.3 II VC............. £399
RF 70-200 F4 IS box ......................£1499 CANON M USED 18-200 F3.5/5.6 IS............................ £299 85 F1.2 L USM MKII .......................£1299 10 F2.8 EX DC HSM ......................... £499 TAM 28-300 F3.5/6.3 VC PZD....... £599
RF 85 F2 IS STM macro Mint box£549 M5 body box..................................... £429 24 F1.4 USM LII box ......................£1199 85 F1.4 IS USM L.............................£1249 10-20 F3.5 EX DC HSM................... £279 TAM 180 F3.5 Di macro ................. £299
Mount adapt EF-EOS R .....................£99 EF-M mount ad....................................£89 24-70 F2.8 USM LII box................£1499 85 F1.8 USM....................................... £249 15 F2.8 EX DG fisheye box ........... £399 TAM 150-600 F5/6.3 VC USD G2. £899
CANON DIGITAL AF USED EF-M 18-55 F3.5/5.6 IS STM ......... £149 24-70 F4 IS USM L............................ £799 100 F2.8 IS USM L macro .............. £799 17-70 F2.8/4 DC OS HSM .............. £249 TOK 12-24 F4 ATX Pro II DX box. £149
1DX MKIII body box......................£3999 EF-M 22 F2 STM................................ £189 24-105 F4 IS USM L ......................... £549 100 F2.8 USM macro ...................... £399 24 F1.4 DG HSM Art........................ £579 TOK 12-24 F4 ATX Pro box ........... £149
1DX MKI body................................... £997 EF-M 55-200 F4.5/6.3 IS STM....... £249 40 F2.8 STM ....................................... £149 100-400 F4.5/5.6 LII box..............£1699 35 F1.4 DG HSM Art........................ £579 Kenko ext tubes box .........................£99
7D MKII body box............................ £899 CANON AF LENSES USED 50 F1.2 L USM box........................... £997 100-400 F4.5/5.6 L........................... £899 50-500 F4.5/6.3 HSM OS ............... £699 FLASH/ACCESSORIES USED
5D MKIV body box ............ £1999/2399 8-15 F4 fisheye box......................... £899 50 F1.4 USM....................................... £299 180 F3.5 L USM macro................... £799 70-200 F2.8 EX DG OS HSM ......... £599 430EX II................................................ £149
5D MKIII body box........................... £899 10-18 F4.5/5.6 IS STM..................... £199 50 F1.8 STM box..................................£99 200 F2.8 USM LII .............................. £499 All 70-300 F4.5/5.6 each................ £139 580EX II................................................ £169
80D body box ................................... £649 10-22 F3.5/4.5 USM EFS ................ £299 55-250 F4/5.6 IS EFS ....................... £199 200-400 F4 IS USM L box............£4997 85 F1.4 EX DG box........................... £399 600EX RT............................................. £299
600D body ......................................... £249 11-24 F4 L USM box......................£1999 60 F2.8 EFS macro ........................... £299 300 F4 IS USM L................................ £599 105 F2.8 EX DG HSM OS box....... £329 SB-E2 transmitter................................£79
2000D body....................................... £369 14 F2.8 USM LII...............................£1299 65 F2.8 MPE macro ......................... £799 400 F5.6 USM L................................. £799 150 F2.8 EX DG OS HSM box....... £499 ST-E3 Speedlight transmitter ...... £239
1300D body....................................... £219 15 F2.8 fisheye.................................. £399 70-200 F2.8 IS USM LIII box........£1599 500 F4 IS USM LII ...........................£6499 150-500 F5/6.3 APO DG OS ......... £599 Angle finder C................................... £149

NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED

NIKON Z DIGITAL AF USED D5600 body serviced..................... £399 18-35 F3.5/4.5 AFS M- box ........... £599 55-300 F4.5/5.6................................. £229 SIGMA NAF USED TAM 24-70 F2.8 Di VC USD........... £499
Z7 MKII body box ..........................£2699 D3400 body....................................... £299 18-35 F3.5/4.5 AFD ......................... £199 60 F2.8 AFS ........................................ £449 4.5 F2.8 fisheye box ........................ £499 TAM 28-300 F3.5/6.3 Di VC PZD . £599
Z7 MKI body box ...........................£1997 D3300 body box .............................. £249 18-55 F3.5/5.6 AF VR DX ..................£99 60 F2.8 AFD........................................ £299 8 F3.5 EX DG fisheye....................... £399 TOK 11-16 F2.8 ATX ProII .............. £149
Z6 MKII body Mint box................£1799 D3200 body. ...................................... £199 18-105 F3.5/5.6 VR DX AFS........... £199 70-200 F2.8 E FL AFS box ...........£1997 8-16 F4.5/5.6 HSM DC box ........... £299 TOK 11-16 F2.8 ATX Pro................. £149
24-50 F4/6.3....................................... £299 D3100 body....................................... £149 18-200 F3.5/5.6 VR DX box........... £249 70-200 F2.8 AFS VRII....................... £997 10-20 F3.5 DC box........................... £269 TOK 12-24 F4 ATX Pro II................. £149
24-70 F4 S Mint box........................ £599 D90 body. ........................................... £149 18-300 F3.5/5.6 VR DX ................... £599 70-200 F4 VR AFS............................. £599 10-20 F4.5/5.6 DC............................ £169 TOK 12-24 F4 ATX Pro .................... £149
70-200 F2.8 VR S.............................£2299 D80 body............................................ £149 20 F1.8 AFS box................................ £579 70-300 F4.5/5.6 AFS VR box......... £369 12-24 F4.5/5.6 II HSM ..................... £449 Kenko ext tubes box .........................£99
FTZ adapter box............................... £219 MBD-16 (D750)................................. £149 24 F1.4 G AFS Mint.......................... £997 85 F1.4 AFS box................................ £997 15 F2.8 EX DG fisheye .................... £399 FLASH / ACCESSORIES USED
NIKON DIGITAL AF USED MBD-15 (D7100/7200) .................. £129 24 F1.8 AFS box................................ £549 85 F1.8 AFS box................................ £299 18-250 F3.5/6.3 DC OS................... £199 SB-300.........£129 SB-400............... £119
D6 body box....................................£4499 MBD-14 (D610/600) ..........................£99 24 F2.8 AFD........................................ £299 105 F2.8 AFS VR................................ £499 24 F1.4 DG HSM Art........................ £579 SB-600.........£119 SB-700............... £219
D5 body box....................................£3997 MBD-11 grip (D7000) ..................... £149 24-70 F2.8 AFS VR box.................£1499 200 F4 macro ..................................£1499 35 F1.4 DG HSM Art........................ £579 SB-800 box......................................... £149
D5 body XQD box ............. £3397/3697 MBD-10 grip (D300)...........................£99 24-70 F2.8 AFS box ......................... £897 200-400 F4 AFS VR II serviced...£3499 50 F1.4 DG HSM Art........................ £549 SB-900.................................................. £249
D4 body box........................................£1899 MBD-200 or MBD-80 grip each .....£99 24-85 F3.5/4.5 AFS VR .................... £299 300 F2.8 AFS VRII ............... £2999/3999 70-200 F2.8 EX DG OS HSM ......... £599 SB-910 box......................................... £299
D2X b/o box ...................................... £299 NIKON AF LENSES USED 24-120 F4 AFS VR............................. £649 300 F4 AFS E PF ED VR box ........£1199 ALL 70-300 F4/5.6 each................. £139 SU-800 commander ....................... £199
D850 body Mint box ........ £1999/2399 8-15 F3.5/4.5 AFS...........................£1099 28-300 F3.5/5.6 VR box.................. £699 400 F2.8 AFS VR serviced............£3997 105 F2.8 EX DG HSM OS................ £329 SB-8A batt pack...................................£69
D810 body box...............................£1199 10.5 F2.8 fisheye box...................... £349 35 F1.4 G AFS M- box..................... £997 500 F4 E FL VR AFS box ...............£6997 150 F2.8 EX DG OS HSM box....... £499 Nissin i40 ...............................................£99
D800 body ......................................... £699 10-20 F4.5/5.6 AF-P DX VR ........... £219 35 F1.8 AFS DX ................................. £129 500 F4 AFS VR serviced ...............£3997 150-500 F5/6.3 DG OS HSM......... £599 DR-6 angle finder ............................ £169
D780 body Mint box ....................£1997 10-24 F3.5/4.5 AFS box.................. £579 40 F2.8 AFS DX macro box........... £249 500 F5.6 E PF VR AFS box ...........£3199 150-600 F5/6.3 DG OS sport......£1197 DR-5 angle finder ............................ £169
D500 body box...............................£1199 12-24 F4 DX AFS .............................. £299 50 F1.4 AFS G box ........................... £299 600 F4 E FL VR AFS........................£9499 150-600 F5/6.3 contemporary.... £799 DR-4 angle finder ............................ £119
D300 body box.....................................£149 14-24 F2.8 AFS box ......................... £899 50 F1.8 AFS box................................ £169 TC-14EIII .............................................. £499 TC-1401 extender............................ £199 DR-3 angle finder box.......................£79
D7500 body....................................... £749 16 F2.8 AFD fisheye box................ £399 50 F1.8 AFD box............................... £129 TC14-EII box....................................... £349 1.4x EX DG conv box ...................... £149 MC-36A remote...................................£89
D7200 body....................................... £649 16-35 F4 AFS VR box ...................... £599 55-200 F4.5/5.6 VRII box ............... £149 TC17-EII ............................................... £299 OTHER NAF USED MC-30A remote...................................£39
D7000 body....................................... £349 16-80 F2.8/4 VR DX ......................... £599 55-200 F4.5/5.6 box...........................£99 TC20-EIII box...................................... £349 TAM 16-300 F3.5/6.3 II VC............. £399 SC-17/SC-19/SC-28 cable each......£49

FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED

FUJI DIGITAL USED VPB-XT2 grip box................................£99 MINOLTA AF USED FE 16-35 F4 ZA OSS ........................ £899 OM-D EM5 body box...................... £199 14-45 F4/5.6....................................... £149
X-T4 body silver..............................£1399 LEICA DIGITAL USED 11-18 F4.5/5.6 box .......................... £149 FE 24-70 F4 ZA OSS ........................ £699 OM-D EM10 MKII body.................. £249 25 F1.7 ................................................. £119
X-T10 body box ................................ £199 Leica Q 116 Titanium box...........£2499 20 F2.8...........£199 24 F2.8............ £149 FE 24-240 F3.5/6.3 OSS box......... £599 7-14 F2.8 Pro box............................. £849 45-175 F4/5.6 .................................... £299
8-16 F2.8 XF WR box.....................£1099 SONY DIGITAL USED 28-80 F3.5/5.6 ......................................£49 FE 24-105 F4 box ............................. £899 12-40 F2.8 Pro box .......................... £599 FL500 flash box ................................ £199
14 F2.8 R box..................................... £499 A7 R MKIV body Mint box ..........£2699 28-85 F3.5/4.5 ......................................£99 FE 28-70 F3.5/5.6 OSS.................... £199 40-150 F2.8 Pro box........................ £949 PENTAX DIGITAL USED
18-55 F2.8/4 XF Mint- .................... £449 A7 MKII body..................................... £449 35-105 F3.5/4.5.....................................£99 FE 35 F1.4 ZA OSS box................... £699 45 F1.8 silv.......................................... £149 K5 body............................................... £299
18-135 F3.5/5.6 R............................. £549 A100 body.............................................£99 50 F1.7........£99 75-300 F4.5/5.6....£79 FE 35 F2.8 ZA box............................ £499 75 F1.8 box ........................................ £499 16-45 F4 ED DA box........................ £199
23 F1.4 XF M- box............................ £499 RX100 MKIII........................................ £299 100-300 F4.5/5.6 APO .................... £149 FE 70-200 F2.8 GM OSS box ......£1499 1.4x MC converter ........................... £229 18-55 F3.5/5.6 AL................................£69
23 F2 WR............................................. £399 RX100................................................... £199 100-300 F4.5/5.6 .................................£99 FE 70-200 F4 G OSS box................ £997 HL-D7 grip for EM1 ............................£69 18-250 F3.5/6.3 DA ......................... £249
50-140 F2.8 R...................................£1199 SONY A MOUNT LENSES USED 800 F5 Dynax .......................................£69 FE 100 F2.8 GM OSS box............... £997 HL-D6 grip for EM5 ............................£69 35 F2.4 DA AL.......................................£99
50-230 F4.5/6.7 OS XC MKII ......... £299 Sony A 16-50 F2.8 SSM DT ........... £299 SIGMA SONY A MOUNT AF USED SONY NEX E MOUNT AF USED PANASONIC DIGITAL USED 35-80 F4/5.6..........................................£49
50-230 F4.5/6.7 OS XC MKI .......... £249 Sony A 18-70 F3.5/5.6.......................£89 SIG 12-24 F4.5/5.6 II HSM DG...... £449 E 16-70 F4 ZA OSS box.................. £499 G2 body .............................................. £129 50 F1.8 DA.......................................... £119
70-300 F4/5.6 R box........................ £729 Sony A 70-400 F4/5.6 SSMII box £999 SIG 105 F2.8 EX DG OS .................. £329 E 50 F1.8 OSS box............................ £189 G1 body .................................................£99 55-300 F4/5.8 ED WR...................... £299
80 F2.8 XF WR macro mint........... £849 TAM 28-75 XR Di box...................... £299 SIG 150-500 F5/6.3 DG OS OLYMPUS MICRO 4/3 USED GX-7 body black box...................... £369 OTHER PENTAX AF USED
90 F2 XF box...................................... £599 TAM 90 F2.8 SP ................................. £199 serviced............................................... £599 OM-D EM1X body box.................£1499 7-14 F4 box........................................ £499 SIG 70-300 F4/5.6 DG macro....... £139
100-400 F4.5/5.6 XF LM OIS WR. £997 TAM 180 F3.5 macro....................... £299 SONY NEX FE MOUNT AF USED OM-D EM1 body black .................. £399 12-60 F3.5/5.6 ................................... £299 SIG 150-500 F5/6.3 DG OS............ £599
1.4x XF converter............................. £319 Sony 1.4x conv ................................. £299 FE 16-35 F2.8 GM box ..................£1699 OM-D EM5 MKIII body box .......... £799 14-42 F3.5/5.6 ......................................£99
WWW.MIFSUDS.COM

BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED

BRONICA 645 USED Waist Level Finder ........................... £169 Polaroid back......£29 WLF............ £199 MAMIYA 645 MF USED PENTAX 645 AF USED 6x7 body serviced........................... £599
ETRSi + 75 PE + WLF + 120 back £749 Rotary prism E box.......................... £199 SQA speed grip ................................ £149 Quick shoe AQ701 box.................. £149 55 F2.8 D FA box .............................. £499 45 F4 late.......£599 55 F4 late...... £549
ETRS + AEII prism + 75 PE Plain prism E box............................. £169 Lenshoods various...................... £20/50 55-110 F5.6 FA .................................. £599 55 F4 early.......................................... £399
+ speed grip ...................................... £699 Speed grip E .........................................£99 Metz 386 TTL lead ..............................£79 Teleplus 2x converter........................£39 80-160 F4.5 FA .................................. £399 55-100 F4.5 ........................................ £699
ETRSi body box ................................ £299 Lenshoods various.............................£40 HASSELBLAD 6x6 USED 120 insert..£29 Ext tube 1/2/3 ea £29 PENTAX 645 MF USED 75 F4.5 late......................................... £399
40 F4 PE............................................... £499 BRONICA 6x6 USED 500CM ,80 F2.8 CF, A12 serviced .£2699 MAMIYA 7 RF USED 35 F3.5.............£499 45 F2.8.......... £299 100 F4 + macro adapter box....... £699
45-90 F4/5.6....................................... £449 SQAi body......£499 SQA body .... £299 500CM ,80 F2.8 CF, A12 serviced .£1999 43 F4.5 L + V/F box ......................... £997 80-160 F4.5....£299 120 F4 mac. £399 120 F3.5 soft focus .......................... £399
50 F2.8 PE ........................................... £499 SQB body............................................ £299 50 F4 CF .............................................. £899 Viewfinder for 150 F4.5 ................. £199 135 F4 leaf...£399 200 F4 ............ £199 200 F4 latest..£399 300 F4 latest .. £349
50 F2.8 MC ......................................... £299 40 F4 PS.....£499 50 F3.5 PS box £349 150 F4 CF..£699 150 F4 Black T* £499 MAMIYA RB USED 300 F4 ED IF green T*..................... £599 1.4x converter................................... £199
150 F3.5 E ........................................... £149 80 F2.8 PS.....£349 150 F4 PS ...... £299 A12 black latest box ....................... £499 55 F4.5 ................................................. £299 Auto ext tube set............................. £169 2x rear converter grey ................... £199
200 F4.5 PE......................................... £299 2x conv PS.....£199 2x conv S...... £149 PM prism 45 °.................................... £399 Metered chimney ............................ £149 Helicoid ext tube ............................. £199 Waist level finder ............................. £199
ETRSi 120 back RWC late .............. £119 SQAi prism late................................. £399 Chimney....£99 WLF chrome late .. £299 REF converter angle finder box.. £179 REF converter angle finder .......... £199
Polaroid back box...............................£29 SQAi 120 back late .......................... £199 Polaroid back .......................................£79 Ext tube 1 or ext tube 2 each ........£59 PENTAX 6x7 USED Chimney.............................................. £299
AEIII prism....£399 AEII prism...... £199 SQA 120 back early......................... £149 Lenshood various...............................£49 MAMIYA RZ USED 67 + plain prism serviced............. £699 Polaroid back MPC box ....................£69
100-200 F5.2 W................................. £299

180 F4.5 W........£299 Plain prism £349

35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED

CANON AF FILM BODIES USED Pentax Digital Spotmeter............. £429 Bellows IV box................................... £149 28 F3.5 AI............................................ £169 DR-4 angle finder ............................ £119 135 F3.5..................................................£99
EOS 600 / 650 body each ................£69 Sekonic L308s ................................... £139 Macro ext tube for 50 F3.5..............£49 28 F4 shift........................................... £399 DR-3 angle finder box.......................£79 200 F4 .................................................. £129
EOS 500/300/50E/30 body each...£39 Sekonic L308x................................... £199 Auto ext tube set................................£49 28-85 F3.5/4.5 AIS............................ £199 DW-4 finder for F3........................... £149 7/14/25 ext tube each ......................£20
CANON FD USED Sekonic L358..................................... £199 NIKON AF FILM BODIES USED 35 F2 AI........£299 35-70 F3.5 AIS..£99 DW-3 WLF box for F3 ..................... £219 14/25 auto ext tube each................£29
A1 World Cup 1982 body box..... £249 Sekonic L718..................................... £149 F5 body Mint- ................................... £699 35-105 F3.5/4.5 AIS......................... £149 DW-1 WLF finder fits F................... £199 Converter 2x A.....................................£99
AE1P silver body .............................. £199 MINOLTA AF USED F4E body............................................. £399 50 F1.4 AIS.......................................... £329 Angle finder F fits FE/FM etc..........£69 Auto bellows box ............................ £149
T90 body..........£199 T70 body.......£99 9xi body........£149 7Xi body ...........£69 F4s body box..................................... £499 50 F1.4 AI............................................ £249 PB-4 bellows box ............................. £299 PENTAX MF USED
50 F1.4..............£149 50 F1.8............£69 800Si body.....£99 Dynax 4 body..£39 F801 body .............................................£99 50 F1.8 AIS....£149/199 50 F2 AI ...£99 PB-5 bellows...................................... £199 LX body............................................... £449
50 F2...................£69 70-210 F4......£99 500Si Super/505Si Super body ea...£39 NIKON MF USED 55 F2.8 AIS micro............................. £199 PB-6 bellows...................................... £299 MX body chr...................................... £199
135 F3.5..................................................£69 VC700 grip fits Dynax 700Si ...........£49 Nikon F Photomic FTn Apollo 80-200 F4 AIS .................................... £249 OLYMPUS OM USED KM body........£199 P30 body..........£99
100-300 F5.6...................................... £149 MINOLTA MD USED chrome body..................................... £699 85 F2 AIS box .................................... £349 OM-2N body chrome..................... £299 17 F4 PK.........£399 50 F1.4 PK .... £149
2x extender B.......................................£49 X300s body black ...............................£99 Nikon F Photomic plain prism Apollo 100-300 F5.6 AIS .............................. £149 OM-2 body chrome box................ £299 50 F1.7 PK........£99 50 F2 PK...........£69
FD auto bellows box ...................... £149 X300 body blk/chrome ....................£99 chrome body..................................... £699 105 F2.5 AIS ....................................... £349 OM-1N body chrome..................... £299 80-200 F4.5 PK.....................................£69
CONTAX USED 35-70 F3.5/4.5 ......................................£69 F3HP body................................. £499/699 105 F2.5 AI ......................................... £299 OM-10 body chrome.........................£79 135 F3.5 PK ...........................................£79
CZ 180 F2.8 AE.................................. £199 50 F1.7............£79 50 F3.5 macro£149 F3 body ............................................... £499 135 F2.8 AI ......................................... £199 28 F3.5..........£99 35 F2.8 ............... £149 400 F5.6 PK ........................................ £399
CZ 300 F4 AE ..................................... £199 70-210 F4......£99 75-200 F4.5........£99 F2 Photomic + DP-1 chrome....... £499 135 F2.8 AI ......................................... £199 35 F2.8 shift ....................................... £399 Helicoid ext tube PK....................... £129
LIGHTMETERS USED 100-300 F5.6...................................... £149 F2A body black ................................ £599 200 F4 AI.........£149 200 F4 AIS... £299 35-70 F4 .................................................£99 Bellows M + slide copier PK......... £199
Minolta Auto Meter IVF box ........ £249 100-300 F5.6/6.7 .................................£99 FM2n body Black ............................. £599 300 F4.5 AIS ....................................... £199 35-105 F3.5/4.5................................. £149 PENTAX M42 USED
Minolta Flashmeter V..................... £299 Kenko Teleplus macro conv............£69 FM2n body Chrome........................ £499 TC300 conv ........................................ £149 50 F1.4........£149 50 F1.8.................£99 105 F2.8.......£199 300 F4 .............. £299
Minolta Flashmeter IVF ................. £199 Auto bellows III................................. £149 F301 body .............................................£99 DG-2 Eyepiece magnifier.................£59 80 F4 macro box .............................. £239 Honeywell Pentax auto bellows £149

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BEST SRB Elite Filter System
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Award-winning. Aluminium square Elite Filter
Elite Holder filter system. Made by us. Pouch.
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Elite Lens Cap £5.95 A zip & Velcro closure
Elite Lens Caps (3) £13.95 with belt & tripod loops
Elite Shield £7.95

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0.3 Full ND £19.95 0.3 Soft ND £19.95 0.3 Hard ND £19.95 SRB 6 Stop £29.95 SALE NOW ON
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with square 0.6 Full ND Pro Glass £29.95 SALE 32GB Extreme 90MB/s £18.95 £12.95
Digital Camera 0.9 Full ND Pro Glass £29.95 £7.95
filter sets 1.2 Full ND Pro Glass £29.95 32GB Ultra SDXC 90MB/s £18.95 £11.95
Full ND Glass Pro Set Set (0.3, 0.6, 0.9 & Wallet) £79.95 SALE 64GB Ultra SDXC 120MB/s £29.95 £20.95
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Accessories

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£79.95 OpTech Tripod Strap £19.95
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SALE Lee100 Exposure Kit £344.95 £309.95 SALE Punks Patti Tripod £199.00 £195.00 Cleaning Cloths from £1.50
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SALE Ellie-C L Bracket £64.95 £57.95 Lens Caps £4.50 Monopod
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ONLINE - www.srb-photographic.co.uk Phone - 01582 661878

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Photo Critique

Final Analysis
Tim Clinch considers...
‘Belfast’ by Krass Clement

K rass Clement, born situations while the locals go advertising or, dare I say it, photographer proud of his craft
in Copenhagen in about their daily lives, walking social media that makes me feel for reportage and possessed of
1946, is a self-taught among them carrying their this way. Has Instagram made an eye that speaks volumes
photographer. He shopping in a way that I find me need a ‘hook’ to draw me without the need to shout.
graduated as a film director inexplicable, although I have in? Who knows, and that is a
from the Danish Film School not chosen one of these much longer discussion for Not often I can say this, but a
in 1973, and when it became pictures to talk about here. another day. beautifully observed and
evident to him that his future crafted project.
was not to be in film, he The picture I have chosen It is, unfortunately, a theme
returned to the photography he could have been taken I have to repeat, but Clement is BELFAST, by Krass Clement, is published
had practised since his youth. anywhere. Indeed, there is a photographer. A very talented by RRB Photobooks and is available now,
absolutely nothing to link us to one. A good, old-fashioned with an RRP of £50.
In Belfast, Clement revisits his Belfast in it. In fact, the hat
work over 30 years on, worn by the old gentleman as
gathering 114 unpublished he walks past a battered and
images and carefully placing graffitied wall with a huge
them in sequence, offered splatter of paint on it puts me
without caption or comment. in mind of Eastern Europe.
Possibly the Romania of
The impression I get of the Ceausescu, but what it does do
book as a whole (although I is absolutely scream ‘conflict’.
have nothing to base this on
other than what I see) is that Melancholy
Clement works quickly, moving
through a place unobtrusively. It is a remarkably strong image
Looking at this book he and one which, for me, sums
specialises in furtive glances up the problem of so much
down urban streets, glimpses of reportage photography. It is so
children playing with their dogs beautifully composed and
in the estates, the black & white perfectly executed that I find
images making me feel as if I myself worrying that I should
am with him walking through not be noticing these things in
the city while the figures he case they distract me from the
captures in the streets are in a reality. The majority of these
perpetual state of motion and pictures taken in Belfast make
transit. The vast majority of me see the grey skies and
images here seem impossible if incessant rain which in turn
he, in any way, was drawing creates a mood of deep
attention to himself. melancholy. Life passing in the
streets in what can only be
I am ten years younger than extremely difficult
Clement and grew up during circumstances. This picture
‘The Troubles’. A lot of the instantly hooks me in and
images here present scenes that, makes me want to see more of
although I only visited Belfast the project without the (totally
much later, in the early 2000s, understandable) melancholy
are sadly familiar. The heavily that seeps through the book.
armed and watchful British Maybe it is the influence of
troops in seemingly mundane

‘I feel as if I am with him walking through
the city while the figures he captures are in
a perpetual state of motion and transit’

Tim Clinch is an award-winning professional photographer with over 40 years’ experience. Over the years Tim has worked in most areas of the profession, has had his work published in
magazines worldwide, and has had more than 30 books published featuring subjects as varied as interiors, travel, food and portraits. To see his work, visit www.timclinchphotography.com.

98 www.amateurphotographer.co.uk

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