Amateur Photographer

PHOTOGRAPHER FIRED
OVER ALTERED PICTURE
AP READER WINS
GLOBAL RHS TITLE
THE WORLDS NO.1 WEEKLY PHOTO MAGAZINE
HANDS-ON
PAGE 10
OLYMPUS OM-D E-M10

Read our rst impressions of
the most affordable OM-D yet
ON TEST
David Baker reveals how he creates his

impressionistic landscapes and seascapes
PAGE 49
Sony Alpha 7R vs Nikon D800E:

The highest-resolution CSC and
DSLR go head to head in our test
CLASSICS TO USE
PAGE 57
You can buy a used Pentax *ist DL

for 100. We put one to the test
www.amateurphotographer.co.uk
SURF & TURF
36MP SHOOT-OUT
ECONOM *IST
Saturday 15 February 2014
PAGE 39
THE AP READERS POLL
Contents
IN AP 25 JANUARY WE ASKED
What is your preferred aspect ratio for photography?
Amateur Photographer For everyone who loves photography

WHEN Sony revealed its Alpha 7R, with its
few us need 36 megapixels of image-capturing

power. For many people, buying a 36MP camera
would be akin to getting a very big
dog and then realising you need to
buy a bigger car, a bigger sofa and
a house with a bigger garden.
But for those who need ne
detail, such as landscape
photographers, those who
make big prints, or who strive
to achieve the nest possible
image quality purely for the
Nigel Atherton
pleasure of doing so, this test
may decide your next purchase. Group editor
36-megapixel full-frame sensor, it raised the obvious

question of how the image quality compares with
the only other 36-megapixel full-frame camera on
the market, the Nikon D800/D800E. This week we
answer that question (see pages 49-54). The Nikon
also uses a Sony sensor, probably even the same
one. (Its curious how the economics of the industry
make it more protable to sell your best sensor to a
competitor before you can use it yourself, but thats
another story). To many readers, this contest will be
of purely academic interest, like pitting the fastest
Ferrari against the fastest Lamborghini to see which
wins. Few of us are going to buy either, and in truth,
YOUR WORDS & PICTURES
5 NEWS
14 LETTERS
Canon launches wireless A3 printer; Ricoh to focus on Pentax

DSLRs; Olympus reveals outdoors compact camera; Polaroid
releases quartet of bridge cameras; Top photojournalist red
over image manipulation; Sony slashes workforce
AP readers speak out on the weeks issues
15 BACKCHAT
AP reader David Askham reviews his photography
upgrade requirements for 2014
12 REVIEW
P10
The latest books, exhibitions and websites
82 THE FINAL FRAME
25 THE COMEBACK KID

Aaron Yeoman, who nished third in APOY 2013, talks
to Jon Stapley about his spectacular revival in the nal
stages of this years competition
Olympuss latest micro four thirds CSC:

what are our first impressions?
Ogden Chesnutt thinks that 2014 will be the year

he wins big on the stock (photography) market
TESTS & TECHNICAL
30 READER SPOTLIGHT
10 OLYMPUS OM-D E-M10

GRAHAM TAYLOR
P16
Another selection of superb reader images
Its more affordable than its two siblings, but this new
camera is no entry-level model. Richard Sibley gives
his rst impressions of this micro four thirds CSC
36 APPRAISAL
Chris Gatcum examines your images, offering
words of wisdom and constructive advice
44 ASK AP
47 TESTBENCH
39 SURF
AND TURF
Benro CoolWalker Messenger bag M100N

and Rogue Safari DSLR Pop-up Flash Booster
16 PHOTO INSIGHT
DAVID BAKER
FEATURES
Our experts answer your questions
COVER PICTURES: DAVID BAKER, HEATHER BUCKLEY
YOU ANSWERED
A 3:2 (eg APS-C and full-frame DSLRs)
68%
B 4:3 (eg micro four thirds and most compacts)
14%
C 1:1 (eg Hasselblad)
7%
D 16:9 (eg panorama mode on many cameras)
2%
E None of the above
9%
THIS WEEK WE ASK
Would you swap your current camera for a 36-million-pixel
version if you could do so at no cost?
VOTE ONLINE www.amateurphotographer.co.uk
NEWS, VIEWS & REVIEWS
TECHNIQUE
49 MAXIMUM RESOLUTION
SAC Graham Taylor talks us through his spectacular shot of a

Spitre, part of the portfolio of images that won him the RAF
Photographer of the Year crown for 2013
With 36-million-pixel, full-frame sensors, the Nikon D800E

and Sony Alpha 7R achieve maximum resolution by not having
anti-aliasing lters. Michael Topham takes a closer look, to
compare image quality and handling
21 RETOUCHERS GUIDE
57 CLASSICS TO USE
Martin Evening explains how to change hair colour

using Photoshop
Ian Burley investigates whether contemporary software can

breathe new life into an eight-year-old Pentax *ist DL
David Baker skilfully

captures the tangible
beauty of the UK
coastline and
countryside with his
camera. He explains
to Jade Lord how
he works with the
changing weather and
light to create his
painterly images
P39
HOW TO HAVE YOUR PICTURES PUBLISHED IN READER SPOTLIGHT Send in a selection of up to ten images. They can be either a selection of different images or all have the same theme.
Digital les sent on CD should be saved in a Photoshop-compatible format, such as JPEG or TIFF, with a contact sheet and submission form. Visit www.amateurphotographer.co.uk/spotlight for details.
We cannot publish images without the necessary technical details. Each RGB image should be a minimum of 2480 pixels along its longest length. Transparencies and prints are also accepted. We
recommend that transparencies are sent without glass mounts and posted via Special Delivery. For transparencies, prints or discs to be returned you must include an SAE with sufcient postage.
HOW TO CONTACT US Amateur Photographer, IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 0SU AP Editorial Telephone: 0203 148 4138 Fax 0203 148 8123
Email [email protected] AP Advertising Telephone: 0203 148 2516 Email [email protected] AP Subscriptions Telephone: 0844 848 0848
Email [email protected] AP test reports Telephone: 01707 273 773 www.testreports.co.uk/photography/ap
subscribe 0844 848 0848
15 February 2014 I www.amateurphotographer.co.uk
Breasts are now

a potentially
dangerous situation
Photographer sued over topless photos, page 6
News I Analysis I Comment 15/2/14

Digital cloning leads to firing Image violated ethics
PHOTOGRAPHER DUMPED
OVER ALTERED PICTURE
A PRESS photographer has landed
in hot water after admitting to digitally
removing a fellow journalists video camera
from an image of the Syrian war that he
sent to a global news agency.
The Associated Press (AP) said it has
severed ties with Narciso Contreras, who
captured the image of a Syrian opposition
ghter taking cover from government
forces in a mountain-top village on
29 September 2013.
The agency explained that using software
to remove the journalists video camera in
the left corner of the frame by cloning
other pieces of the background and pasting
them over the camera violated its
ethical standards.
Contreras told the agency he believed
the video camera might distract viewers,
and this was a single case that probably
happened at one very stressed moment.
The Mexican-born, Pulitzer Prize-winning
photographer, who notied AP of his
actions only recently, said he regretted
the decision and feels ashamed.
The alteration breached APs
requirements for truth and accuracy even
though it involved a corner of the image
with little news importance, according
to the agencys director of photography
Santiago Lyon.
When Contreras told the agencys editors
of the manipulation, AP reviewed nearly
Associated Press
published the
manipulated photo alongside the original
shot, to highlight the case on its website
500 other photos he had led since he
started working for AP in 2012.
Despite nding no other instances
of alteration, AP has cut its links with
the photographer and pledged to
remove all his photos from its publicly
available archive.
While the agency tolerates use of
software to lighten or darken photos,
it will not countenance manipulation
of a scene that was not true to reality.
SONY TO CUT FACTORY WORKFORCE
SONY has offered early retirement to
workers at ve factories across Japan

including one that makes cameras as
part of a move to cut costs.
The plants are run by Sony EMCS,
a Sony Corporation subsidiary, and
reportedly employ around 5,000 staff.
The Sony factory at Kohda, in the
Aichi Prefecture, makes cameras,
subscribe 0844 848 0848
reportedly Cyber-shot compacts, as well

as camera modules.
The Kohda plant is also understood
to manufacture interchangeable lenses
following the closure of a Sony EMCS
site at Minokamo in the Gifu Prefecture
that was announced in 2012.
Sonys Alpha 7 and Alpha 7R cameras,
however, are made in Thailand, according
Contreras, who also freelances for other

news organisations, added: It happened to
me, so I have to accept the consequences.
He has urged others to learn lessons
from his mistake, which he says he did
not try to hide.
He said he is a living example for
other professionals and aspiring
photojournalists of what is not correct
to do, adding: Please take my unfortunate
decision as a golden lesson.
The photographer pledged to continue
his work as a freelance photojournalist.
He told Amateur Photographer: I didnt
try to hide my mistake. I prevented one
of the AP editors from using the altered
picture recently and it brought me severe
consequences in my working relationship
with the news agency The industry will be
shaken for a while but we need the public
punishment to teach others
The photographers work is widely
published, having appeared in newspapers
including The Guardian, The Washington
Post and The New York Times, and
magazines such as Time and National
Geographic.
However, The Guardians head of
photography, Roger Tooth, says AP made
the right decision in sacking him.
The Guardian has the same guidelines
for news photography: no cloning, no
retouching, said Tooth in a blog.
to a Sony representative in an interview

with Amateur Photographer last year.
A Sony spokesperson told us: Sony
Group continues to review and evaluate
its business to ensure it remains exible
and able to respond to the changing
market environment.
This includes the review of Sony
EMCS Corporation, where we have
identied an opportunity to optimise
personnel resource, in order to drive
further efciency.
Pentax DSLRs will
be the main focus

for Ricohs camera
business in 2014.
Ricoh Imaging UK
managing director
Jonathan Martin said:
There is a desire to
make Pentax a bigger
part of the [Ricoh
Imaging] business.
Martin added that the
challenge for 2014 is
to pull consumers
away from buying
a Canon, Nikon or
Sony model.
Next month
Olympus will launch

a compact camera
designed for the
outdoors as it focuses
away from low-end
models. The TG-850,
priced 269.99 and
part of the Tough
series, features a
21-105mm (35mm
equivalent) lens and is
built to be shockproof
down to 2.1m,
waterproof to a depth
of 10m, withstand
temperatures down to
-10C and crushproof
to 100kg. The
16-million-pixel
model also features
lens-shift image
stabilisation.
Do you have
a story?
Contact Chris Cheesman

Tel: 0203 148 4129
Fax: 0203 148 8130
amateurphotographer
@ipcmedia.com
ALLEN HENSON
This week in 1896 AP broached the subject

of decorative photography, more specically
photographic impressions on unprepared
wood, learning lessons from a photo club
in Paris. From this authority we learn that
photographic decorations are now made by
simply exposing white wood pine wood,
for example under a negative to the sun
for a fortnight and varnishing the darkened
image which results. The image has a
pleasant yellowish-brown tint, and from
what is said we conjecture that the varnish
must in some way prevent the further
action of light, as our contemporary asserts
that impressions two years old show no
sign of change.
The lawsuit was triggered

when one of the images
was published on a
social media website
Drama over Empire State Building photos
PHOTOGRAPHER SUED
OVER TOPLESS PICS
A PHOTOGRAPHER says
ALLEN HENSON
ALLEN HENSON
CLUBNEWS
August last year.

In a statement, Henson told AP: This was
shot on a cellphone No gallery show, no ad
campaign, they didnt even go in the portfolio.
There are easily hundreds of thousands
of tourist Empire State Building Instagram
pictures shot in exactly the same capacity no permission asked or granted.
A spokeswoman for the Empire State
Realty Trust had yet to reply to APs
request for comment at the time of writing.
Henson added: My capacity as a
professional photographer doesnt mean
that every time I touch a device with
a camera on it which is [just] about
everything these days Im conducting
a commercial shoot.
The New York-based photographer
claims that the lawsuit is baseless and
ill-conceived.
Breasts are now a potentially dangerous
situation - this document is vilifying
breasts, he added.
The lawsuit was led at the New York
Supreme Court.
he is being sued for more than

$1m over an image of a barebreasted woman at the top of
the Empire State Building in
New York.
Fashion photographer and
lmmaker Allen Henson says
he has received a $1.1m
lawsuit from management of
the popular tourist attraction,
who reportedly claim that the
photo damaged the landmarks
reputation as a safe and secure
family friendly tourist attraction.
It appears management
led the lawsuit after the
image one of a series
Henson took using a mobile
phone was uploaded to a
social media website.
Henson insists that he was not
staging a shoot for commercial reasons, but
was taking pictures of a friend on the 86thoor observation deck of the building on 9
Club news from around the country
SAWTRY CAMERA CLUB
Sawtry Camera Club in Cambridgeshire is looking for new members, reports

the Peterborough Telegraph. The club meets on the second Thursday of each
month at Sawtry Ex-Service & Working Mens Club, 10 Gidding Road, Sawtry,
Huntingdon, Cambridgeshire PE28 5TS. For details email club treasurer John
Boardman at [email protected] or call 01487 831 937.
6
www.amateurphotographer.co.uk I 15 February 2014
subscribe 0844 848 0848
Magazine masterclass leads to RHS plaudits
amateurs worldwide to
enter its competition,
for the chance to win
cash prizes along with
Gold, Silver and Bronze
awards. Both lm and
digitally captured
entries are eligible.
Initial entry for the
International Print
Exhibition is online
and the closing date
is 18 March 2013. Visit
www.rps.org/157.
A colour instant
has triumphed in the RHS Garden

Photographer of the Year competition.
Heather Buckley, who is based in
Brighton, eclipsed thousands of entries
worldwide with a striking image of
foxgloves in gardens at Great Dixter
House in Rye, East Sussex.
It turns out that the winning image was
captured by Heather during an Amateur
Photographer Masterclass hosted by
landscape photographer Tom Mackie,
for ve AP readers, last year.
Heather, who describes herself as a
street and people photographer, said the
1,000 win was a great honour and that
she is thrilled with the chance to show her
work to a wider audience.
The photographer explained that she
chose to shoot the ower image in her
usual street style, rather than as a
close-up picture.
Using my wideangle lens, in this case a
sheye, I spent most of the afternoon trying
to get this shot, taking the usual viewpoint
of looking up through the towering pink
foxgloves at the bees.
Chris Young, Editor of The Garden
Get a free
30-day trial
on iTunes
GET AP
WITHOUT
LEAVING
THE HOUSE!
FORMER OWNER
REUNITED WITH M2
AFTER 30 YEARS
A PHOTOGRAPHER has told
UK ENTHUSIASTS
ON SONY SHORTLIST
TEN PHOTOGRAPHY enthusiasts
are among 25 UK photographers
shortlisted for this years Sony World
Photography Awards.
Their entries were plucked from nearly
140,000 submissions from 166 countries
- the highest number of entries in the
competitions seven-year history.
Shortlisted in the Open category, which
is judged on a single image, are Kristan
Akerman; Alf Bailey; Andrew Bailey; Sean
Batten; Simon Butterworth; Jim Grover;
Colin Hogan; Simon Martin; Simon Morris
(see image above); and Mandy Watts.
Judges commended 33 images
captured by Brits across the ten
Open categories.
The winner will pocket
$5,000 and will be
announced on
30 April.
the essential relationship between plants

and wildlife.
RHS Young Photographer of the Year
was named as Mateusz Piesiak, 17, from
Poland.
how he was reunited with his rst Leica,

an M2, after three decades.
Paul Salmon bought the secondhand Leica M2 in 1982 after nishing
a documentary photography course in
Newport, South Wales, run by Magnum
photographer David Hurn.
Paul used it on newspaper and magazine
photographic assignments worldwide until
1984, when he sold it to a shop in Leeds
as part of a plan to upgrade his camera
equipment.
Fortunately, Paul had decided to have
COURTESY PAUL SALMON
Samsungs rst
premium S-series
lens, the 16-50mm
f/2-2.8 S ED OIS, will
cost 1,079.99 and is
due at the end of this
month. The new
16-50mm f/3.5-5.6
Power Zoom ED OIS,
due in shops at the
end of March, will cost
279.99. The NX30
CSC costs 899.99
with an 18-55mm
f/3.5-5.6 zoom.
magazine and one of the judges, said:

The winning image, which demonstrates
a fusion of skilful photography, patience
and opportunity, is a perfect t for the RHS
Photographic Competition, as it celebrates
SIMON MORRIS
lm for Polaroid
SX-70-type cameras
has been launched
by the Impossible
Project. The lm,
which prints glossy
images with goldcoloured frames,
takes around 30mins
to develop at 21C,
says its maker. It
costs 21.99 for a
pack of eight
exposures. Visit
www.the-impossibleproject.com.
AP READER WINS GLOBAL GARDEN TITLE
A BRITISH street photographer
HEATHER BUCKLEY
The RPS has urged
his name engraved on the camera body

beforehand.
I never saw my old M2 again until now,
Salmon told AP.
On Boxing Day 2013, I received an email
from the new owner of my rst-ever Leica.
It transpired that he had bought the
camera from a Spanish University lecturer
living in Madrid, although [the new owner] is
based in Paris.
Intrigued by the engraving on the back,
he had decided to try an online search for
P Salmon and found my website.
The reunion was certainly a joyful one.
QUARTET OF POLAROID BRIDGE CAMERAS UNVEILED
POLAROID camera maker Sakar

International has unveiled four Wi-Fienabled bridge cameras, including a
model with a 50x optical zoom called
the iE5036W.
Due out in the spring, there is also a
model with a 30x zoom (iE3035W),
another with a 40x zoom (iE4038W)
and one with a 35x lens.
There is no word on UK pricing, but
in the US the 50x model is expected to

cost $299.
Last year, Nikon accused Sakar
International, a US rm, of patent
infringement and forced Sakar to stop
manufacturing and selling the Polaroid
iM1836, an interchangeable-lens camera.
Industry watchers had likened the looks
of the Polaroid iM1836 to the Nikon 1
J1/J2 cameras.
In next weeks AP
LAURA BOUSHNAK
On sale Tuesday 18 February
One of Lauras series of images that won the Terry ONeill title
Pics highlight female education
PORTRAITS highlighting
the problems Yemeni girls

face when accessing higher
education have won this years
Terry ONeill Award.
Palestinian freelance
photographer Laura Boushnak
triumphed in the annual contest
with a series of photos of
women who were the rst
in their families to consider
higher education.
Lauras project, which won
the Portraiture category, was
entitled: I Read I Write:
Yemen-Access to Education.
Commenting on the images,
Laura, who was born in Kuwait,
said: They spoke about their
achievements, challenges
and dreams, in an ultraconservative society where
many believe that women are
destined for marriage to protect
their chastity and their role is
solely in the home.
Javier Arcenillas, who topped
the reportage category, was
named overall runner-up.
Award judge Lord Puttnam,
said: I love the images we
chose and I hope, when
published, that they have the
same impact on others as
they had on me.
The winners, announced last
month, were selected from a
shortlist of 50.
FUJIFILM
X-T1
Outdoor adventure
photographers are set
to give talks at The
Telegraph Outdoor
Adventure & Travel
Show, which takes
place in London from
13-16 February. The
speaker line-up
includes Martin Hartley,
a travel/expedition
photographer who has
documented polar
assignments. Entry to
the talks is included in
the ticket price for the
show, which costs 16
if booked in advance
or 20 on the door.
The show takes place
at the ExCeL centre
in East London. For
details visit www.
telegraphoutdoorshow.
co.uk.
We test Fujis
new 16.3-millionpixel CSC, which
initiates a new
line in the X series
TIMOTHY ALLEN
YEMENI PORTRAITS WIN

TERRY ONEILL AWARD
HANDS-ON
TRAVEL
THE STORYTELLER
Travel Photographer of the Year Timothy Allen

on his win and how his pictures tell stories
A soldier who was

injured while serving in
Afghanistan has turned
his photography
passion into a new
career. Martyn Cowd
has swapped the
frontline for a sheye
lens and is now
offering wedding and
portraiture workshops
in the Taunton area of
Somerset. For details
visit www.martyncowd
photography.co.uk.
SONY ALPHA 5000

ON TEST
We put the 20.1MP,

smallest and
lightest Wi-Fienabled CSC
through its
paces
PANASONIC 42.5MM
F/1.2 LENS ON TEST
We test the rms

new ultra-fast Leica
DG Nocticron lens
and assess its quality
FREELENSING
CANON ANNOUNCES NEW A3 PRINTER

by Canon to produce an A3 print in around 2mins.
The 8.5kg newcomer is Wi-Fi compatible and measures
590x331x159mm.
Designed to print at a resolution of 9600x2400dpi, the Pixma
iP8750 costs 349.99 and is due in UK shops this month.
8
PHIL HALL
THE PIXMA iP8750 features a six-ink system and is claimed
Create creamy
defocused effects
without a tilt-and-shift
lens or Photoshop
CONTENT FOR NEXT WEEKS ISSUE MAY BE SUBJECT TO CHANGE
TECHNIQUE
Canon has announced a new wireless

A3 printer aimed at photo enthusiasts
Hands-on Olympus OM-D E-M10
The Olympus OM-D

E-M10 has the same
high build quality as
the other cameras in
the OM-D range
AP hands-on
Olympus
OM-D E-M10
Its more affordable than its two siblings, but the new Olympus OM-D E-M10
is no entry-level model. Richard Sibley gives his rst impressions of the
new micro four thirds camera after handling it at the recent CES expo
FOLLOWING the success of the

Olympus OM-D E-M1 and E-M5, it was
no surprise when Olympus launched its
16-million-pixel OM-D E-M10 at the
Consumer Electronics Show in the USA.
Although the new camera is less expensive
than the previous two models in the
OM-D range, it has all the features
you would expect of an Olympus micro
four thirds system camera, including
high-quality construction.
With the entry-level market particularly
difcult to crack, Olympus isnt aiming
the OM-D E-M10 at rst-time users.
Instead, the new camera will be in direct
competition with the Canon EOS 700D
and Nikon D5300 DSLRs.
The reason for this, according to
Olympus, is that around 90% of entry-level
DSLR users never upgrade from their initial
camera or lens, compared with 50% of
10
advanced entry-level users who go on to

buy another camera and additional lenses.
And this is precisely the user at which the
Olympus OM-D E-M10 is targeted.
KEY FEATURES
Many of the features of the Olympus OM-D
E-M10 have been borrowed from the two
more advanced cameras in the range.
However, although the OM-D E-M10 uses
the 16.1-million-pixel four-thirds CMOS
sensor found in the OM-D E-M5, it has the
same TruePic VII image-processing system
found in the more advanced E-M1. The
new camera also has a Fine Detail II engine,
which can apply distortion and aberration
adjustments to images based on the exact
Olympus lens and aperture being used.
One new feature of the OM-D E-M5
is the 1.44-million-dot EVF, which has a
100% eld of view and an impressive
refresh rate of 120 frames per second.

During our meeting with Olympus, the
companys representatives were keen to
demonstrate the speed of the EVF by
showing us a video featuring the viewnder
of the OM-D E-M10 and the arm of a
metronome. The arm of the metronome
was visible both through the viewnder
and in the scene, and as it moved back and
forth there was no discernible lag between
the real view and the same scene displayed
in the EVF. This is certainly something we
look forward to investigating further in a
full test of the camera.
The OM-D E-M10 has the same
articulated 3in screen as that found on
other OM cameras, but it also has a built-in
pop-up ash, which was omitted from its
more advanced siblings. This should be a
welcome inclusion for those who want an
occasional touch of ll-in ash, while for
more demanding users there is a hotshoe.
Another difference found in the OM-D
E-M10 is that it employs a three-axis incamera stabilisation system correcting
for yaw, pitch and roll rather than the
ve-axis version in the E-M1 and E-M5.
This allows the OM-D E-M10 to maintain
its small size.
For still images Olympus is content
with stabilising across three axes, but
the company did want to improve the
stabilisation for video. The result is a hybrid
system that combines the mechanical and
AT A
GLANCE
16.1-million-
pixel, four-thirds
Live MOS sensor
1.44-milliondot EVF
Three-axis image
stabilisation
Wi-Fi
connectivity
Aluminium
construction
529.99 body
only
APs deputy technical editor Michael
Topham was also on hand to try the
new Olympus OM-D E-M10
subscribe 0844 848 0848
Olympus OM-D E-M10 Hands-on
BUILD AND HANDLING

Unlike the Fujilm X-A1 and X-M1, the
OM-D E-M10 maintains the quality build
of its predecessors. The new Olympus
camera has an aluminium construction,
with the basic design being very similar to
the E-M5. However, the E-M10 is smaller,
with a few millimetres shaved off each
dimension in comparison to the E-M5.
The front and rear dials have also been
rearranged to allow the body of
the E-M10 to be smaller, while still
maintaining maximum control.
The E-M10 has an optional grip that has
a quick-release section on the bottom. This
section is easily removable so the battery
can be accessed without having to unscrew
the grip from the cameras tripod mount.
Unfortunately, unlike the others in the
OM-D range, the E-M10 is not weathersealed, so those who really like to get out
in all weathers should opt for the E-M5.
INITIAL THOUGHTS
electronic stabilisation that adjusts the
pixels used by the sensor when recording
video footage to reduce wobble.
To ensure sharp images, the OM-D
E-M10 uses Olympuss Fast AF contrastdetection AF system with 81 target AF
areas. It is possible to change the size of
the AF target, as well as using spot AF for
more precise focusing on smaller subjects.
The AF system is capable of focusing in as
little as 0.13sec. The speed of the focusing
may seem a little slower on paper than
some of the competition, but I didnt notice
any signicant difference in the short time
I had with the camera. It will be interesting
to put the OM-D E-M10 up against some
competition in a full test.
CONNECTIVITY
With built-in Wi-Fi, the OM-D E-M10 can
transfer images quickly to a smartphone
or tablet. Pairing the two devices is made
easier through the use of QR codes, rather
than opting for NFC. Once connected,
not only can images be shared, but the
camera can also be fully controlled from
a mobile device, including the ability to
focus and adjust exposure settings. If
you are using the new M. Zuiko Digital
ED 14-42mm f/3.5-5.6 EZ lens, you
can even control the zoom via a
smartphone. From what I saw, it is a
very comprehensive system for remote
triggering and should be useful for
long-exposure or wildlife photography.
Above: The
controls on the
rear of the new
OM-D E-M10 have
been changed
from the rather
ddly buttons
of the E-M5
Below: The E-M10

retains the same
style as other
cameras in the
OM-D line-up
The Olympus OM-D E-M10 has the same

high build quality as the other cameras in
the OM-D range. In the hand, the E-M10
feels like a smaller version of the E-M5, but
with arguably simpler controls that make it
nicer to use.
The E-M10 may lack weather-sealing,
but it maintains the essence of the OM-D
line-up. If this new camera can produce
the images to match its build quality, the
E-M10 is bound to be a popular enthusiast
compact system camera. It may even be
used as a backup model by those with
an E-M1 who want something smaller for
everyday use.
The Olympus OM-D E-M10 will be
available this month, price 529.99 body
only or 699.99 with the M. Zuiko Digital
ED 14-42mm f/3.5-5.6 EZ lens. AP
Along with the OM-D

E-M10, Olympus
also revealed a
new collapsible
14-42mm kit lens
subscribe 0844 848 0848
11
Books, exhibitions and websites
APReview
The latest photography books, exhibitions and websites. By Jon Stapley

Facing Africa
By John Kenny. 5 Continents, 30, hardback,
113 pages, ISBN 978-8-874-39636-8
JOHN KENNY
BOOK
BRITISH photographer John Kenny

documents the indigenous cultures
of Sub-Saharan Africa in a series of
45 stylised portraits. Photography
buffs will have a ne time mulling over
the particulars of Kennys lighting
set-up, which appears to create a
central channel of strong light that
gives his portraits their distinctive look.
Interestingly, the photographer and/or
set-up are reected in the pupils of most
subjects, and once you notice its hard
not to dwell on it. However, its worth
taking a step back to absorb the whole of
each portrait, with the traditional African
dress, body art and
jewellery unique facets
of cultures that may
face extinction in an
uncertain future.
JOHN KENNY
Game Changers:
The Evolution of
Advertising
Edited by Peter Russell and Senta
Slingerland. Taschen, 44.99, hardback,
312 pages, ISBN 978-3-836-54524-2
ITS EASY to underestimate the extent

to which an effective advert can afx itself
indelibly onto our collective consciousness.
I can easily write a few words that for
people of the appropriate age, nationality
or disposition, will just instantly click: A
Mars a day, Got Milk?, Just Do It you
get the picture.
Advertisings need to combine impact
with succinctness makes it a natural partner
for photography. This curation of the most
impactful, infamous or memorable adverts
uncovers the extent of research and creative
TOM WOOD
EXHIBITION
12
Tom Wood: Men and Women

Until 14 March. Belfast Exposed, The Exchange Place, 23 Donegall Street, Belfast
BT1 2FF. Tel: 028 9023 0965. Website: www.belfastexposed.org. Open Tue-Sat
11am-5pm. Admission free
THIS exhibition at Belfast Exposed, which made its debut at The Photographers
Gallery, is a new organisation of Tom Woods Men and Women collection. Wood has been
photographing people in their natural environments for 40 years now, and has revisited his
archives specially for this collection. Some of his images have a street sensibility to them,
while others feel more like straight portraiture with subjects staring down the barrel of the
lens, but all retain a spontaneous quality that belies the depth of the stories you can infer
if you look closely enough. He achieves this by allowing people to remain in their natural
environments. His resolutely British images recall the likes of Tony Ray-Jones and Martin
Parr. Equally comfortable with colour and black & white, Wood is remarkable for how his
work rejects series and categories, and is easy to treat as a single sprawling body.
subscribe 0844 848 0848
Books, exhibitions and websites
CONDENSED
READING
A round-up of the latest
photography books on the market
MASTERING PHOTOSHOP
LAYERS by Juergen Gulbins, 34.50
Its a testament to the depth and
potential of Photoshop that a single
one of its features can warrant an
entire book detailing how to use it.
Juergen Gulbins guide, which nears
300 pages, offers all the detail you
could want and then some. With
helpful diagrams and specic
example images to illustrate exactly
how layers were used to create
individual effects, the book manages
to do a credible job of making it all
look easy. MASTERING THE NIKON
D7100 by Darrell Young, 30.99 The
successor to the Nikon D7000 proved
extremely popular on release, thanks
in no small part to its excellent image
quality and (relatively) competitive
price. Its a well-featured enthusiast
DSLR, and as such you could argue
that its pitched towards people who
would have little use for a printed
guide. The advantage of picking up
Darrell Youngs book, though, is that
the functionality of the D7100 is so
extensive there may well be a few
features youve never even thought of
using, which Young explains in detail.
CAPTURING LIGHT by Michael
Freeman, 19.99 On his website,
Michael Freeman has more than 30
books listed on photography alone.
He is quite simply an astonishingly
prolic author and very much
deserves his status as an authority on
photography. His latest book continues
the ne tradition of being very good
indeed, taking in turn the three
approaches to photographic light: wait
for it, chase it or modify it. The images
are great, and the words are too its
another easy win from Mr Freeman.
BOOK
Above: Think
Different, Apple, Agency:
TBWA Chiatday, 1997, USA
Right: Think Small, Volkswagen,
Agency: DDB, 1959, USA
debate that went into famous campaigns

and single ads. Theres a nice contribution
from David Bailey regarding some of his
advertising work, as well as enjoyable
dissections of such landmarks in advertising
as Wonderbras infamous Hello Boys and
political campaigns such as 1979s Labour
Isnt Working from Thatchers Conservatives
(which, in an interesting
titbit typical of the book,
the Iron Lady herself
initially hated). Absorbing,
if you like this kind of thing.
www.visualcultureblog.com
MARCO Bohr applies a critical lens to the world of
WEBSITE
subscribe 0844 848 0848
contemporary visuals in a blog that focuses not only on

photography but also other aspects of visual art and culture,
such as lm, television and advertising. With a broad mix of
subjects, Bohr does his research and discusses why and how
images work and what we can learn from them. Some of his
posts take a feminist stance as he dissects representations of
the female body in contemporary culture. Others are more
political, such as his expert dismantling
of the photography in many of The Suns
recent anti-benets scroungers stories.
The blog is updated regularly with fresh,
original content, and is worth getting into.
The worlds best-selling

weekly photography magazine
NOW AVAILABLE
TO DOWNLOAD!
13
Have your say
Letters
Share your views and opinions with fellow AP readers every week
THE STORY OF A FRIENDSHIP

When I read Tom Dalzells experiences with his rst real camera (Letters,
AP 21-28 December 2013), it brought back many memories of my own.
It was in 1949, when I was 12 years old and a keen photographer with my
newly acquired Agfa box camera, that I was poking about in my old aunts spare
bedroom and came across a Rodenstock f/4.5 Prontor 11, complete with tripod.
I told my mother of my nd, and she asked her sister about it. She was told that
Ted, my aunts husband, brought it back from Germany after the war. Apparently,
Ted went over on D-Day, and on his way through Germany the German people
would give anything for coffee. He was an Army cook and had no bother getting
coffee, so he traded a jar for of it the camera and tripod.
My aunt agreed to sell it to mum for ten shillings [50p], and on my birthday I
became the proud owner of the Rodenstock. Its a nice little camera that never
failed to deliver a good photo. I used it through my national service in 1958 in
Singapore and Malaya with 6 Coy RASC. I still have it and it works as good now
as when I rst acquired it. Its now been retired and replaced with a SLR and a
Panasonic Lumix DMC-TZ40, but I would never part with my little Rodenstock
because of its history.
Brian Jones, Berkshire
COMPLETELY UNNECESSARY
Do we really need to spend all our free
time working on our pictures in image
software? Probably not, as I think all this
stuff about Layers and Curves and suchlike
is a waste of time and effort. If we think back
to the days of lm and about all the great
photographers of the time, did any of them
work in the way we do now? No, they did
not, because there was no need to for them
use Layers or apply any sharpening. If an
image is sharp at the time of taking, why do
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
LETTER OF
THE WEEK
Write to
Wins a great shockproof,
waterproof and dustproof 5-Proof
Technology 16GB Samsung SDHC
Plus memory card offering up to
48MB/sec transfer speed.
www.samsung.com/memorycard
Letters at the usual

AP address (see page
3) fax to 020 3148
8130 or email to
amateur
photographer
@ipcmedia.com and
include your full
postal address
Earn 50
Backchat
Send your thoughts

or views (about 500
words) to Backchat
at the usual AP
address (see page 3).
A fee of 50 will be
paid on publication
to remove unwanted background objects.

So why do photographic publications insist
on telling us that sharpening and Layers and
the like are needed, and are an important
part of the process? This digital age is slowly
destroying the art of photography, as anyone
with a camera or phone can go out and take
photos, play with them in image software
and then call them pictures.
I dont do any of this sharpening or layers
stuff. All I do is adjust the exposure, crop,
adjust the saturation, and then, when I am
happy, I print the picture.
Sean Dempsey, Hertfordshire
Sean, no one is forcing you to do
anything. Its your hobby, and if
youre happy with your results thats
all that counts. But if you were to
peruse the best images on Flickr or in
the prestigious competitions, youd
probably nd that most were skilfully
processed from raw les, with curves
and sharpening adjustments applied
maybe even using Layers. These tools
are used to overcome the limitations in
the way that digital sensors work, and to
give photographers more control over
the nal image. Film works in a different
way, but many of the classic images of
the past, from the landscapes of Ansel
Adams to the fashion and portraiture
of Horst and Penn, were the result of
extensive darkroom manipulation and/
or heavy airbrushing which was highly
skilled. If you accept that photography
is a creative art form rather than just a
simple recording medium, youll see that
cameras, lm and software are all just
tools to use as we wish, in our quest to
produce images that match our vision of
what we saw in our minds eye Nigel
Atherton, Group Editor
A LIGHT-BULB MOMENT
we need to apply sharpening? If the
image is out of focus, then no amount of
sharpening will make it sharp. And why
do we need to use Layers?
If, say, a photographer working in the
1970s and 80s wanted to remove a
blemish from a models skin, he would use
tools like a pencil and maybe a view drops of
photographic dye to draw over that blemish.
It seems to me that the only tools we need
are things like the Dodge and Burn tools, the
Healing Brush and sometimes the Clone tool
In explaining how photographers can benet

from using a high-megapixel sensor, Eric
Begbie (Backchat, AP 25 January) states:
Post-exposure processing of digital image
les is data processing, pure and simple.
Reading that was like an epiphany for
me. Suddenly a light bulb switched on
in my head.
Until now, I have always thought of clicking
the shutter button as taking a picture. Now I
can think of it as collecting data and what
a difference that makes to my approach
to photography. Instead of just snapping
scenes, I will be acquiring the raw materials
for artistic creativity. Thank you, Eric.
Eric begins the nal sentence of his
article with the words: Purists might
shudder I suspect he is also correct in that
observation, but I for one found his treatise
stimulating and liberating.
James D Brown, Moray
AN ODD COUPLING?
Why did you carry out your resolution and
noise test assessments for the Nikon Df
using a Sigma 105mm f/2.8 Macro lens set
at f/5.6 (AP 18 January)? Surely, it would
have been more appropriate to use a
14
subscribe 0844 848 0848
Have your say
Nikon lens, considering the extensive range

available. Or am I to deduce that to achieve
the best picture resolution I should seriously
consider using a Sigma optic?
I would just point out that for the Sony
Alpha 7 test (in the same issue) a Zeiss
55mm f/2.8 prime lens was used, as the
28-70mm OSS lens doesnt do the sensor
justice and lacks bite.
Might I respectfully suggest that a further
test is carried out for the Df using a Zeiss
prime lens, or failing that, a Nikon lens, so a
fair comparison between the two cameras
could be given.
W Martin, via email
Where possible, we test all DSLRs using
the Sigma 105mm f/2.8 Macro lens.
Dont be put off by the fact this is a
third-party lens it is extremely sharp.
As the lens is available in most lens
mounts, it means that we can use it to
test the vast majority of cameras we
have the Nikon, Canon, Pentax, Sony
Alpha and Sigma versions. This allows for
fair comparisons to be drawn between
DSLRs, and this is the reason it was used
in the Nikon Df test.
We try to test all compact system
cameras with an appropriate xed-focallength lens where possible, although in
the future we may use suitable highquality adapters so we can test every
camera, whether it is a DSLR or CSC,
with the Sigma 105mm macro lens
Richard Sibley, technical editor
the window of my classroom and had just

received the photos back from processing.
With some other classmates present,
I pretended to take a photo out of this
window and then went under a desk for
a couple of minutes to process it before
producing the resulting photo. I dont
remember how convinced anyone was,
but it started me thinking about how the
photo that I had in my hand was actually
produced. Within a couple of years I had
set up a darkroom and did a mail-order
photographic course.
David ODoherty, Ireland
JOY OF TREASURE HUNTING
CLASSROOM PRANKS
I love the exceptional build quality

and tactile experience of using
older lenses (Poll, AP 18 January).
FROM THE I have heard plenty of tales of how
FORUM manual lenses are compromised
on a digital body, but have mostly
found the opposite to be true. There is some
excellent image quality to be had, often for
very little money. Older lenses can display
quite a different character to modern
lenses, and once you get to know a lens
then that can be put to very good use.
There are plenty of aids that help in using
older lenses focus conrmation, stopdown metering button, the histogram, split
focusing screens but there is satisfaction
in just using them completely manually
too. Part of the fun is hunting for, and
occasionally unearthing, a rare gem it
contributes to the feel-good factor of
the hobby.
Ffolrord
I am reminded by Tom Dalzells letter

(AP 21-28 December 2013) of one
of the very rst photos that I ever took.
I was nine years old and the proud owner
of a 12-on-120 rolllm brown metal box
camera. I had taken a photo out through
Even the ones that dont perform

so well with digital sensors can be fun,
and give a look. Perfection can be
boring sometimes Nigel Atherton,
Group Editor
FOOD FOR THOUGHT

Professor Bob Newman writes quite simply the best potted
version on colour perception I have ever seen (AP 11 January).
I now understand why the white balance temperature and tint
FROM THE sliders in raw converters cover the blue/yellow and cyan/magenta
FORUM (opposite of red/ greenness) bands only. These bands are also
used to correct
chromatic-aberration
fringing.
It also gives an
understanding of how
lab colour works, as
the three channels
are base on the
brains use of a
luminance and two
colour channels.
And it explains the
basic implication of
differential noise
reduction. All in all,
an excellent article
that even the nontechnically inclined
should read and digest.
Terrywoodenpic
subscribe 0844 848 0848
AP reader David Askham

reviews his photography
upgrade requirements for 2014
HOW DO you react to the recurring lure of the latest
new cameras? No sooner have we settled into a period of
equilibrium than some manufacturer launches yet another
new model. Photographic magazines unavoidably promote
this scenario by their very reporting and testing of the best
new kit. However, time was that the life of a camera was
measured in years rather than months.
The highly popular Leica M6 rangefinder, for example,
was produced for 18 years (1984-2002) with only modest
improvements during that long production run. Compare
that with its digital counterparts. The M8 and M9 each
lasted years before new technology saw their demise and
replacement with later-generation sensors and seductive
newer functions, such as high-definition video recording.
And so we get swept along.
I recently reflected on this dilemma. Where did my current
digital equipment fail to meet my realistic objectives? What
if I got off the escalator? Would I be missing out on some
seductive new feature if I decided against the next upgrade?
Were there quality deficiencies in my current photography
that only a new camera could solve? To find the answer to
these questions, I studied my latest photographic output for
evidence supporting my spending of yet more money.
My transition from film to digital has already passed the
point where digital capture was inferior. I can now do so
much more with my current equipment. So it comes down
mainly to improved ergonomics, bulk, weight, performance
and flexibility. I have already abandoned heavy backpacks
in favour of travelling light; no more bulky DSLRs for
me. Indeed, I am well satisfied with my photographic kit,
comprising mainly high-quality prime lenses, which I use,
enjoy, cherish and delight in having with me.
Sensor sizes are now entering realms once the preserve
of high-budget professionals. But apart from increased
cropping options, I question my need for resolutions much
beyond 20 million pixels. I rarely print larger than A3 in size
and often very much smaller. But thoughtful shooting rules
out the need for extreme cropping anyway. Good techniques
can save money and that includes time invested in learning
and mastering the mysterious arts of digital processing.
Looking back over the past year, Ive discovered that the
purchase of two good books, on photographic vision and
methods of expressing that vision, has contributed far more
to the improved quality and appeal of my photography than
any new camera or lens would have done. I have therefore
concluded that my current equipment almost completely
meets my requirements for
considered serious location
photography. Only in the
genre of close-up or local
travel scenarios would a highquality, zoom-lens APS-C
compact be justified, thus
completing a balanced outfit.
So maybe that is the area
in which I should be looking
in 2014.
15
Photo insight Graham Taylor
Senior Aircraftman
Graham Taylor was
until recently an
offcial photographer
at RAF Coningsby,
and was named
Photographer of the
Year in the Forces
offcial photographic
competition for 2013.
He has since accepted
a photography job
at Kahn Design, an
automotive fashion
house that works
with exclusive and
exotic cars.
Graham Taylor
was crowned RAF
Photographer of the Year
for 2013 with a portfolio
from his time with the
Air Force. He talks us
through this spectacular
shot of a Spitfire
The image was taken on 24 April

2013 at Royal Air Force (RAF) Coningsby
in Lincolnshire. All display teams undergo
an annual Public Display Authority (PDA)
in front of the Air Offcer Commanding
(AOC) to ensure their displays are up to
par and, most importantly, that they are
safe. This one was for the Battle of Britain
Memorial Flight, which was (unusually)
taking place late in the day. All the pilots fy
their respective aircraft type and are signed
off by the AOC once they have passed.
For this particular shot I was
standing on the grass behind the
Spitfre. As RAF photographers,
when were on a station like this
were fairly privileged to be able to
move freely around the aircraft,
usually under the watchful eye
of the technicians who will make
sure we dont wander into any of the
danger areas. This aircraft was being
used by successive pilots, which meant the
engine was still warm when it was started.
A warm engine does not need as much
fuel priming as a cold one. Priming is not an
exact science, even more so with a warm
engine, and if there is an excess of fuel
it will fame until the engine starts. This is
called a hot start.
I was positioned behind the aircraft,
ready to capture whatever happened. Id
had plenty of time to check and recheck
the angle I wanted. Id had an inkling that
I might see some fames, but a lot of it still
BrINGING
yOU ESSENTIal
EXPErT aDVICE
EVERY WEEK
To see more of Graham

Taylors images, visit
www.rogue86.com
16
GRAHAm TAYloR
GraHam TaylOr
PHOTO
INSIGHT
boils down to coincidence and sheer luck.

I was lucky about the time of day PDAs
usually take place around lunchtime. If this
one had, then the sun would have been
in a completely different place and would
have changed the lighting of the entire
scene. Also, if the pilot hadnt slightly overprimed the engine, then the picture would
have disappeared into my portfolio along
with hundreds of other Spitfre shots that
arent bad but dont particularly capture
the imagination. I had thought about every
aspect of the image, but it was still good
luck that turned it from an average photo
into something Im really proud of.
This shot was taken on a Nikon D700
with 70-200mm f/2.8 lens. I started
shooting with the D700 purely because
it was full frame, and wed had a couple

delivered as part of our contingency kit for
deployments at a time when our D3 bodies
were being cleaned. I fnd it just as capable
in most situations as the D3 and the fact it
has a self-cleaning sensor means its usually
the one I head out with. As for the lens,
I love the compression that a long focal
length provides and the quality of glass
on the Nikon f/2.8G lenses is sublime. My
favourite is the 300mm f/2.8G that I tend
to use whenever I have the opportunity.
However, while its great being able to use a
lens that costs the same as a Toyota Supra,
I cant put my hand on my heart and tell
people that its the most infuential thing
that has ever happened to my photography.
I would say the digital darkroom process
subscribe 0844 848 0848
Id had an inkling that I might see

some fames, but a lot of it still boils
down to coincidence and sheer luck
(specifcally Photoshop in my case) is
probably the most important aspect of my
workfow. I think people are often put off by
editing, with the mindset that it somehow
takes away the purity of photography,
but certainly for commercial work editing
could be the key to make your images
stand out. You dont have to spend days
with your head in front of the PC screen
to make a great image (Ive never spent
more than 10mins editing a single image),
but I think the use of editing software is
subscribe 0844 848 0848
probably the most misunderstood dark art

in photography today.
I wanted to use a longer lens to compress
the features of the aircraft and make them
really stand out. Shooting low, along the
fuselage, allowed me to use the aircraft to
mask a busy background. Compositionally,
the aircraft frames the shot, and the
negative space enhances the colour of
both the fame and the sky. There are a
few details within the shot that show the
aircraft is on the ground, so the intention
was never to make the aircraft appear

as though it was in the air, but I wanted
the shot to be about the Spitfre and not
anything else around it.
This was one of the images in the
portfolio that won me the title of RAF
Photographer of the Year. It was a shock
to win, but it obviously felt great! Aerial
photography is the thing I enjoy most about
this job. Ive always loved fying, but more
specifcally its speed Im in love with. I had
posters of fast cars and fast jets adorning
my walls as a child and its something Ive
never really grown out of. Even in my job,
Id like to think I photograph everything to
the best of my ability, but its only when
photographing cars or aircraft that I feel like
I can really convey a passion across. AP
Graham Taylor
was talking to
Jon Stapley
17
Nikon: Enter the New Golden Age

Buy a new
Nikon D4 camera
And get an enhanced part-exchange
of up to 600 on your Nikon or
Canon DSLR plus receive a 16QXD
Card and USB card reader FREE!
(While Stocks Last).
Grays of Westminster, are, for a limited

period, able to offer an enhanced partexchange rate of up to 600 on your
Nikon or Canon DSLR plus receive a
16GB QXD card and USB card reader
FREE, when buying a new Nikon D4
(While Stocks Last).
Please contact us for further details
on telephone number 020-7828 4925
0% or Low
Interest
Finance
Nikon Digital Cameras
Nikon D4 SLR body............................................................... 4,199.00

Nikon D4 + AF-S 14-24mm f/2.8G IF-ED Kit......................... 5,475.00
Nikon D4 + AF-S 24-70mm f/2.8G IF-ED Kit......................... 5,399.00
Nikon D4 + AF-S 14-24mm & 24-70mm f/2.8G Kit................ 6,699.00
Nikon D800 DSLR body......................................................... 2,049.00
Nikon D800 + MB-D12 Grip Kit.............................................. 2,330.00
Nikon D800 + AF-S 14-24mm f/2.8G ED Nikkor.................... 3,355.00
Nikon D800 + AF-S 24-70mm f/2.8G ED Nikkor.................... 3,280.00
Nikon D800 +AF-S 14-24mm f/2.8G &AF-S 24-70mm f/2.8G ED Nikkor Kit
............................................................................................... 4,585.00
Nikon D800E DSLR body...................................................... 2,349.00
Nikon D800E + MB-D12 Grip Kit........................................... 2,630.00
Nikon D800E + AF-S 14-24mm f/2.8G ED Nikkor................. 3,649.00
Nikon D800E + AF-S 24-70mm f/2.8G ED Nikkor................. 3,575.00
NikonD800E+AF-S14-24mmf/2.8G&AF-S24-70mmf/2.8GEDNikkorKit
............................................................................................... 4,875.00
Nikon MB-D12 Grip for D800E/D800..................................... 285.00
Nikon Df + AF-S 50mm f/1.8G Special Edition...................... 2,495.00
Nikon D610 DSLR body......................................................... 1,449.00
Nikon D610 + MB-D14 Grip Kit.............................................. 1,635.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor........ 1,865.00
MB-D14 Grip for D610........................................................... 195.00
Nikon D7100 SLR body......................................................... 839.00
Nikon D7100 + MB-D15 Grip Kit.......................................... 1,059.00
Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit........ 949.00
Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit............ 1,095.00
Nikon D7000 SLR body......................................................... 579.00
Nikon D7000 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit........ 719.00
Nikon D7000 + 18-200mm f/3.5-5.6G VR II DX IF-ED Kit..... 1,159.00
Nikon D7000 + MB-D11 Kit.................................................... 789.00
Nikon D5300 SLR body......................................................... 645.00
Nikon D5300 + AF-S 18-55mm f/3.5-5.6G VR DX Kit........... 715.00
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit......... 999.00
Nikon D5200 DSLR body....................................................... 499.00
Nikon D5100 DSLR body....................................................... 345.00
Nikon D3300 DSLR body....................................................... 499.00
Nikon D3300 + AF-S 18-55mm f/3.5-5.6G VRII DX Kit......... 599.00
Nikon D3200 DSLR body....................................................... 339.00
Nikon D3100 DSLR body....................................................... 259.00
Nikon 1 System
Nikon 1 V2 10-30mm Kit........................................................

Nikon 1 V2 10-30mm & 30-110mm Twin Kit..........................
Nikon 1 S1 11-27.5mm Kit.....................................................
Nikon 1 S1 11-27.5mm + 30-110mm Kit................................
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6......................................
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8................
Nikkor VR 6.7-13mm f/3.5-5.6...............................................
Nikkor VR 11-27.5mm f/3.5-5.6.............................................
Nikkor VR 10-30mm f/3.5-5.6................................................
Nikkor VR 30-110mm f/3.8-5.6..............................................
Nikkor 10mm f/2.8..................................................................
1 Nikkor AW 10mm f/2.8........................................................
Nikkor 18.5mm f/1.8...............................................................
Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom..............................
Nikon SB-N7 Speedlight........................................................
Nikon GP-N100 GPS Unit......................................................
Mount adapter FT1................................................................
Nikon Coolpix
Nikon Coolpix A.....................................................................

Nikon Coolpix P7800.............................................................
659.00
799.00
475.00
595.00
749.00
949.00
425.00
169.00
145.00
179.00
179.00
299.00
179.00
545.00
139.00
99.00
199.00
849.00
499.00
AF-S & AF DX Nikkor Lenses
10.5mm f/2.8G AF DX ED Fisheye........................................ 545.00

AF-S 35mm f/1.8G DX........................................................... 150.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX..................................... 639.00
AF-S 12-24mm f/4G IF-ED DX.............................................. 829.00
AF-S 16-85mm f/3.5-5.6G ED VR DX................................... 439.00
AF-S 17-55mm f/2.8G DX IF-ED........................................... 1,049.00
AF-S 18-55mm f/3.5-5.6G VRII DX....................................... 229.00
AF-S 18-55mm f/3.5-5.6G VR ED DX................................... 145.00
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED............................. 225.00
AF-S 18-140mm f/3.5-5.6G VR DX ED................................. 475.00
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED.......................... 585.00
AF-S 18-300mm f/3.5-5.6G ED VR DX................................. 675.00
AF-S 55-200mm f/4-5.6G VR DX IF-ED................................ 245.00
AF-S 55-300mm f/4.5-5.6G DX VR....................................... 279.00
AF FX Nikkor Lenses
14mm f/2.8D AF ED............................................................... 1,219.00

16mm f/2.8D AF Fisheye....................................................... 619.00
20mm f/2.8D AF..................................................................... 465.00
24mm f/2.8D AF..................................................................... 369.00
Prices include 20% VAT. Prices Subject to Change. E.&O.E.
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783
[email protected] Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
Nikon Df
28mm f/2.8D AF................................................................ 245.00

35mm f/2D AF................................................................... 255.00
50mm f/1.8D AF................................................................ 109.00
50mm f/1.4D AF................................................................ 235.00
85mm f/1.8D AF................................................................ 299.00
85mm f/1.4D AF IF............................................................ 949.00
105mm f/2D AF-DC.......................................................... 799.00
135mm f/2D AF-DC.......................................................... 1,025.00
180mm f2.8D AF IF-ED.................................................... 695.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 24mm f/1.4G ED...................................................... 1,469.00

AF-S 28mm f/1.8G............................................................ 499.00
AF-S 35mm f/1.4G............................................................ 1,299.00
AF-S 50mm f/1.4G IF........................................................ 275.00
AF-S 50mm f/1.8G IF........................................................ 155.00
AF-S 85mm f/1.8G............................................................ 379.00
AF-S 85mm f/1.4G............................................................ 1,179.00
AF-S 14-24mm f/2.8G IF-ED............................................ 1,310.00
AF-S 16-35mm f/4G ED VR............................................. 829.00
AF-S 17-35mm f/2.8D IF-ED............................................ 1,495.00
AF-S 18-35mm f/3.5-4.5G................................................ 569.00
AF-S 24-70mm f/2.8G IF-ED............................................ 1,235.00
AF-S 24-85mm f/3.5-4.5G ED VR.................................... 419.00
AF-S 24-120mm f/4G ED VR............................................ 799.00
AF-S 28-300mm f/3.5-5.6G ED VR.................................. 649.00
AF-S 70-200mm f/2.8G VR II IF-ED................................. 1,599.00
AF-S 70-200mm f/4G VR IF-ED....................................... 949.00
AF-S 70-300mm f/4.5-5.6G VR IF-ED.............................. 385.00
AF-S 80-400mm f/4.5-5.6G VR ED.................................. 1,899.00
AF-S 200-400mm f/4G VRII IF-ED................................... 4,879.00
AF-S 200mm f/2G VR II IF-ED......................................... 4,099.00
AF-S 300mm f/4D IF-ED.................................................. 1,029.00
AF-S 300mm f/2.8G VR II IF-ED...................................... 4,039.00
AF-S 400mm f/2.8G VR IF-ED......................................... 6,595.00
AF-S 500mm f/4G VR IF-ED............................................ 5,845.00
AF-S 600mm f/4G VR IF-ED............................................ 7,050.00
AF-S 800mm f/5.6E VR FL ED (inc. TC800-1.25E ED teleconverter)
.........................................................................................13,995.00
TC-14E II 1.4x teleconverter............................................. 315.00
TC-17E II 1.7x teleconverter............................................. 315.00
TC-20E III 2x teleconverter............................................... 389.00
AF FX Zoom-Nikkor Lenses
24-85mm f/2.8-4D AF IF...................................................
545.00
AF & AF-S Micro-Nikkor Lenses
AF-S 40mm f/2.8G DX Micro............................................ 189.00

60mm f/2.8D Micro........................................................... 365.00
AF-S 60mm f/2.8G ED Micro............................................ 399.00
AF-S 85mm f/3.5G VR DX IF-ED Micro........................... 375.00
AF-S 105mm f/2.8G AF-S VR Micro IF-ED...................... 609.00
200mm f/4D AF Micro IF-ED............................................ 1,245.00
Nikon Speedlights
SB-910 Speedlight............................................................
SB-700 Speedlight............................................................
SB-400 Speedlight............................................................
SB-R1C1 Close-Up Commander Kit................................
SB-R1 Close-Up Remote Kit............................................
SU-800 Wireless Speedlight Commander........................
SB-R200 Wireless Remote Speedlight.............................
335.00
229.00
119.00
559.00
399.00
269.00
159.00
Manual Focus Nikkor AIS Lenses
20mm f/2.8 Nikkor............................................................. 901.00

24mm f/2.8 Nikkor............................................................. 608.00
28mm f/2.8 Nikkor............................................................. 615.00
35mm f/1.4 Nikkor............................................................. 1,227.00
45mm f/2.8P Nikkor, chrome............................................ 325.00
50mm f/1.4 Nikkor............................................................. 597.00
50mm f/1.2 Nikkor............................................................. 743.00
180mm f/2.8 ED Nikkor..................................................... 799.00
Zoom-Nikkor Manual AIS Lenses

28-85mm f/3.5-4.5 Zoom-Nikkor ......................................
599.00
Special Purpose: Perspective

Control and Micro-Nikkor Lenses
24mm f/3.5D PC-E ED Nikkor.......................................... 1,455.00

28mm f/3.5 PC Nikkor...................................................... 1,195.00
45mm f/2.8D ED PC-E Nikkor.......................................... 1,395.00
55mm f/2.8 Micro-Nikkor.................................................. 541.00
85mm f/2.8D ED PC-E Nikkor.......................................... 1,325.00
105mm f/2.8 Micro-Nikkor................................................ 1,047.00
200mm f/4 Micro-Nikkor................................................... 895.00
PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control
TO ORDER TELEPHONE 020-7828 4925
Follow us on:
@NikonatGrays
Photographs by
Tony Hurst
Specialising in the exceptional

Nikon F Apollo camera, black + F-250 Motor Drive & Battery Pack
The name Apollo derives from Nikons association with NASA during the Apollo space
programme when Nikon supplied both test equipment and equipment to be used on
flights. Nikon F cosmetics changed late in production and was updated with black plastic
tipped F2 type advance lever and self-timer. This fine example is fitted with the F-250 Motor
Drive as an alternative camera back. The film capacity is 250 exposures (33 feet of film).
(Also includes the standard film back, shoulder battery pack & instructions). EXC++
Find us on Facebook: www.facebook.com/graysofwestminster
TO ORDER TELEPHONE
020-7828 4925
Visit our website: www.graysofwestminster.co.uk
THE UKS BIGGEST PHOTO SPECIALIST
FIND THAT ELUSIVE USED

CAMERA OR ACCESSORY
ON OUR WEBSITE
WE PAY CASH
WE WANT
YOUR USED
CAMERAS
& LENSES
FOR GOOD QUALITY

CAMERA EQUIPMENT
VISIT YOUR LOCAL

LCE BRANCH TODAY!
For amazing part-exchange deals or to sell us your old equipment visit your local LCE branch.
BATH
01225 462234
CHESTERFIELD
01246 211891
GLOUCESTER
01452 304513
LONDON (STRAND)
0207 3790200
PORTSMOUTH
023 9283 9933
TAUNTON
01823 259955
BRISTOL (BALDWIN ST)

0117 929 1935
COLCHESTER
01206 573444
GUILDFORD
01483 504040
MANCHESTER NEW!
0161 834 7500
READING
0118 9592149
WINCHESTER
01962 866203
BRISTOL (BROADMEAD)
0117 927 6185
DERBY
01332 348644
LEAMINGTON
01926 886166
NORWICH
01603 612537
SALISBURY
01722 335436
WORCESTER
01905 22314
CHELTENHAM
01242 519 851
EXETER
01392 279024
LINCOLN (HIGH ST)

01522 528577
NOTTINGHAM
0115 941 7486
SOUTHAMPTON (CIVIC CTR)

023 8033 1720
CHESTER
01244 326531
FAREHAM
01329 236441
LINCOLN (SILVER ST)

01522 514131
PLYMOUTH
01752 664894
SOUTHAMPTON (HIGH ST)

023 8022 1597
OPENING TIMES:
MondaySaturday
9am5:30pm
28 BRANCHES NATIONWIDE
Selected stores open Sunday

- please check for details.
UK MAIL ORDER Next day delivery available from all LCE branches. Postage & Insurance 4.99 for
most items. E. & O. E. Prices quoted include VAT @ 20%. Prices subject to change. Goods subject to availability.
SEARCH OUR USED EQUIPMENT AT:
www.LCEgroup.co.uk
Software tips and techniques Retouchers guide
After
CHANGING HAIR COLOUR
MARTIN
EVENING
Martin Evening
is a Londonbased advertising
photographer and
noted expert in
both photography
and digital imaging.
As a successful
photographer, Martin is
well known in London
for his fashion and
beauty work, for which
he has won several
awards. In 2008, he
was inducted into the
NAPP Photoshop Hall
of Fame.
Martin has worked
with the Adobe
Photoshop and Adobe
Lightroom engineering
teams over many
years and is one of
the founding members
of Pixel Genius, a
software design
company producing
automated production
and creative plug-ins
for Photoshop.
His recent books
include The Adobe
Photoshop Lightroom 5
Book, Adobe Photoshop
CC for Photographers,
as well as the Adobe
Photoshop for
Photographers: The
Ultimate Workshop
series, which he
co-wrote with
Jeff Schewe.
subscribe 0844 848 0848
Martin Evenings
Before
Retoucher s Guide
Martin Evening explains how to change hair colour using Photoshop
IN THE course of my work I am often

asked to change the hair colour of a
model. I adopted the following colouring
technique after watching a seminar
demonstration by Jim Divitale, where
he showed how using three colouring
layers, each using a different blend mode,
allows you to ne-tune the colouring
effect by adjusting the opacities of the

individual layers.
In the example shown here, you can
see that by step 5, using the Color blend
mode achieved a pretty good result. In
a lot of instances the Color blend mode
on its own is all you really need. However,
if you compare the result at step 5 with
the nished result, the addition of extra

colouring layers allowed me to produce
a more richer-looking colour effect on
the hair. The steps shown here can work
well on all kinds of subjects and not just
hair. You can use this Photoshop
technique to colourise almost any
kind of object.
21
Retouchers guide Software tips and techniques
This shows the original raw photograph with Basic

panel adjustments applied via Lightroom. I darkened
the Exposure slightly to bring out more detail in the
clothes and boosted the contrast.
I now wanted to
colourise the hair.
To do this, I added a
Color Fill layer inside the
masked layer group using
the settings shown here in
the Color Picker dialog, to
apply a red colour.
I repeated the last step, making a second copy of

the Color Fill layer. This time I set the blend mode to
Multiply. In this instance, I set the layer Opacity to
10%. This third Color Fill layer added a little more depth
to the hair contrast.
22
In this step I selected the Adjustment Brush and

created a lightening exposure adjustment, which I
applied to the head of the model. This allowed me
to lighten the skin tones and hair, but without further
lightening the clothes.
The last step simply added a solid color ll above

the photo image layer. I then changed the blend
mode from Normal to Color and set the layer opacity
to 50%. The Color blend mode is good for colouring things.
Having created this set of three Color Fill layers

inside a masked layer group, I was now able to
edit the opacity of the individual layers to tweak the
new hair colour effect. In this step I set the Color layer to
35%, the Overlay layer Opacity to 15% and the Multiply
layer Opacity to 20%.
I then used Cmd/Ctrl+E to open the image in

Photoshop, where I created a new layer group above
the Background layer and added a layer mask to
this. For the following steps it isnt necessary to edit the
mask, but for this tutorial it worked best to create a
precise mask rst.
I then dragged the Color Fill layer to the New Layer

button in the Layers panel to create a duplicate
layer. With this layer I set the blend mode to
Overlay and set the layer Opacity to 25%. This step
added more richness to the modied hair colour.
Finally, I added a Curves adjustment layer masked

using the same hair mask as before, and set
the blend mode to Luminosity. I then applied
the curve shape shown here to add more tone contrast
to the highlights. The intention was to add more shine
to the hair.
subscribe 0844 848 0848
Aaron Yeoman APOY 2013
ROUND 2
LIFE IN MOTION
The comeback kid

In association with
Aaron Yeoman, who nished third in APOY 2013, talks to Jon Stapley
about his spectacular revival in the nal stages of the years competition
AMATEUR Photographer of the Year
can be a gruelling process. Ten months of
intense photographic competition is not for
the faint-hearted, and its easy to lose your
motivation to try your hardest when a few
consecutive months of nul points sees you
slipping further and further away from the
coveted leader board. Might as well pack it
in as youll never catch up now. Maybe next
year, right?
Frankly, its a good thing Aaron Yeoman
didnt think like this hypothetical defeatist.
Aaron made a hugely promising start in
2013s competition, with three high-scoring
rounds. However, summer saw the points
begin to dry up. Although Aaron diligently
submitted every month, luck didnt seem
to be on his side and he slipped away from
the competition. That was until November,
subscribe 0844 848 0848
www.panasonic.co.uk
when a pair of excellent high-scoring shots

in the nal two rounds sent his star shooting
skywards once more, allowing him to
ultimately pip contenders Neil Davies and
Adrian Sadlier to third place.
I was certainly surprised when I got the
message to say Id got third place, Aaron
says. After those months where I didnt get
any points, Id thought, Well, Ill just keep on
entering, but I didnt expect to win anything.
I suppose photography is in the eye of the
beholder, isnt it?
OF THE YEAR
COMPETITION
STARTING BLOCKS
This was Aarons rst foray into APOY after
he entered on the recommendation of a
friend, and given that he was up against a
cohort of old-timers like eventual runner-up
Dan Deakin, he had a tough task ahead of
Aaron scored
40 points for his
image in round 2
him. As you might expect, it took him a

while to gain his condence.
I actually didnt enter the rst round,
Portraits in Articial Light, Aaron explains.
The reason for this was that I felt I was quite
weak at that type of photography. I just wasnt
100% sure what to do and I got too bogged
down with it. After that, I said to myself,
Whats the worst that can happen? and
made sure I entered every round.
The next round, Life in Motion, would
prove to be one of Aarons success stories.
One of his hobbies is photographing the
London Underground, and the theme
25
APOY 2013 Aaron Yeoman
of the round perfectly suited the

rush-rush-rush nature of our
capitals Tube service, as any
central commuter can attest. The image
Aaron came up with, taken at Green Park
Underground station (see page 25), earned
him fth place and 40 points.
The idea there was all to do with the
sweeping lines, he explains. As youre
looking at the image, youve got those green
lines curving around. Ive always thought

a sheye lends itself well to Underground
stations; it really exaggerates the natural
curves that are there already.
It took Aaron a while to perfect the shot,
and he had to lean right back into the wall
to get the perspective he wanted. Anyone
who has ever done time on the Tube
knows that abnormal behaviour is quite
thoroughly frowned upon, so surely this
Below left: This

shot of a gull
earned Aaron 27
points in round 3
Right: The Interior
Architecture round
saw Aaron attain
his top score of 42
points in round 4
ROUND 4
INTERIOR ARCHITECTURE
ALL PICTURES AARON YEOMAN
Below left: Aaron

found the Floral
Still Life round the
most challenging
ROUND 3
THE ANIMAL KINGDOM
ROUND 5
FLORAL STILL LIFE
26
Below right: By
round 6, Aaron
was in seventh
place on the leader
board but failed
to score any points
for this image
must have warranted a comment?

I did get some funny looks, Aaron admits.
I was practically learning on the wall, just
waiting for one person to walk past so that
the image would be nice and contrasty. This
was the second or third attempt the guy
came past in his black suit and it worked
perfectly as there was just enough blur.
The fact that I tilted the camera also
really helps bring the viewers eye into
the photo. It wouldnt have worked if
it had been straight on.
ROUND 6
PEOPLE AT WORK
subscribe 0844 848 0848
A THORNY PROBLEM
Aarons spate of high scoring continued.
When not taking pictures of the
Underground, Aarons passion is
architectural photography, and its no
coincidence that when round 4, Interior
Architecture, rolled along, he ended
up achieving another fth place and
his highest score of the competition
with a very respectable 42 points.
However, one cannot always be so
fortunate. Round 5, Floral Still Life,
Below: There were

no points for Aaron
in round 7 or round
8 of APOY 2013
involved a genre of photography Aaron

had never attempted before. In the spirit
of the competition, he resolved to give
it his best shot.
That round was denitely the most
challenging, he recalls. I made sure I tried
something I did a picture of a rose with a
macro lens that I then converted to black
& white [see opposite page] but its not
something I shoot regularly. It was my
weakest round and I didnt score any points.
This started Aarons drought of points, and
ROUND 7
BLACK & WHITE WORLD
subscribe 0844 848 0848
for all intents and purposes it might have

looked like he was out of the competition.
It wasnt until Round 9 that he started to
bring it back, with his spectacular entry for
Going Abstract.
That image was taken during Open House
London, Aaron says (which, incidentally, is
one of APs must-shoot events for 2014
see AP 14 December 2013). It was inside
the Allen & Overy building, at an
art installation called Pixel Cloud.
For this image, I was standing in the
ROUND 8
WIDEANGLE WORLD
27
ROUND 9
GOING ABSTRACT
In association with
photographers dont like EVFs, but I like that

what you see is what you get. I tried going
back to an optical viewnder recently, and
it just felt odd.
www.panasonic.co.uk
IN IT TO WIN IT
ROUND 10
UNDER THE WEATHER
middle of a small bridge looking up, which
created this awesome effect.
The key to the image for Aaron, and
something the judges praised him for, was
its symmetry. It took him a few attempts to
get his framing bang-on to create the effect
he was after.
It wouldnt have worked if it hadnt been
symmetrical, he says. I could have cropped
it differently, and I did try a few alternative
crops, but in the end this was the version
that just worked. If you ever get a chance
to go to Open House London, I highly
recommend it!
Aarons abstract image was taken on a
Sony Alpha 77, as were many of his APOY
2013 entries. A committed Sony man, he is
pleased to report that he has recently made
the jump to full frame with the Alpha 99.
I went with Sony because when I rst got
into photography in 2009, I didnt want to
spend too much in case I didnt enjoy it!
he says. But I found that I liked the Alpha
200 I like the Sony menus, the tiltable
screens, especially the EVF. I know a lot of
Top: Aaron took

this shot inside
the Allen & Overy
building for the
Going Abstract
round
Above: A score
of 38 points sealed
third place for
Aaron in the
last round of
APOY 2013
Aaron had his share of highs and lows

throughout the competition, perhaps
more extremely than any other entrant.
However, if hes learned one thing from the
competition, he says its to stick to his gut
instinct when it comes to his images.
Ive certainly learned that my favourite
photograph is not necessarily a judges
favourite, he says. But thats the way I
looked at the competition the whole year,
always going for the images that were my
own favourites rather than trying to guess
which ones would possibly win.
This insular approach extended to the
competition too. In order to remain focused,
Aaron had to shut out the work being done
by rivals such as Dusica Paripovic (who went
on to win the competition) and Dan Deakin
(who nished second).
I tried to run my own race, he says. I
think you can look at other entries and be
inuenced by them without realising it. Now
that the competition has ended, Ill enjoy
Dusicas and Dans work a lot more!
Aaron, Dusica and Dan are all perfect
examples of how close the APOY
competition can be, right up to the end,
and how no one should discount their
chances until that nal round. If youre
red up to enter this years competition,
though, you should know that Aaron
for one is back for more.
Ill certainly give it a go, he says. Im
looking forward to it! AP
The prizes and rounds for APOY 2014
will be announced in AP 1 March
You can see more of Aaron Yeomans pictures by visiting his website at www.aaronyeomanphotography.co.uk
28
OF THE YEAR
COMPETITION
APOY ROUND BY ROUND

Aaron Yeoman nished in the top 50
in ve of the ten rounds of APOY.
His highest position was fth
Round 1 Portraits in
Articial Light
Position 00
Points 00
Round 6
People at Work
Position 00
Points 00
Round 2 Life in
Motion
Position 5
Points 40
Round 7
Black & White World
Position 00
Points 00
Round 3
The Animal Kingdom
Position 21
Points 27
Round 8 Wideangle
World
Position 00
Points 00
Round 4
Interior Architecture
Position 5
Points 42
Round 9
Going Abstract
Position 11
Points 39
Round 5
Floral Still Life
Position 00
Points 00
Round 10
Under the Weather
Position 15
Points 38
subscribe 0844 848 0848
Your pictures in print
AP publishes more reader photographs than any other photography magazine
IF YOUR PICTURES
ARE FEATURED
YOULL RECEIVE
The winner of the

Editors Choice
picture of the
week will receive
a HelloCanvas
16x24in canvas print
(including shipping)
worth 36.95
www.hellocanvas.co.uk
How to submit
your images
Please see the Send us
your pictures section on
page 3 for details or visit
www.amateurphotographer.
co.uk/spotlight
subscribe 0844 848 0848
* PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
The Editors Choice will be printed

onto a high-quality canvas with
UV-resistant inks and mounted
onto a sturdy wooden frame
1.2in thick. For HelloCanvas
each happiness of yesterday is
a memory for tomorrow, and we
think your best beloved pictures
deserve the best service. Our
dedicated team is renowned
for its attention to detail.
John Earnshaw West Yorkshire
Having been interested in photography since 1965, John

has accrued an extensive array of lm and digital kit,
including a Kodak Brownie, a Praktica Nova with 50mm
Domiplan lens, a Nikon D700 and D5000; a Leica M2, M3
and M4, plus various lenses from 21mm to 90mm. John
enjoys people and street photography, and the images
on these pages are extracts from a book he has recently
completed as a personal project, comprising shots taken
in Egypt and the Middle East from 1992-011. Johns aim for
the future is simply to continue to enjoy his photography.
The Treasury, Jordan Giza Plateau, Egypt

1 The inclusion of the
boys lends a twist to this
archaeological shot
Voigtlnder R2M,
35mm, 1/60sec at f/11,
ISO 100
2 A red lter was vital

in ensuring the pyramid
stood out against the sky
Voigtlnder R3M,
21mm, 1/60sec at f/8,
ISO 100, dark red lter
Taroudant, Morocco
3 John appears to have just caught his subjects attention

in this classic street shot
Nikon D5000, 18-55mm, 1/125sec at f/5.3, ISO 200
31
Jerome Murray Coventry
Jerome is a wildlife and landscape

photographer based in the UK, who is also a
passionate conservationist. He enjoys roaming
the UK searching out little-known spots.
The images on these pages cover a trip to
the Holywell Bay area of north Cornwall and
the Malvern Hills in Worcestershire during a
snowfall. To see more of his images, visit
www.jeromemurray.co.uk.
32
Holywell Bay
1 The dynamic range of

this shot accentuates
the contrast between the
wispy grass foreground
and the rocks behind
Nikon D300, 12-24mm,
1/40sec at f/14, ISO 200
Malvern Hills
3 Snow can be a tricky

subject, and Jerome
has handled it well
to create a balanced
wintry image
1/60sec at f/18, ISO 200
North Cornwall
2 The eye is led along

the pockmarked sand
of Holywell beach to the
foreboding Gull Rocks
in the distance
1/6sec at f/20, ISO 200
Sand dunes
4 The light is falling on the

sand perfectly at Holywell
Bay, with the footprints
forming a dividing line
between light and shadow
1/40sec at f/16, ISO 200
EDITORS
CHOICE
See MoRe oNLINe aT

aMateurpHOtOgrapHer.
CO.uk/SpOtlIgHt
This is a lovely mono
landscape that has a lot
going for it. The partially
covered path in the
sand dunes gently leads
the viewers gaze down
the beach and towards
the stark rocks a little
further out that are nicely
silhouetted against the
sky Phil Hall,
technique/features editor
subscribe 0844 848 0848
2
3
subscribe 0844 848 0848
33
Ryan Jardine Dumfriesshire
During his last year of school, Ryan, 19, wasnt entirely sure what he
wanted to do when he left. By chance, a new subject had been added
to the curriculum that year photography. As it turned out, Ryan was
quite good at it. As his passion is music, Ryan loves going to gigs and
taking photos that capture the atmosphere of the crowd. I am constantly
learning new things in the photography world, he says. I have a lot of
creative projects in mind. To see more of Ryans images, visit his website
at www.jardinephotography.weebly.com.
The Temperance Up close

Movement
2 The long lens
1 The reection in the
guitarists sunglasses
is a lovely touch
Canon EOS 1100D,
70-300mm, 1/800sec
at f/6.3, ISO 800
Then enrol on one of our School of Photographic

Imagings Home Study Courses. Weve courses
to suit all levels of experience covering all aspects of
photography and bite-sized courses from just 75.
Just visit www.spi-photography-courses.com,
call 0203 148 4326 or turn to page 55 of this issue.
WANT TO LEARN MORE

AND IMPROVE YOUR
PHOTOGRAPHIC SKILLS?
34
allowed Ryan to
get close in on the
singers face
Canon EOS 1100D,
70-300mm, 1/250sec
at f/5.6, ISO 800
subscribe 0844 848 0848
Your pictures assessed
APappraisal
Expert advice, help and tips from Chris Gatcum
WIN
The person who takes

the picture of the
week* in Appraisal
will win a Manfrotto
Unica VII Messenger
Bag worth 84.95.
This bag combines
style and functionality,
ensuring that it is the
perfect companion
for carrying your
camera gear, laptop
and personal items.
Gain quick access to
your DSLR with lens
attached, laptop and
personal effects in the
upper compartment by
using the top opening.
An additional
compartment in the
base of the bag also
provides storage for
selected Manfrotto
Compact Photo
Tripods.
Strong and dynamic composition
Monkey Face Matt Craven
www.manfrotto.co.uk
Nikon Coolpix 8800, 350mm, 1/110sec at f/6.6, ISO 50
PHOTOGRAPHING animals in
captivity is less difcult than photographing
them in the wild, but that doesnt mean its
easy. You may know where your subject
can be found in a zoo or a wildlife park,
but even if it is conned to a certain area
thats not the same as having it pose for
you its going to move around or, worse,
be sleeping in a dark, unviewable position.
Even if you can see it clearly, there will be
barriers between you and your subject,
whether its the bars of a cage, wire mesh
or, as here, a heavy plastic window with
scratches, marks and reections.
With this in mind, Matt has done a superb
job with this photograph taken at Twycross
Zoo in Warwickshire. The framing, exposure
and focus are as good as you could expect,
and the use of an ultra-long focal length
(350mm equivalent) and wide aperture
36
minimise the depth of eld. This helps

concentrate attention on the subjects face,
and gets rid of any marks on the window.
The composition also works in Matts
favour, and his decision to choose a less
conventional landscape orientation has
created a really strong and dynamic image.
Hes used the rule of thirds, but this has
been augmented by several other elements:
the shadow triangle coming in from the
lower left corner acts as a pointer to the
face; while the light halo on the right serves
as both a framing highlight to the face and a
natural stop that prevents our gaze drifting.
Theres very little to criticise. We could
argue that catchlights in the subjects eyes
would bring them to life a little more, or that
the white balance is a tad too yellow, but
neither detracts from this striking animal
study, which is my picture of the week.
Submit
your
pictures
Shadow triangle
Light halo
Send up to six prints,

slides or images on CD
(please include the
original les from the
camera along with
your submitted
versions on your CD).
Tell us about the
pictures and include
details of equipment
used and exposure
settings. Send your
images to Appraisal at
the address on page 3.
Enclose an SAE if you
want them returned
subscribe 0844 848 0848
*PRIZE APPLIES TO UK AND EU RESIDENTS ONLY/CONTENTS OF BAG NOT INCLUDED
PICTURE
OF THE
WEEK
Your pictures assessed
Original
Boosted contrast
Parish Church of St Johann in Tirol, Austria David Hunt

Canon EOS 5D Mark II, 24mm, three exposures at f/8, ISO 640
Curves
YOU COULD be forgiven for having a slight sense

of dj vu with this image. In last weeks Appraisal, I also
featured a fundamentally symmetrical ecclesiastical
interior that was, coincidentally, photographed by a man
named David. However, here any similarities end.
Where last weeks shot relied on shooting at dusk to
tackle a high-contrast interior, this weeks uses three
different exposures combined to create an HDR (high
dynamic range) image. What is refreshing is that (this
weeks) David hasnt attempted to include every possible
tone in his HDR composite. Some people insist on
including every last tone in a scene, but this is a sure-re
way of creating an articial, cartoon-like image. By
allowing the very lightest areas to burn out slightly, as
David has done here, the image appears more natural.
Theres enough detail retained in the windows for us to
tell how theyre constructed, but no need for us to

see more. Indeed, this treatment perhaps more
accurately reects how we would view the interior
through our own eyes.
Yet while the windows have been allowed to burn
out slightly, I cant help but feel that the tonemapping
of the interior has left it lacking bite. Most HDR images
can benet from a contrast boost, and Curves offers a
great way of doing this. Here, for example, lowering the
left (shadow) end of the curve, while raising the right
(highlight) end introduces a little more contrast. At
the same time, the very ends of the curve (the black
and white points respectively) havent been moved,
so theres no loss of shadow or highlight detail. In an
instant, the colours are intensied and the interior
gains a little more sparkle.
Zoom Ellie Tree
Original
Nikon D50, 120mm, 1/20sec at f/6
THIS is one of a series of images from a school photography
Photoshop Crystallize lter
Balanced tonal values
project about movement, taken on Hastings seafront in East Sussex

by 14-year-old Ellie with her grandfathers DSLR. I have to admit
that Im not usually a great fan of zoom bursts, but in this instance
Id denitely make an exception. Whereas most zoom-burst images
tend to rely on garish, oversaturated colours that scream for
attention, Ellies shot is much gentler and all the better for it.
The key to its success comes from the combination of colour
contrast and tonal balance. If we simplify the image (using
Photoshops Crystallize lter), we can see that most of the image
is made up of soft warm orange/brown tones. This is the perfect
backdrop for the cool cyan-blue burst, creating a classic colour
contrast of warm and cold.
Theres also a beautiful balance in terms of the tonal values. If we
reduce the image to just black & white, we can see that theres a
clear diagonal split running from the bottom left to the top right, with
dark tones primarily found at the upper left and lighter tones at the
bottom right. Although there are some bright points in the dark area
(and vice versa), the tones in the two diagonal halves of the frame
balance each other out, so we arent drawn to one particular area.
Instead, our eye is free to roam the image and enjoy the abstract
explosion of colour, which is precisely what makes this zoom burst
one of the best Ive seen in quite some time.
Most of the image is made up of

orange/brown tones, the perfect
backdrop for the cyan-blue burst
subscribe 0844 848 0848
37
Surf and turf

David Baker skilfully captures the tangible beauty of the UK coastline
and countryside with his camera. He explains to Jade Lord how he works
with the changing weather and light to create his painterly images
david Bakers extraordinarily beautiful
images of seascapes and landscapes
may look like Photoshop trickery, but his
methodology for echoing perfectly the
textures, sounds and raw energy of the
natural environment has nothing to do with
post-processing. Instead, be it in his Sea
Fever series of seascapes or his Ridge
Trees documentation of the New Forest
(close to his home town of Southampton
in Hampshire), Davids painterly and
subscribe 0844 848 0848
ethereal images are the result of a fne

understanding and appreciation of light
and atmospheric conditions.
My images are heavily dependent on the
right weather and light, says David. Wind,
cloud and mist are important elements.
Its also about shooting at the right time of
day, which for me is at the crack of dawn,
or sometimes very close to darkness.
Occasionally, the weather itself presents
the type of light seen at dawn and dusk:
David has become adept at watching

weather patterns and now knows when they
will give him the conditions he seeks.
It comes down to experience and
understanding how the weather will
impact on the landscape, he explains. I
know, for example, that if you have a really
heavy storm with some clearing light and
you go to Southbourne Beach in
Bournemouth, Dorset, you will get
fantastic light. This means I can
From Ridge Trees.

Puckpits, New
Forest, a little
after sunrise
39
all pictures david baker
Landscapes and seascapes Painterly images
capture that lovely changeover

between dark stormy light and
clear light. With my Ridge Trees
project, which is always shot when its misty,
I know when to head off and shoot because
I can hear the fog horn from the docks
in Southampton.
Above: From
Sea Fever. Blue
Rocks Reloaded,
north-west
Scotland
LOCATION,
LOCATION, LOCATION
Davids subject matter predominantly
comes from the area around his home the
forests and coasts of Hampshire and Dorset.
He therefore knows from experience
what kind of light works best for certain
locations, eliminating the need to spend
days researching potential spots or avidly
checking tide timetables.
I think that if you set out to get a beautiful
shot on a particular day, then you might be
disappointed if the weather and light are not
in your favour, says David. Ive been through
all of that before, so now Im very relaxed
about shooting.
David likes to get out and shoot as often
as the conditions allow, and around twice
a year he will journey to fresh locations,
such as the Outer Hebrides. While he
attempts to gain some local knowledge of
an unfamiliar place by walking around and
exploring before doing any shooting, David
admits that sometimes he has to be a little
more spontaneous.
40
Right: From Ridge

Trees. Misty
conditions in the
New Forest a little
after sunrise
If I get there quite late and the light is

fantastic, then I have a mad scramble to
get my gear together so I can start shooting
right away! he says.
IN THE BAG
Far right: Taken
in Southbourne,
Dorset
David captures the way the light interacts

with the environment, be it through trees
or over sea, using his Canon EOS 5D Mark
II, set up on a Gitzo tripod with an RRS
ball head (which he uses on almost every

occasion). He uses just two lenses, one a
24-70mm and the other a 70-300mm.
I used to shoot with a variety of lenses,
including a very wide 17mm, but I got fed
up of lugging it all around in a rucksack
and having to change lenses balancing on
my knee on a beach with a rapidly
approaching tide, reveals David.
So I got it down to a two-lens
subscribe 0844 848 0848
Landscapes and seascapes Painterly images
system, and have a small selection

of Lee flters, and that all goes into a
Billingham shoulder bag.
Narrowing down his lens choice has an
obvious impact on how David composes his
images. For example, in his Ridge Trees
series, he favours the use of the zoom
lens for the way it compresses the image
and creates perspective, drawing your eye
through the trees. This choice also helps
him to control the light.
Using this lens, not only can I force
perspective, but I can also disguise any
bright bits of light that might be breaking
through the mist, he explains. With Ridge
Trees, I set very strict parameters, where
it always has to be misty, always shot at
dawn in the autumn or winter and shot
in a particular triangle of locations. I dont
need to use flters and there is scant
post-processing: the mist diffuses the
light and its very straight with a beautiful
backdrop. My choice of lens helps to
compress all this and control the light.
sENsORY EXPLORATiON
Through his choice of lens and composition,
David has successfully captured the tangible
beauty of the forest, framing the chaos of the
trees in autumn and winter. There is a real
element of the tactile with this series, which
is something true of his Sea Fever series
too. The fury and power of the movement of
the sea in this series is almost too real, and
where his images of the forest are very still,
his seascapes are much more frenetic.
I want the images to say, This is how
it feels to be at the shoreline, with the
battering wind full of salt, the spray,
the thump of the waves, the sense of
vulnerability, says David. Its the sound of
the waves, the water over the stones as the
stones knock together. Its such a sensory
thing, I wanted to try to capture that.
David has honed his exposure settings for
his seascapes to a 0.3sec shutter speed at
f/11, combined with either a Lee 0.9 ND flter
or a Lee 0.9 grad flter, which he sometimes
reverses. This shutter speed helps maintain
a sense of texture within his images.

I fnd that a shutter speed of 0.3secs is a
brilliant setting, he says. Im not concerned
about getting my seascapes pin-sharp, but
I do want to show the texture and the wave
formations coming across.
David places importance on capturing
patterns and shapes within his seascapes,
much like he is concerned with the forms
of the trees in his forest images.
I try to look for relationships between the
waves and ideally clouds, so I often shoot
very low, almost on the ground sometimes
to exclude the horizon, he explains. I aim to
have at least a line of foreground or a central
wave across the frame, and I like to follow a
wave line that goes all the way across. After
a while, you can sort of anticipate it: you can
see a wave coming in, and as it just about
reaches the outer corner of the frame I
click the shutter and then its gone across
the frame. Shooting digitally allows me to
click away, but I tend to anticipate the wave
patterns after a while.
Far right: From

Ridge Trees.
New Forest
Below: From Ridge

Trees. March
Trees, New Forest,
Hampshire. This
image won the
Your View category
in the 2012 Take a
View Landscape
Photographer
of the Year
competition
To see more of david

bakers images, visit
www.milouvision.
com
My favourite iMage Hebridean Sea iii

This image was taken in the Outer
Hebrides in March 2012, says David.

During my previous trip there in
February 2008, I had taken mostly
long-exposure shots, as around this time
there was a trend among landscape
photographers to shoot in black & white
with a 10-stop flter. But during my trip in
42
March, I didnt make a single longexposure shot. Feeling a little unsettled, I

started taking shots during the closing
days of the trip to capture the seas
power in a way I had not undertaken
before, this time using a slightly faster
shutter speed.
The frst image, Hebridean Sea III,
was uploaded to my photoblog in late

April 2012 and that was that. This image
kick-started the Sea Fever series and I
have since taken images to complement
this one, challenging myself to construct
new and inventive interpretations of
the relationship between the beach,
sea and cloudscape.
subscribe 0844 848 0848
Painterly images Landscapes and seascapes
FINAL TOUCHES
This approach, like that of his forest images,
gives Davids photography an organic
painterly air, rather than being an effect that
is created afterwards. He does, however,
engage in a little post-processing to tidy up
his images, with tweaks made in Photoshop
to clean up any dust marks, to crop his
images further, and enhance the contrast
with a bit of dodging and burning and some
alterations to the curves. His seascapes
are also sometimes honed further with
a post-processing flter.
I have developed a blue flter in
Photoshop that enhances some of my
seascapes to give them a cooler look, but
I tray to use it as sparingly as I can, says
David. Most of the blues are there in
the sea already.
Indeed, David remarks that the UK
coastline has much to offer in this respect,
particularly in northern Scotland where
many landscape photographers favour
the stunning scenery and light conditions.
subscribe 0844 848 0848
He also says the beaches here lend

themselves to great landscape photography
compositionally, too.
In north-west Scotland, there is a beach
that slopes right down to the shoreline
so you can get right down low and, while
getting very wet, feel the power of the waves
right in front of you, says David. You are
constantly wiping your lens, but you have the
opportunity to immerse yourself in it all from
the beach. Likewise, Harris on the east coast
of the Outer Hebrides has beautiful white
sand, with aquamarine sea and beautiful
greens. The colour is fantastic and draws a
lot of people, so naturally that helps with the
colour of images taken there if you capture
them correctly.
David will be hoping to do just that on his
next trip to the Outer Hebrides, which he will
be undertaking in the next few months. He
will, of course, apply the same approach to
shooting the coastline, this time challenging
himself to capture the ideal image that he is
always striving for.
If I can get a nice triangle of waves or a

zigzag of wave lines going across the frame,
along with a line of cloud across the top and
a decent wave line going across the bottom
of the frame, Id be very happy. Of course,
thats incredibly rare, but thats what gets
you out there. AP
David Bakers Sea

Fever images are
available in his book
of the same title. Visit
seafeverbook.co.uk
for more information.
43
Your questions answered
AskAP
SLOPING HORIZONS
Let the AP team answer your photographic queries
ASK
MOVING
TO FULL
FRAME
I am looking
to replace my
Nikon D200
and go full frame. I originally
thought that the D800 would be ideal,
dismissing the D800E because of possible
moir patterning problems due to the lack of an anti-aliasing lter. However, there
seem to be more and more DSLRs being released without anti-aliasing lters,
and I am now wondering whether I should consider the D800E.
My photography (strictly amateur) is primarily landscapes, but with some
portraits, animal shots, macro work and the occasional motor race and air show.
I have bought Tamron SP 24-70mm f/2.8 Di VC USD and SP 70-200mm f/2.8
Di VC USD lenses to use with the new camera, as well as retaining my existing
Nikon 50mm f/1.4G and a Sigma 70mm f/2.8 EX DG macro lenses, which are
full-frame compatible. Would this lens set do justice to a D800 or D800E, or
should I perhaps consider a D610 and spend the money saved on a wideangle
zoom, such as the Nikon AF-S Nikkor 16-35mm f/4G ED VR or AF-S Nikkor
14-24mm f/2.8G ED? David Knight
Im usually slightly reticent

when someone suggests
upgrading a camera, because
often the benets of the upgrade
dont really match the nancial
cost upgrading last seasons camera
for this seasons equivalent just
because it has four additional features
and a few extra pixels rarely makes
sense to me. However, in this instance,
I think that the D200 is starting to get
a little long in the tooth, and I can see
why you might want to move on from a
10-million-pixel, DX-format camera.
Yet despite the fact that the D800
and D800E are both great cameras,
and youve got the budget for them, I
would be reluctant to endorse the topdollar option. It was your nal sentence
that did it the suggestion that a
lower-cost camera body (the D610,
pictured above) and a new lens would
also be acceptable. For me, that makes
a lot more sense, as lenses still matter
most in photography. A top-quality lens
will let you get the best from a camera,
while a not-quite-so-special lens will
44
only limit its capabilities. Im not saying

the lenses you have are inferior, but
expanding your range of focal lengths
will enable you to capture images that
a camera-body upgrade will not.
However, rather than a wideangle
lens, you might want to consider
something longer. A switch to full frame
will mean no focal-length magnication
on your lenses, so they will all effectively
become wider than they were on your
D200. As a result, a 24mm wideangle
focal length will give you a genuine
24mm angle of view, rather than a
36mm equivalent, and this may be
wide enough for your landscape shots.
In fact, it will allow you to shoot wider
than was previously possible.
The trade-off is that you will lose the
long end of the range the 200mm
setting on your zoom would no longer
behave like a 300mm. Although thats
unlikely to impact your landscape
photography too much, it could prove
detrimental to your motor-racing,
air-show and wildlife photographs.
Chris Gatcum
Be it about modern
technology, vintage
equipment,
photographic
science or help with
technique, here at
AP we have the
team that can help
you. Simply email
your questions
to: apanswers@
ipcmedia.com,
via twitter @ap_
answers or by
post to: Ask
AP, Amateur
Photographer
Magazine, IPC
Media, Blue
Fin Building,
110 Southwark
Street, London
SE1 0SU.
I have posted a couple of

pictures on the AP Forum
and people have said
FROM THE that the horizons are not straight.
FORUM I have noticed this myself, so I set
up my camera on a tripod at home
recently and made sure it was level before I
took some pictures. However, the horizons
are still sloping down to the right, so could
this be a problem with my camera? Its a
Nikon D3100, and when I look back at my
pictures they all slope off the same way,
whether they were taken handheld or on
a tripod. What could be the problem?
johnyyg
If all your pictures look like they

are sloping to the right and youve
taken test shots with the camera
on a tripod, the only conclusion I can come
to is a fault with the camera a tripod
would certainly seem to rule out a handling
error. If the camera is under warranty I
would denitely send it for repair, but if the
guarantee has expired things could get
expensive and the cost of repair could
easily eclipse the value of the camera.
You wont know for sure until you have
it looked at, though.
In the meantime, how about mastering
your softwares rotate and batchprocessing tools? I know its not the ideal
answer, but assuming the angle of tilt is
consistent and your software allows it, you
may be able to set up an action or script
that applies a straightening counter-tilt
to batches of images.
Chris Gatcum
UNDERSTANDING RAW
My understanding was that a

raw le could not be printed, and
certainly my Adobe Camera Raw
has no print option I need to open the
image rst in Elements. Of course, ACR
applies its own default settings as it opens
the raw le, so I cannot ever see my original
subscribe 0844 848 0848
Your questions answered
AP GLOSSARY
Dynamic range
In this weeks Ask AP, Stephen Shaw
(below) comments on the importance
of dynamic range, which is often
discussed by photographers in relation
to cameras, but rarely given as a
measured gure by the manufacturers.
In terms of a cameras sensor, dynamic
range indicates the range from light
to dark that can be recorded in a
single exposure without the lightest
area burning out (turning pure white)
or the darkest area blocking up
(turning pure black).
This range is most usefully expressed
as a number of stops, and Stephen
writes that his current camera has a
dynamic range of 10.5 stops, while the
camera he is considering upgrading
to has a dynamic range of 12.5 stops.
What this tells us is that if the difference
between the brightest and darkest areas
in a scene is less than 10.5 stops, a wellplaced exposure using either camera
le. How then does AP show the original

raw le with no processing applied, as for
the example on page 55 of the 4 January
issue [see below left]? Simon Robertson
Any raw les shown are opened

in Lightroom/Adobe Camera Raw
and saved. Other than the defaults
that the software is applying we dont touch
anything. We try to make it clear when we
have made further edits/adjustments by
adding edited or a similar label.
While some may argue that this is not a
true reection of the raw le, as each piece
of software will make a different default
image, it is meant to reect what most
photographers will see as the starting
point when editing.
If we were to show a completely raw
image it would be in black & white, as
any colour values are only applied at the
conversion stage. There would also be no
contrast curve applied, so the images are
often very at. Although this may be a truer
representation of what the camera produces
in its raw format, it is somewhat abstract for
most photographers.
Richard Sibley
DYNAMIC RANGE INFO NEEDED
I think it is a shame and a bit of a

disservice to AP readers who are
seriously considering an important
camera upgrade not to quote a numerical
value for the dynamic range shown for the
camera models that you test. My Olympus
SLR has a dynamic range of about 10.5
stops, for example, which is limiting in some
subscribe 0844 848 0848
would be able to record all the detail

in the highlights and shadows the
dynamic range of the scene is lower
than that of the sensor.
However, if the scene has a dynamic
range of 11.5 stops, only the second
camera would be able to record all
the detail. Stephens current camera
would either burn out the highlights
or block up the shadows (or a little
of both), depending on how the
exposure was placed.
If the scenes dynamic range increased
further to 13.5 stops, perhaps then
neither camera would be able to record
all the detail in the shadows and/or
highlights, no matter what the exposure
settings were. In this instance, the
dynamic range of the scene exceeds
that of the camera, meaning that some
detail will be lost, and the smaller the
sensors dynamic range, the greater
that loss will be.
scenarios, so its useful to be aware of this.

The dynamic range of the Nikon D700
(which I would like to use) is about 12.5
stops, which enables the recording of a
much greater range of tones and colours.
This is essential information to guide my
future purchase choices.
Could you devise a standardised
maximum dynamic range test (to give
the number of stops between the earliest
detectable shadow detail and last discernible
highlight detail) for future camera models
that are tested in the magazine? For new
photographers, you could even include a
footnote briey explaining dynamic range.
Stephen Shaw
We have just updated our testing

equipment and software, and
have a new dynamic range test
that we will be using for all our cameras
in the future. Currently, though, we quote
a numerical value for the vast majority of
system cameras we test we have done
this for a few months, but shortly we will also
be showing graphs of the dynamic range at
various sensitivities.
By comparing charts, readers will be able
to compare the dynamic range of cameras
across different ISO sensitivities to make a
more informed purchasing decision. Where
possible, we will also try to include the
dynamic range of the previous version of
the camera, so those thinking of upgrading
can see if performance will be improved
in this area. Look out for the new tests in a
forthcoming issue.
Richard Sibley
Messenger bag and ash booster On test
APTestbench
Over the next few pages we present this weeks equipment tests, reader questions and technique pointers
Rogue Safari DSLR

Pop-up Flash
Booster 29.99
www.rogueash.com
WITHOUT the use of electronics,

the Rogue Safari DSLR Pop-up Flash
Booster from ExpoImaging is a specialised
modier that harnesses the power from
Outstanding pop-up
a DSLRs built-in ash, using an optically
ash performance
engineered lens to concentrate the
for the price
light into a narrow beam.
The resulting effect is a signicant
improvement in ash performance at
focal ranges exceeding 70mm, which is ideal for shooting
with a telephoto lens and creates better light coverage when
photographing distant subjects. However, if used when shooting
at a wide angle, the Safari creates an elliptical spotlight effect.
Designed to work with most APS-C/DX Canon and Nikon
DSLRs, the Rogue Safari Pop-up Booster wont replace a
dedicated external unit by any means, but if youre looking for
something to improve your cameras built-in ash performance
this is a great affordable option. Jon Devo
Benro CoolWalker
Messenger bag
M100N 82.20 RRP
www.kenro.co.uk
WITH its smart design features, quick-access pocket and

quality materials, the Benro CoolWalker M100N Messenger Bag
is an ideal travel companion. Its understated all-black design will
appeal to those who prefer an inconspicuous camera bag, while
sturdy zips and a double-buckle system provide added security.
The reinforced base of the CoolWalker is shockproof and
abrasion-resistant, and the rear is padded for comfort with an
opening that allows it to be attached to the handle of a suitcase.
Despite this being the smaller of the
two Messengers in this range, measuring
36.5x34x19cm, I managed to t a 13in
laptop, a DSLR, a 24-70mm f/2.8, a
50mm f/1.4, a 100mm f/2.8 macro
A well-made,
and a ashgun into the M100N.
weather-resistant,
comfortable and
A built-in cover provides protection
from the elements, and the entire camera versatile bag
compartment can be removed if used as
an everyday bag. Jon Devo
The AP
guarantee
to you
All our tests are
conducted by people
who understand the
product area, as well
as photography. We
aim to discover any
shortcomings, as
well as nding those
aspects that deserve
praise. All our tests
are thorough, honest
and independent
FORTHCOMING TESTS In the next few weeks AP hopes to run the following equipment through the most rigorous testing procedures in the industry
Panasonic Leica DG
Nocticron 42.5mm
f/1.2 Asph Power OIS
We test Panasonics Leicabranded, ultra-fast micro
four thirds lens that is ideal
for portrait shooting.
AP 22 February
Fujilm X-T1
Micro SD cards
Sony Alpha 5000
Six of the best
We take a rst look at Fujis

new CSC, which marks an
entirely new line in the
companys increasingly
strong X-series.
Used in everything from

compact cameras to
phones and tablets, we
look at six of the best
Micro SD cards.
Claimed to be the smallest

and lightest Wi-Fi-enabled
CSC, the Sony Alpha 5000
also has a 20.1-millionpixel, APS-C-sized CMOS
sensor. We put it to the test.
We take a look at six of the

best light meters on the
market today, from the
most basic to state-of-theart models.
AP 22 February
AP 8 March
AP 22 February
AP 22 February
CONTENT MAY BE SUBJECT TO CHANGE
subscribe 0844 848 0848
47
Nikon D800E vs Sony Alpha 7R Camera comparison
Maximum resolution
Both the Nikon D800E and Sony Alpha 7R have 36-million-pixel, full-frame
sensors, and achieve maximum resolution by not having anti-aliasing lters.
But are the images identical, and how do the DSLR and CSC compare in use?
Michael Topham
Deputy technical editor
WHEN Nikon announced the launch of the
D800 alongside the D800E in early 2012, it
was hard to believe that behind the F-mount
lay a 36.3-million-pixel sensor the highest
resolution of any DSLR at the time of its
launch, and a claim that still holds true today.
With both cameras becoming the hot topic
of conversation among photographers, the
photo press and the trade alike, it sparked
a number of questions about whether such
a high resolution was needed, how the
enormous le sizes would be handled, and
perhaps more fundamentally, who Nikon
were trying to target as their audience with
these high-resolution beasts.
subscribe 0844 848 0848
Two years on, and were left questioning

why we ever doubted the D800/D800Es
existence. Both have won an endless list
of accolades, proving to be the choice of
professional and enthusiast photographers
around the world who demand the nest
levels of detail from a scene using a camera
that ticks virtually every box. I say virtually
every box, because two things the D800
and D800E werent successful at were
being small and lightweight.
This opened up a gap for another
manufacturer to take on Nikons DSLRs. The
manufacturer was Sony, which late last year
released the Alpha 7R the worlds smallest
full-frame system camera with an almost
identical resolution to the D800/D800E,
with 36.4 million pixels. With a promise of
delivering Nikon D800/D800E quality in a
smaller and more lightweight system, has
Sony succeeded in producing the best highresolution system camera to date?
Despite being a
fraction of the
size of the Nikon
D800E, the Sony
Alpha 7R features
a full-frame sensor
with an impressive
36.4-million-pixel
resolution
LOW-PASS FILTERS
Before we delve deeper into the differences
between the two cameras, it is important
to clarify the reason for testing the Nikon
D800E, rather than the D800, against the
Sony Alpha 7R. The D800E is identical in
every way to the D800 apart from the fact
that it has a second optical low-pass (antialiasing) lter, which cancels out the effects
of the rst. The result is the equivalent of
the D800E having no low-pass lter at all
(which is the case with Alpha 7R), and leads
to an increase in resolution and sharpness.
To ensure that our test was strictly
comparative, we tested both camera
models with each manufacturers best
prime lenses in the same focal length the
D800E with the Nikkor AF-S 35mm f/1.4
G, and the Alpha 7R with the Carl Zeiss
Sonnar T* FE 35mm f/2.8 ZA.
THE SENSOR
The Sony Alpha 7R and Nikon D800E
feature identical 36.8-million-pixel
(actual) CMOS sensors, although there
is a negligible difference in effective pixel
resolution 36.4 million pixels on the Alpha
7R and 36.3 million pixels on the D800E.
As both sensors also share identical
dimensions (35.9x24mm), it supports
suspicions that each camera uses the same
Sony-made unit. Its interesting
that until now, Sony has never used
this sensor in its Alpha line, instead
49
Nikon D800E
opting to use its 24.3-million-pixel
chip presumably due to the fact
that it sold exclusive rights of the
36.3-million-pixel sensor to Nikon for a
limited time period, which has since expired.
Unsurprisingly, both sensors produce a
maximum image size of 7360x4912 pixels.
Although both cameras essentially have the
same ISO sensitivity output of 50-25,600,
the D800Es native sensitivity range runs
from ISO 100-6400, which means you
must use the L1.0 or H2.0 settings to
access the equivalents of ISO 50 and
ISO 25,600 respectively.
The key difference regarding the sensor is
how it is positioned behind the lens mount
of each camera. Whereas the D800Es
chip is set back behind the mirror and
shutter mechanism, the Alpha 7Rs sensor is
much more exposed, sitting directly behind
the smaller E-mount one of the main
contributors to its compact size. Although
the Alpha 7R is compatible with Sonys
E-mount NEX-series lenses, these were
originally designed for use with an APS-C
sensor and, as such, they dont have a large
enough image circle to cover a full-frame
sensor entirely. To overcome this, Sonys
new FE series of full-frame lenses should be
used. However, with a limited range of just
four optics at present, the Alpha 7R starts
on the back foot compared to the D800E,
which is supported by Nikons vast range of
FX-format lenses.
Sony Alpha 7R
Above: This scene
was shot with the
same lens attached
to both the Nikon
D800E and the
Sony Alpha 7R. The
lens used was the
Nikon 20-35mm
f/2.8D
Below: Shooting
into the sun was a
challenging test and
revealed that a good
level of highlight
detail can be
recovered from the
cameras raw files
Bionz X processor with 14-bit raw output.

Both support the use of optically image
stabilised and non-stabilised lenses, with
Nikons VRII system and Sonys SteadyShot
system claiming to allow users to shoot
handheld up to 4 stops slower than would
otherwise be possible.
The trade-off for choosing a camera
with such a high resolution is its continuous
speed. The large le sizes demand so much
from the processor that neither camera
can shoot at what wed call a breathtaking
pace. The D800E is capable of 4fps in its
continuous high speed (CH) mode, which
is a speed matched by the Alpha 7R set to
its speed priority continuous mode. Loaded
with identical SanDisk ExtremePro SDHC
cards, the Alpha 7R sustained a continuous
burst of 15 raw les at 4fps, which is a lower

gure than the 18 raw frames recorded by
the D800E. Set to raw+JPEG, the Alpha
7R rattled out the same number of frames,
while the D800Es count reduced to 16
frames. Switching to JPEG only, the D800E
shot 32 frames at 4fps as opposed to 17
frames on the Alpha 7R.
As the Alpha 7R is smaller than the
D800E, it has a smaller battery. Its
rechargeable Li-Ion battery manages 270
shots compared to the D800Es battery,
which is rated to more than 900 shots. To
increase the battery stamina of the Alpha
7R, the VG-C1EM battery grip (259)
would be a worthy purchase. This,
just like the camera body, is sealed
to protect against dust and moisture.
FEATURES
Sensor and lens compatibility aside,
the D800E uses an Expeed 3 imageprocessing engine with 14-bit A/D
conversion and 16-bit image processing,
whereas the Alpha 7R features Sonys new
50
Nikon D800E
Sony Alpha 7R
subscribe 0844 848 0848
VALUE
THE D800E hasnt dropped far from its launch price

and costs only 50 less today than it did two years ago.
At around 2,350 body only, the D800E is Nikons
third most expensive DSLR behind the pro-spec Nikon
D4 and the retro Df. While I am smitten by every area
of its performance and handling, theres no doubt that
the D800E is expensive when compared to the Alpha
7R, which costs around 650 less at 1,690. Sonys
aspiration seems to have been to deliver the best
full-frame quality at a more realistic price something
the rm has achieved with both the Alpha 7R and Alpha 7
without having to cut corners in terms of build quality.
The Alpha 7R has become a standout product in the
Alpha line and Sony should be commended for lowering
the price of full-frame cameras in an attempt to bring them
to a wider audience who want the highest levels of detail
and sharpness in a more conveniently sized body. Without
any glass attached, the Alpha 7R sounds a tempting
proposition at an affordable price for the image quality it
offers. However, at present there is a limited range of lenses
for the Alpha 7R, and while the prices of Sony lenses are
similar to those of other manufacturers for example, the
Sony Carl Zeiss Vario-Tessar T* FE 24-70mm f/4 ZA OSS
lens is around 1,050, compared to around 1,245 for the
Nikon AF-S Nikkor 24-70mm f/2.8G there are no lenses
for the Alpha 7R that could be considered inexpensive. The
Sony Carl Zeiss Sonnar T* FE 35mm f/2.8 ZA costs around
750, while the nearest equivalent Carl Zeiss lens for Nikon
the Distagon T* 35mm f/2 ZF.2 costs a little more at
around 910. However, the AF-S Nikkor 35mm f/1.8G
ED is cheaper at around 520, and there is the older AF
Nikkor 35mm f/2D lens, which is around 255.
No doubt the street prices of these new Sony FE lenses
will come down, and Sony will introduce more affordable
options. Meanwhile, there are various adapters, including
Sonys own LA-EA3 and LA-EA4, that allow other lenses
to be mounted. These allow full AF with Sony A-mount
lenses, which signicantly expands the range of usable
optics. Standard E-mount lenses can also be used,
although at a reduced resolution of 16 million pixels.
However, until the range expands, if you want to use the
dedicated FE lenses their cost needs to considered.
RESOLUTION AND NOISE
Nikon D800E
Sony Alpha 7R
This scene was shot at ISO 200 using the same lens on each camera. Studying each file
at close magnification (100%) reveals that a near identical level of detail is resolved
from both 36-million-pixel sensors at the same sensitivity setting
These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured using the Nikkor 35mm f/1.4G set
to f/5.6 for the Nikon D800E and the Carl Zeiss 35mm f/2.8 lens set to f/5.6 for the Sony Alpha 7R. We show the section of the resolution chart
where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the cameras
detail resolution is at the specified sensitivity setting.
JPEG ISO 100
RAW ISO 100
JPEG ISO 100
RAW ISO 100
JPEG ISO 400
RAW ISO 400
JPEG ISO 400
RAW ISO 400
JPEG ISO 800
RAW ISO 800
JPEG ISO 800
RAW ISO 800
JPEG ISO 3200
RAW ISO 3200
JPEG ISO 3200
RAW ISO 3200
JPEG ISO 6400
RAW ISO 6400
JPEG ISO 6400
RAW ISO 6400
JPEG ISO 12,800
RAW ISO 12,800
JPEG ISO 12,800
RAW ISO 12,800
JPEG ISO 25,600
RAW ISO 25,600
JPEG ISO 25,600
RAW ISO 25,600
40
40
38
38
38
XX
36
subscribe 0844 848 0848
Sony Alpha 7R
Nikon D800E
40
40
38
38
38
36
36
40
40
38
38
36
36
34
40
40
38
38
36
36
34
51
Camera comparison Nikon D800E vs Sony Alpha 7R
BUILD AND HANDLING

As you would expect from cameras
aimed at targeting enthusiasts as
well as professionals, the D800E
and Alpha 7R feature robust bodies with
magnesium alloy used in their construction.
Added to this, both feature weather seals
to prevent dust, dirt and moisture creeping
past panels to the internals. This weathersealing provides a full sense of security
when the cameras are used in extreme
and demanding conditions, and even
when shooting in a downpour both shrugged
off moisture with no apparent signs of
water damage.
On the scales, the Alpha 7R body weighs
493g less than the D800E body, yet
despite this considerable weight saving
the Alpha 7R feels just as rigid. The Alpha
7R does lack the muscular quality of the
D800E that some photographers prefer,
but the handgrip has been sculpted in
such a way that your hand wraps around
it very comfortably.
My only concern about the Alpha 7Rs
design lies with some of its buttons and
controls. For example, the exposurecompensation dial on the corner of the
body is easily knocked when in use. Also,
the menu and zoom buttons, as well as
the aperture-control dial, could benet
from protruding further from the body for
more comfortable operation. Of the two

cameras, the positioning of the D800Es
larger buttons and intuitive layout of controls
around the body make it more instinctive
to use.
AUTOFOCUS
For autofocus, and as youd expect of
a DSLR, the D800E relies on phasedetection AF, whereas the Alpha 7R
uses a contrast-detection system thats
suspected to be less responsive in low
light. The Advanced Multi-CAM 3500FX
AF module provides the D800E with 51
AF points compared to the Alpha 7Rs 25
contrast-detection points. As neither model
features a touchscreen, the AF points can
be positioned via the body controls.
As mentioned earlier, the D800E is
more instinctive to use. One example of
this is when repositioning the AF target
something all photographers want to be
able to do quickly with minimal fuss. While
all it requires is a tap of the D-pad to move
the AF point on the D800E, the Alpha 7R
requires you to locate and depress a custom
button beside the shutter on the top-plate
rst, which is a noticeably slower process.
Turning attention to the focusing speed,
the Alpha 7Rs autofocus detection range
runs from 0EV to 20EV, whereas the
D800E has a range that goes down to
DYNAMIC RANGE
OUR DYNAMIC range test shows that the sensors of the
Sony Alpha 7R and Nikon D800E are very similar. Generally,
the D800E has the slightly better performance of the two at
the most commonly used sensitivities (ISO 50-800), but as
the graph (right) shows, there is generally less than 0.3EV
difference across the entire sensitivity range.
At ISO 50, the 13.24EV range of the Alpha 7R and the
13.29EV range of the Nikon D800E make them virtually
indistinguishable from each other, and the differences at other
sensitivity settings can be put largely down to the difference in
how each camera processes its images.
Out of our studio lab environment, the real-world raw images
we took on each camera revealed that a high level of detail can
be retained from bright highlights and returned to the darkest
shadows. We rarely experienced any signs of shadows or
highlights being clipped in our images other than when we shot
directly towards a light source, such as the landscape images
on pages 50-51. Even in such extreme lighting conditions,
detail could be easily returned to the highlights using rawconversion software. It was a similar story with the shadows,
which rarely needed more than +2EV adjustment with the
exposure slider to return detail to the darkest areas.
-2EV, which makes it the more responsive

when faced with a low-light scene. Field
testing in low light revealed that the
D800Es phase-detection AF system was
always the rst to lock onto the subjects,
with the Alpha 7Rs contrast-detection
AF system showing occasional signs of
hunting before correct focus was achieved.
The D800E is much faster when set to
continuous AF too, with further signs of
hunting from the Alpha 7R in a comparative
test focusing between near and far subjects.
VIEWFINDER, LIVE VIEW,

LCD AND VIDEO
Nikon D800E
Nikon D800E
52
The Nikon D800E

has a tendency
to overexpose by
approximately
23 stop compared
to the Sony Alpha
7R. This is obvious
in the above image
when studying
shadow areas
Sony Alpha 7R
Sony Alpha 7R
The D800E and Alpha 7R have different

rear screens and viewnders. The Alpha 7R
features an electronic viewnder due to its
mirrorless design, whereas the D800Es
optical viewnder with 100% frame
coverage lies above a 3.2in, 921,000-dot
display, which is larger than the Alpha 7Rs
3in, 921,600-dot screen. Not only that, the
D800E features a pop-up ash above the
hotshoe that could be useful for ll-in light,
while the Alpha 7R has only a hotshoe.
Whereas the D800Es screen is the
marginally larger of the two, it is xed, unlike
that of the Alpha 7R, which is bracketed
on a hinge that allows it to be pulled out
and tilted down by 45 or up by 90 to
aid low-level shooting. Both screens offer
excellent clarity and sharpness for reviewing
images, but regarding review and playback,
the way the Alpha 7R zooms into 100%
instantly after using the zoom button
quickly becomes tiresome. There is no such
problem on the D800E, which lets you
zoom in and navigate an image in playback
mode more gradually.
subscribe 0844 848 0848
PERFORMANCE
15
13.29 13.17
Dynamic range (EV)
12
13.24 13.03
12.95
12.59
12.09
12.81 12.50
10.93
11.86
9.59
10.51
8.18
8.85
7.61
7.22
6.48
6.48
6.37
0
50
100
200
400
800
1600
3200
ISO sensitivity
Sony Alpha 7R
Nikon D800E
6400 12,800 25,600
RRP
Sensor
Output size
Lens mount
Focal length mag
File format
Colour space
Shutter speeds
Viewfinder
ISO
White balance
AF points
Nikon D800E
Sony Alpha 7R
2,599 (body only)

36.3-million-pixel CMOS
7360x4912 pixels
Nikon F mount
1x
NEF raw, JPEG, NEF raw+JPEG
Adobe RGB, sRGB
30-1/8000sec
Optical, 100% coverage
100-6400 (expandable to 50-25,600 equivalent)
2 auto, 6 presets, manual and 3 custom
51 points with auto or manual selection
1,690 (body only)

36.4-million-pixel Exmor CMOS
7360 x 4912 pixels
Sony E-mount
1x
Raw, JPEG, raw+JPEG simultaneously
Adobe RGB, sRGB
30-1/8000sec
XGA OLED EVF with 2.36 million dots, 100% coverage
100-25,600
Auto, 10 presets, Kelvin, plus custom
Contrast detection, multi-point (25 points), centre
spot or manual selectable spot covering entire frame
126.9 x 94.4 x 48.2mm
1,200-zone evaluative metering, centreweighted
and fixed centre spot
146 x 123 x 81.5mm

Dimensions
Metering system 91,000-pixel RGB 3D matrix metering,
centreweighted (adjustable), spot 91.5%)
While the D800E has buttons on

the body for virtually all frequently used
functions and modes, the Alpha 7Rs body
size doesnt allow for this, with settings
such as white balance, metering mode and
focus mode tucked away in a quick menu
instead. As for the interfaces, the D800Es
main menu settings are broken down into
six categories just like those on the Alpha
7R. The only difference is that these are
positioned at the side rather than the top,
with the type being displayed on black
compared to dark grey on the D800E.
WHITE BALANCE AND COLOUR

Comparing the same images taken on
both cameras and studying the colour
temperature in Lightroom revealed the Alpha
7Rs auto white balance to have a tendency
to produce images that are warmer than
those from the D800E. I discovered this
to be the case on a number of occasions
in both raw and JPEG les, although the
D800Es les need only a subtle tweak
to the temperature to bring them up to a
similar level of warmth to the Alpha 7R.
Colour tones in each cameras raw les also
appeared more faithful when compared
to JPEGs an excellent reason to choose
the uncompressed raw le format over the
compressed JPEG le format.
Nikon D800E
NOISE, RESOLUTION
AND SENSITIVITY
Many of the images taken in our test were
shot using the same lens the Nikkor 50mm
f/1.8D, which was attached to the Alpha
7R via an NEX-Nikon lens adapter.
Our reason for choosing the older
D-variant lens as opposed to a newer
subscribe 0844 848 0848
Nikon D800E
Sony Alpha 7R
The in-camera
processing that is
applied to the 7Rs
images is a touch
more aggressive
than the D800Es.
This can be seen in
a magnified view
of the JPEG images
shown here
Sony Alpha 7R
53
Nikon D800E
The Sony Alpha
7Rs auto white
balance tends to
produce slightly
warmer results
than those
from the Nikon
D800E. However,
only a subtle
tweak with the
temperature slider
in raw conversion
software was
needed to bring
the Nikon D800Es
files up to the same
levels of warmth
LENSES
THE NIKON D800E is

supported by a vast range of
full-frame optics, although the
same cant be said at present
for the Sony Alpha 7R. While an
adapter can be used to attach
Sonys A-mount or other fullframe lenses, it adds bulk and
goes against the principle of the
Alpha 7R being a small and light
full-frame camera.
At present, there are only four
optics that match the quality of
what the Alpha 7Rs sensor is
able to deliver the 35mm f/2.8
as used in this test, a Carl Zeiss
Sonnar T* FE 55mm f/1.8 ZA,
a FE 28-70mm f/3.5-5.6 OSS
and a Carl Zeiss Vario-Tessar T*
FE 24-70mm f/4 ZA OSS. An
FE 70-200mm f/4 G OSS will
be arriving later this year, and
up to 10 dedicated lenses will
be available within the next few
years, according to Sony.
Sony Alpha 7R
G-series optic was that it allows us to
take manual control of the aperture
on both models. With each camera
sharing the same sensor size and near
identical effective resolutions, we predicted a
comparable detail performance, which was
conrmed by our comparison images
Our resolution chart tests were shot using
the comparable 35mm lenses mentioned
earlier. This ensured that the sensors could
be compared using one of the best native
lenses available to each camera. A close
assessment of detail revealed that the results
at ISO 100 were virtually identical, with both
36-million-pixel sensors managing to do
what very few cameras are capable of to
outresolve our resolution charts 40 lines
per millimetre scale. It was a similar story
at other low ISO settings, with detail only
starting to drop off slightly at ISO 3200 on
both cameras, more noticeably so above ISO
6400. Even at ISO 12,800, both sensors
were resolving between 34 and 36 lines
per millimetre, signifying an outstanding
resolution performance. With virtually
identical readouts throughout the ISO range,
it backs up my earlier suggestion that both
cameras employ the same image sensor.
Under close inspection, the noise
performance of both cameras was identical.
Clean, noise-free images are produced by
both sensors between ISO 100 and ISO
400, with the faintest trace of colour noise
entering at ISO 800. Colour noise becomes
a little more pronounced at ISO 1600 and
3200, but this was removed effectively
using the colour noise reduction slider in

both Camera Raw and Lightroom 5.
Both the D800E and Alpha 7R handle
luminance noise very well up to ISO
6400, and with careful adjustment of the
noise-reduction sliders at this sensitivity it is
possible to create images with the faintest
trace of luminance noise that has little effect
on detail. Detail starts to drop off more
noticeably above ISO 6400, and although
ISO 12,800 could be used at a push, wed
consider ISO 6400 to be the limit to which
wed want to push the sensors in order to
preserve the highest levels of detail and the
best image quality.
The processing applied to the Alpha 7Rs
JPEGs is a touch more aggressive than that
applied to the D800Es JPEGs, with images
receiving a sharpness and contrast boost
thats obvious when images are inspected
alongside each other at high magnication.
Whereas the D800E seems to apply just a
little sharpening to help resolve detail in its
JPEGs, the Alpha 7Rs is more noticeable,
with noise-reduction also more obvious.
As mentioned earlier, there are
differences between JPEG and raw les
regarding colour. Whereas the D800Es
JPEGs appear to receive a saturation boost
thats most noticeable in the greens, raw
les represent more faithful colour to the
scene photographed. While wed say the
colour balance is slightly better in the Alpha
7Rs JPEG les than in the D800Es, for the
best results from the Alpha 7R, raw should
always remain the le format of choice. AP
Conclusion
ALTHOUGH the Nikon D800E and Sony Alpha 7R

are very different in terms of their build and handling, the
fact that they have the same resolution sensor means
they are also remarkably similar. The incredible level of
detail recorded by the 36-million-pixel sensors reveals
virtually no difference in the level of detail thats recorded
when subjected to a series of tests using the same lens.
However, the different image processing applied by the
two manufacturers does mean there are some subtle
differences when examining the JPEG les from each
camera. The D800Es JPEGs receive less sharpening, but
also display a slightly cooler auto white balance.
The Alpha 7R offers a lot in a body of its size. To t a fullframe sensor behind the E mount in a body a fraction of the
size and weight of the D800E is very impressive. It proves
that full-frame digital cameras dont need to be heavy or
cumbersome. However, while the D800E is heavier and
more expensive its superior handling and faster focusing
give it the edge for more demanding photographers. I also
prefer its optical viewnder compared to the EVF of the
Alpha 7R. The slower AF and shorter battery life of the
Alpha 7R will also likely sway many towards the D800E.
That said, there will be some who look at the Alpha 7R
as a way to reduce the weight on their shoulders, an in this
respect the Sony camera is a good option. It is certainly
not a compromise on image quality as it can match
anything produced by the D800E.
Nikon, 380 Richmond Road, Kingston upon Thames, Surrey KT2 5PR. Tel: 0330 123 0932. Website: www.nikon.co.uk
Sony, The Heights, Brooklands, Weybridge, Surrey KT13 0XW. Tel: 01932 816 000. Website: www.sony.co.uk
54
subscribe 0844 848 0848
IN ASSOCIATION WITH
AND
Improve your
photography
this
o
t
s
i
h
t
m
o
Fr
Study in your own time
Receive detailed feedback
from a professional tutor
Students are assigned
a personal tutor
Split the monthly
payment costs
Half-price magazine subscriptions
Subject-specic, bite-sized
courses from only 75
Dedicated student area
and online forum
The quality of teaching and support that I received was not

only motivating, but also extremely detailed and thorough. This
enabled me to begin to nd who I am as a photographer and
without doubt my skills improved considerably Gill Golding
Foundation in
photography
FOUNDATION IN
PHOTOGRAPHY
COURS
FEES ONLEY
299
COURSE LEVEL BEGINNER/INTERMEDIATE

Winning composition
Landscapes with impact
Expert metering techniques
Shooting striking portraits
Mastering still life
Depth of eld control
Controlling ash
Shooting wildlife and nature
Using colour
Sports and action shots
Choosing the right lens
For detailed course contents or to enrol call 0203 148 4326

or visit WWW.SPI-PHOTOGRAPHY-COURSES.COM
Please quote
ref: SPI008
WINTER
SUBSCRIBE &
SAVE
43
UP
TO
0844 848 0848

Lines open 7 days a week, 8am - 9pm (UK time). Quote 14T
Overseas: +44 (0)330 3330 233
MORE REASONS TO SUBSCRIBE

SAVE ON THE COVER PRICE
NEVER MISS AN ISSUE
ENJOY CONVENIENT HOME DELIVERY
EVERY WEEK
amateurphotographersubs.co.uk/14T
Complete the
coupon below
THE DIRECT DEBIT GUARANTEE This Guarantee is offered by all banks and building societies that accept instructions to pay Direct Debits If there are any changes to the amount, date or frequency of your Direct Debit IPC Media Ltd will notify you 10 working days in advance of your account being debited or as otherwise
agreed. If you request IPC Media Ltd to collect a payment, confirmation of the amount and date will be given to you at the time of the request. If an error is made in the payment of your Direct Debit, by IPC Media Ltd or your bank or building society you are entitled to a full and immediate refund of the amount paid from your
bank or building society - If you receive a refund you are not entitled to, you must pay it back when IPC Media Ltd asks you to You can cancel a Direct Debit at any time by simply contacting your bank or building society. Written confirmation may be required. Please also notify us.
CHOOSE FROM 3 EASEY WAYS TO PAY
Signature (I am over 18):
YOUR DETAILS
3. Pay 20.74 by 3 monthly Direct Debit
1. I enclose a cheque made payable to IPC Media Ltd. for

2. Please debit my: Amex Visa Mastercard Maestro (UK only)
By Direct Debit paying just 20.74 every 3 months,

Card No.:
saving 43%, on the full price of 36.39
2 year subscription - Pay only 163.99 - saving 43% on the full
price of 291.10
Start Date (Meastro only)
1 Year subscription - Pay only 86.99 - saving 40% on the full
/
price of 145.55
Issue No.: (Meastro only)
Expiry Date:
Year of Birth:
Forename:
Instructions to your bank or building society topay by Direct Debit

For office use only Originators Reference 764 221
Name of bank:
Address of bank:
Postcode:
Date:
Offer open to new subscribers only. To access your ipad edition go to the app store & search for amateur
photographer magazine app. Direct Debit offer is available to UK subscribers only. Please allow up to six
weeks for delivery of your first subscription issue (up to eight weeks overseas). The full subscription rate
Surname:
is for one year (51issues) and includes postage and packaging. If the magazine ordered changes frequency
If youd like to receive emails from IPC & Amateur Photographer containing news, special offers, product and service per annum, we will honour the number of issues paid for, not the term of the subscription. Offer closes
31.03.2014. For enquiries from the UK please call: 0844 848 0848, for overseas please
information and take part in our magazine research via email, please include your email below.
call: +44 (0)330 3330 233 or e-mail: [email protected]. Amateur Photographer,
Email:
published by IPC Media Limited, will collect your personal information to process your order.Amateur
Address:
Photographerand IPC Media would like to contact you by post or telephone to promote and ask your opinion
on our magazines and services. Please tick here if you prefer not to hear from IPC Media . IPC Media may
Postcode:
occasionally pass your details to carefully selected organisations so that they can contact you by telephone
or post with regards to promoting and researching their products and services. Please tick here if you prefer
Home Tel No. (incl area code):
not to be contacted . IPC Media who publishAmateur Photographerwould like to send messages to
Would you like to receive messages to your mobile from IPC & Amateur Photographer with news, special offers, product
your mobile with offers from carefully selected organisations and brands, promoting and researching their
and service information and take part in our research? If yes, please include your mobile phone no. here
products and services. If you want to receive messages please tick here . IPC would like to email you
Mobile:
with offers from carefully selected organisations and brands, promoting and researching their products
and services. If you want to receive these messages please tick here .
Y Y Y Y
Mr/Mrs/Ms/Miss:
I WOULD LIKE TO SUBSCRIBE TO AMATEUR

PHOTOGRAPHER AND SAVE UP TO 43%
Name of account holder:

Acct no:
Sort code:
INSTRUCTION TO YOUR BANK OR BUILDING SOCIETY

Please pay IPC Media Ltd., Direct Debits from the account detailed on this Instruction subject to the
safeguards assured by the Direct Debit Guarantee. I understand that this instruction may remain with IPC
Media Ltd. and if so, details will be passed electronically to my bank or building society.
Signature (I am over 18):
Date:
Overseas readers save 25% Visit the website above and select your country
from the drop down OR call +44 330 3330 233, quote code 14T
Send coupon to: Amateur Photographer Subscriptions,

FREEPOST CY1061, Haywards Heath,
West Sussex RH16 3BR. (No stamp required)
14T
Pentax *ist DL Classics to use
Classics to use
Pentax
*ist DL
Ian Burley investigates whether

contemporary software can
breathe new life into an eightyear-old Pentax *ist DL DSLR
OLDER DSLRs in good condition can be

acquired, if you look hard enough, for as
little as 100 complete with a kit zoom lens.
That might already be most, or even all, of
an aspiring beginners budget. Although
100 could secure a used compact camera
with decent specications, or even a bridge
camera, would you be better off investing
in an older DSLR? Maybe you already have
that older camera but, tempted by newer
hardware, it has lain unused for too long.
Could improvements in image processing
software made over the past few years
breathe new life into older cameras?
Before I started this article, I had a
hunch that the steady development of
post-processing software, particularly in
raw-le conversion, would actually deliver
improvements in image quality today that
the original owners of these cameras
would only have dreamed of. To test
this theory, I dug out an eight-year-old
Pentax *ist DL from my collection of gear.
I also borrowed todays equivalent in the
Pentax range, the K-500, to do some
back-to-back comparisons. I would then
use early era image-processing software
and compare the results with those from
contemporary software when processing
the same image les.
D70, and in some Konica Minolta DSLRs.

The *ist DL may only be a little over eight
years old but its key components are
actually more than a decade old which is
truly an age in digital camera evolution.
Luxury is not a word that you would
associate with the *ist DL. There are just
three AF points and none of these is
illuminated in the viewnder. Bizarrely,
the current K-500 also fails to deliver
illuminated AF points in the viewnder. A
single SD card slot limits you to cards of a
maximum 2GB capacity. There is a decent
2.5in, 210,000-pixel LCD on the back,
but live view wasnt introduced on a DSLR
until the following year. At least there is a
The 6.1-millionpixel Pentax *ist

DL was launched
in 2005
Controls on the
Pentax *ist DL
are simple but
reasonably
effective
top-plate status LCD. The TTL viewnder

uses a pentamirror arrangement instead of
a solid-glass pentaprism. This makes the *ist
DL lighter, but the viewnder is not as bright
and covers only about 95% of the frame.
Power is provided by four AA batteries
or a couple of non-rechargeable lithium
CR-V3 cells. There is no power/portrait grip
option and neither is there a PC external
ash sync socket. You wont nd image
stabilisation, nor a video recording mode.
The supported sensitivity range spans ISO
200-3200 and the shutter speeds top-out
at 1/4000sec. Pentax PEF raw les can
be recorded, but not simultaneously with
separate JPEGs. Shooting raw imposes a
long wait while the image is saved.
One genuine attraction of all Pentax
DSLRs is their compatibility with hundreds of
K-mount lenses going back to the
mid-1970s, although older lenses
may only work with stop-down
metering. Unless you have one
SPECIFICATION
Pentax came relatively late to the DSLR
game, launching the original *ist D at the
beginning of 2003, with availability at the
end of that year. Pentaxs fourth DSLR, the
more affordable but lower-specication
*ist DL, was launched 18 months after the
original *ist D became available.
The *ist DL borrows much internally from
the original model, including the same
Sony-sourced, 6.1-million-pixel, APS-C
CCD sensor and image-processing pipeline.
Similar Sony CCD sensors were used to
good effect in several Nikon models like the
subscribe 0844 848 0848
57
Classics to use Pentax *ist DL
Pentax *ist DL edit

of the more recent lenses that
incorporate the focus motor in the
lens, the *ist DLs focusing action
via the in-body pin-drive is audibly
obtrusive and unrened. Cheaper Pentax
lenses, like the standard 18-55mm f/3.55.6 kit lens for the *ist DL, also suffer from
an unpleasant manual-focus ring that is too
narrow, underdamped and overgeared. The
inexpensive 18-55mm kit lens, however,
is not a bad performer for its class and a
variant of this lens is still sold today.
Controls on the *ist DL are simple but
reasonably effective, with a menu button
for system level settings, a function button
for adjusting key shooting settings, one
thumb-operated adjustment wheel and a
four-way control with a central OK button.
The only other buttons, apart from the
shutter release, are for viewing recorded
images, deleting images, exposure lock,
info, exposure override and deploying the
pop-up ash.
Yes, the *ist DL is a very simple DSLR,
even by 2005 standards. However, if you
arent interested in ashy modcons, the *ist
DL is a camera with all the core essentials
for serious photography. An inexpensive
older DSLR like the Pentax *ist DL is an ideal
introduction to system camera photography.
It gives you a relatively large APS-C sensor
that offers depth-of-eld versatility and,
certainly at normal ISO settings, rened
image quality, all of which is hard to achieve
with compacts and bridge cameras. But
is the ultimate image quality of a camera
that depends on 10-year-old imaging
technology going to be a major obstacle?
Although the
newer Pentax
K-500 has a
greater dynamic
range than the
*ist DL, the older
camera is still
very usable, as
can be seen in
the highlight and
shadow detail in
the image above
Pentax K-500 edit
wouldnt launch the original version of

what is now one of the most popular
raw conversion programs, Photoshop
Lightroom, until early 2007. Until then,
the cumbersome nature of raw-le
processing limited its appeal. Early rawconversion software wasnt just difcult and
inefcient, but compared to todays software
the potential for ultimate image quality was
far from being tapped.
RAW FILES OVER TIME

Raw-conversion software has improved in
leaps and bounds in recent years, and I have
long suspected that older cameras capable
of producing raw les can now deliver
noticeably superior image quality compared

to when they were new. The *ist DL is an
ideal candidate to put this theory to the test.
I installed Lightroom 1.0 and processed a
variety of *ist DL PEF raw les, comparing
the results with in-camera JPEGs and the
same PEF les processed in the current
version 5.3 of Lightroom. The results were
very interesting.
Even when using the old version 1.0 of
Lightroom, I was able to produce better
results from *ist DL raw les than JPEGs
straight out of the camera. The camera
JPEGs werent terrible, especially when
shooting in good light, but when white
balance, high contrast and low light conspire
THE PENTAX *IST DL: EDITING RAW
IMAGE QUALITY THEN AND NOW

Things didnt start well. Although my own
*ist DL had hardly been used, I quickly
discovered that the camera was faulty
with only black frames being recorded.
Some web research revealed that other
*ist D examples exhibited the same fault.
Fortunately, AP had a spare *ist DL so I
was able to use that.
Back in 2005, most DSLR photographers
had yet to get to grips with raw-le postprocessing and were much more likely to
use in-camera JPEGs. Adobe, for example,
58
Pentax *ist DL camera JPEG
subscribe 0844 848 0848
Pentax *ist DL Classics to use
to challenge the camera, you can recover

images with much more success using raw.
In-camera JPEGs from the *ist DL are also
a bit oversaturated.
Using Lightroom 1.0 serves as a reminder
that it was a far from perfect solution back
in 2007. In particular, its noise management
and sharpening tools were primitive. Raw
les processed in Lightroom 1.0 can retain
more detail in high ISO shots compared
to camera JPEGs, but I was sure that too
much detail was being sacriced in order to
smooth noise grain. At higher ISO settings,
Lightroom 1.0 was unable to x chroma
noise. Colour fringing along high-contrast
edges (chromatic aberration) is frequently an
issue with *ist DL JPEGs, but Lightroom 1.0
can do a reasonable job of correcting this.
Some traces can remain, but this is much
less pronounced than with camera JPEGs,
which also dont suffer sharpening well, with
the danger of ringing ever present.
UP-TO-DATE RAW
PROCESSING
By far the biggest impact of using Lightroom
5.3s up-to-date raw processing was in
controlling noise and retaining detail even
at high ISO settings. In around 2009/10,
I noticed that new sharpening algorithms
were making their mark in some camera
image-processing engines, and later the
same improvements appeared in the better
raw-conversion programs. Lightroom
5.3 not only deals with stubborn chroma
noise in *ist DL raw les, but does so
without sacricing as much detail, even
PENTAX K-500
I also did some back-to-back comparisons with todays

entry-level Pentax DSLR, the 16.28-million-pixel
K-500. This cameras Sony-sourced CMOS sensor
is highly regarded, but it was interesting to see that
the old *ist DL wasnt necessarily blown away by
its distant descendant. Thanks to modern rawconversion software, and as long as the exposure
was good and lighting wasnt challenging, even A3
prints from each camera were not easy to tell apart
at normal viewing distances. I published images from
each camera online at web resolution (900 pixels in
width) and there was no certainty from any viewer
about which camera took which shot.
Where the K-500 does knock out the *ist DL is in its ability to
shoot way beyond ISO 3200 and, when needed, to withstand severe
cropping. On paper, the K-500 has a couple of stops wider dynamic range than the
*ist DL but, once again, I was impressed with how well the older camera coped when
pushed to the limit compared to the K-500.
when applying a fair amount of luminance

smoothing. Benets are more marginal with
properly exposed images shot in good light,
but micro-contrast is better, as is control of
colour fringing.
CONCLUSION
Im very encouraged by what the work
for this article revealed. Lightroom 5.3
is by no means the best contemporary
Below: The higher

resolution of the
Pentax K-500
means that there is
more image detail,
and images printed
at larger sizes do
look better
raw-conversion program for ultimate image

quality, but general improvements in raw
processing since the *ist DL was launched in
2005 mean that the cameras potential has
improved, like a ne vintage wine. If you are
looking for your rst DSLR, or if you simply
want to be nostalgic, the combination of an
older camera like the *ist DL and up-todate software can add up to a surprisingly
rewarding experience. AP
FILES IN CONTEMPORARY SOFTWARE
Pentax *ist Lightroom 1 no adjustment
Pentax *ist Lightroom 5 no adjustment
Pentax K-500 Lightroom 5 no adjustment
Pentax *ist DL Lightroom 1 adjusted
Pentax *ist Lightroom 5 adjusted
Pentax K-500 Lightroom 5 adjusted
subscribe 0844 848 0848
59
60
| www.amateurphotographer.co.uk | 15 February 2014
subscribe 0844 848 0848
Digital Photography
CANON EOS 5D BODY COMPLETE WITH ALL ACCESS .....MINT-BOXED 445.00
CANON EOS 5D BODY COMPLETE WITH BATT & CHGR ..............EXC++ 375.00
CANON EOS 30D BODY COMPLETE WITH ALL ACCESS ...MINT-BOXED 199.00
CANON EOS 20D BODY COMPLETE WITH ALL ACCESS ................MINT- 129.00
CANON EOS 400D COMPLETE CANON 18-55 MKII + ACCSMINT-BOXED 199.00
CANON EOS 400D COMPLETE WITH ACCESSORIES.........MINT-BOXED 145.00
CANON EOS 400D + GRIP WITH Ni-CAD BATT + CHGR ................EXC++ 175.00
CANON EOS 1000D BODY WITH CANON 18-55 LENS.......................MINT 175.00
CANON POWERSHOT G9 + BATTERY AND CHARGER ...................MINT- 149.00
CANON 380 EX SPEEDLIGHT..............................................................EXC++ 79.00
CANON 420 EX SPEEDLITE......................................................MINT-BOXED 95.00
CANON 430 EX II SPEEDLITE MK II .....................................MINT BOXED 169.00
CANON 430 EX SPEEDLITE ...................................................MINT-CASED 119.00
SIGMA EM-140 DG EO-ETTL MK II MACRO FLASH..............MINT BOXED 269.00
CANON BG-E1 BAT GRIP FOR EOS 300D...............................MINT-BOXED 35.00
CANON BG-E2 GRIP FOR EOS 20/30/40D.............................................MINT 49.00
CANON BG-E3 BATT GRIP FOR EOS 350D/400D...................MINT-BOXED 39.00
CANON BG-E4 BATT GRIP FOR EOS 5D etc...........................MINT BOXED 89.00
CANON ST-E2 SPEEDLITE TRANSMITTER...........................MINT BOXED 129.00
FUJI X100 COMPLETE WITH FUJI E/R CASE........................MINT BOXED 545.00
FUJI X10 COMPLETE WITH CASE .........................................MINT-BOXED 275.00
FUJI 18mm f2 FUJINON FOR X MOUNT FUJI.........MINT BOXED AS NEW 319.00
NIKON D800 BODY COMPLETE ONLY 160 ACTUATIONS MINT BOXED 1,595.00
NIKON D7000 BODY COMP ONLY 4453
ACTUATIONS ............................................................MINT BOXED AS NEW 469.00
NIKON D300S BODY COMP WITH ALL ACCESORIES ..... EXC+++BOXED 495.00
NIKON D300 BODY KIT COMPLETE + ALL ACCESSORIES.MINT-BOXED 375.00
NIKON D200 BODY KIT COMPLETE WITH ALL ACCESS.....MINT-BOXED 219.00
NIKON D200 BODY KIT COMPLETE WITH ALL ACCESS... EXC++BOXED 189.00
NIKON D3000 BODY COMPLETE WITH ACCESSORIES......MINT BOXED 149.00
NIKON D80 BODY COMPLETE WITH ALL ACCESS..........................MINT- 189.00
NIKON D80 BODY COMPLETE WITH ACCESS.................................EXC+ 159.00
NIKON D70 BODY COMP WITH NIK 18-70 AFS LENS..........MINT BOXED 275.00
NIKON D70 BODY WITH ACCESSORIES...............................MINT-BOXED 165.00
NIKON D60 BODY COMPLETE WITH ALL ACCESSORIES ..MINT BOXED 185.00
NIKON D40 BODY WITH NIKON 18-55 MKII + ACCESS........MINT BOXED 179.00
NIKON J1 COMPLETE WITH 10 - 30 LENS & CHARGER .................MINT- 145.00
NIKON MB-D10 BATTERY GRIP FOR D300/300S/700......................EXC++ 145.00
NIKON MB-D200 BATT GRIP FOR NIKON D200......................MINT BOXED 75.00
NIKON MB-D80 BATT GRIP FOR NIKON D80/D90 .............................EXC++ 50.00
NIKON SB50 DX SPEEDLIGHT COMPLETE ............................MINT-BOXED 59.00
NIKON SB80 DX SPEEDLIGHT WITH MANUAL.....................MINT-BOXED 125.00
NIKON SB600 SPEEDLIGHT + CASE ..................................... MINT-CASED 175.00
NIKON SB800 SPEEDLIGHT ..................................................MINT- BOXED 195.00
SIGMA 140 DG MACRO FLASH iTTL FOR NIKON.................MINT BOXED 245.00
SIGMA EF-530 DG ST ELECTRONIC FLASH Ittl NIKON FIT...MINT BOXED 75.00
NIKON SC 29 TTL REMOTE CORD ........................................................MINT 49.00
SIGMA 10-20mm f4/5.6 DC EX HSM FOR OLYMPUS 4/3rds..MINT+HOOD 289.00
OLYMPUS HLD-5 BATTERY GRIP FOR E620 BODY ............................MINT 45.00
OLYMPUS 45mm f1.8 ZUIKO DIGITA MICRO 4/3rds .............MINT BOXED 159.00
OLYMPUS 12 - 60mm f2.8/4 SWD ZUIKO DIG ED 4/3RDS.... MINT CASED 575.00
OLYMPUS 14 - 45mm f3.5/5.6 ZUIKO DIGITAL 4/3rds LENS....MINT+HOOD 99.00
OLYMPUS 14 - 42mm f3.5/5.6 MK II R MSC MICRO 4/3rdsMINT AS NEW 165.00
PANASONIC LUMIX DMC-G6 TOTALLY AS NEW LATEST...MINT BOXED 375.00
PANASONIC LUMIX DMC-G2 BODY & CHARGER..............................MINT 119.00
PANASONIC GX1 BODY COMPLETE WITH ALL ACCESS ...MINT-BOXED 189.00
PANASONIC GF1 BODY COMP WITH ACCESSORIES.........................MINT 99.00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS ...MINT BOXED 145.00
PANASONIC 20mm f1.7 LUMIX G MICRO 4/3rds LENS......... MINT CASED 259.00
PANASONIC 14 - 45mm f3.5/5.6 LUMIX G OIS MICRO 4/3rds ...........MINT 175.00
PANASONIC 45 - 200mm f4/5.6 LUMIX VARIO MICRO 4/3rdsMINT BOXED 185.00
PENTAX Q BODY + PENTAX 5 - 15mm LENS AS NEW........MINT BOXED 129.00
METZ 48 AF-1 FLASH UNIT FOR OLYMPUS/PANASONIC .................MINT- 99.00
SONY ALPHA 28 - 75mm f2.8 SAM LENS...............................MINT BOXED 249.00
SIGMA 18 - 200mm f3.5/6.3 DC SLD GLASS FOR SONY......MINT BOXED 125.00
SONY ALPHA HVL-F36AM FLASH GUN................................. MINT CASED 145.00
Canon Autofocus, Digital Lenses, Canon FD

CANON EOS 1NRS BODY....................................................................MINT- 325.00
CANON EOS 1NHS ..................................................................MINT-BOXED 199.00
CANON EOS 1 BODY............................................................................EXC+ 115.00
CANON EOS 3 BODY..........................................................................EXC++ 125.00
CANON EOS 5 BODY..........................................................................EXC+++ 59.00
CANON 20 - 35mm f2.8 USM L ..........................................................MINT- 575.00
CANON 24 - 70mm f2.8 USM L MK1 + HOOD.....................MINT- CASED 799.00
CANON 24 - 105mm f4 USM L IS + HOYA PRO FILT..........MINT BOXED 625.00
CANON 70 - 200mm f4 USM L IMAGE STABILIZER............MINT BOXED 789.00
CANON 70 - 300mm f4/5.6 USM IMAGE STAB DO LENS......MINT BOXED 599.00
CANON 100 - 400mm f4.5/5.6 USM L IMAGE STABILIZER MINT BOXED 895.00
CANON 180mm f3.5 USM L MACRO LENS..........................MINT BOXED 845.00
CANON 200mm f2.8 USM L MK II WITH HOOD................................MINT 499.00
CANON TRIPOD MOUNT RING FOR 200mm f2.8..................................MINT 79.00
CANON 40mm f2.8 STM LENS ................................................MINT BOXED 139.00
CANON 50mm f1.8 MKII.............................................................MINT-BOXED 69.00
CANON 60mm f2.8 EF-S USM MACRO....................MINT BOXED AS NEW 295.00
CANON 100mm F2.8 USM MACRO + HOYA UV FILTER.......MINT BOXED 299.00
CANON 17 - 55mm f2.8 USM IMAGE STABILIZER ...............MINT-BOXED 575.00
CANON 17 - 85mm f4/5.6 IMAGE STABILIZER ...................................MINT 189.00
CANON 18 - 55mm f3.5/5.6 MK II ...........................................................MINT 59.00
CANON 18 - 55mm f3.5/5.6 IS MK II IMAGE STABILIZER......................MINT 99.00
CANON 20 - 35mm f3.5/4.5 USM...........................................................MINT 175.00
CANON 28 - 80mm f3.5/5.6 USM MK V...................................................MINT 49.00
CANON 28 - 90mm f4/5.6 USM................................................................MINT 69.00
CANON 28 - 105mm f3.5/4.5 USM.........................................................MINT 125.00
CANON 35 - 80mm f4/5.6 EF MKIII..........................................................MINT 39.00
CANON 70 - 300mm f4/5.6 USM IMAGE STAB DO LENS......MINT BOXED 599.00
CANON 75 - 300mm f4/5.6 USM IMAGE STABILIZER............MINT-BOXED 199.00
CANON 75 - 300mm f4.5/5.6 + HOOD...................................................MINT 89.00
CANON 75 - 300mm f4.5/5.6 MK III .........................................MINT BOXED 99.00
CANON 52mm CLOSE UP LENS TYPE 250D ..........................MINT BOXED 49.00
KENCO DG CANON FIT TUBE SET 12,20,36mm.....................MINT BOXED 99.00
CANON EF 1.4x EXTENDER MK I.........................................................MINT 179.00
CANON EF 2.0x EXTENDER MK I........................................... MINT CASED 199.00
CANON EF 2.0x EXTENDER MK II..........................................MINT BOXED 239.00
KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER...MINT BOXED 159.00

KENCO TELEPLUS PRO 300 DGX 2.0 TELECONVERTER...MINT BOXED 165.00
TELEPLUS MC7 7 ELEMENT 2x TELECONVERTER............................MINT- 89.00
CANON 540 EZ FLASH + INST..................................................MINT BOXED 69.00
CANON 540 EZ FLASH + INST.................................................MINT- CASED 59.00
CANON 420 EZ FLASH.............................................................. MINT CASED 39.00
CANON ST-E2 SPEEDLITE TRANSMITTER...........................MINT BOXED 125.00
CANON ANGLE FINDER B ........................................................MINT BOXED 79.00
CANON ANGLE FINDER C...................................................... MINT CASED 125.00
CANON LC3 TRANSMITTER AND RECIEVER.....................................MINT 115.00
CANON PB-E1 BOOSTER FOR EOS 1/3 etc.........................................MINT- 69.00
SIGMA 4.5mm f2.8 EX DC HSM CIRCULAR FISHEYE........... MINT CASED 499.00
SIGMA 10mm f2.8 EX DC FISHEYE HSM...............................MINT BOXED 345.00
SIGMA 35mm f1.4 DG HSM LATEST ART LENS ...................MINT BOXED 499.00
SIGMA 105mm f2.8 EX DG MACRO SUPERB SHARP LENSMINT BOXED 345.00
SIGMA 20 - 40mm f2.8 EX ASPHERICAL DG.........................MINT BOXED 245.00
SIGMA 24 - 70mm f2.8 EX DG MACRO + HOOD ..................MINT- CASED 269.00
SIGMA 70 - 300mm f4/5.6 APO MACRO + HOOD.................................MINT- 59.00
SIGMA 170 - 500mm f5/6.3 APO COMP WITH HOOD............MINT-BOXED 395.00
TAMRON 10 - 24mm f3.5/4.5 Di II LD AF SP ASPHERIC.......MINT BOXED 279.00
TAMRON 28 - 75mm f2.8 XR DI LD ASPHERIC (LATEST) ....MINT BOXED 245.00
TAMRON 55 - 200mm f4/5.6 LD MACRO Di II...........................MINT BOXED 65.00
TOKINA 10 - 17mm f3.5/4.5 AT-X DX LENS (LATEST)........................MINT 345.00
CANON F1 AE BODY 1984 LOS ANGELES OLYMPIC
ED.....................................................................................MINT BOXED NEW 995.00
CANON AUTO BELLOWS........................................................................MINT 69.00
Contax G Compacts & SLR & Ricoh

CONTAX G1 BODY ............................................................................. MINT-- 175.00
CONTAX TiX TITANIUM COMPACT + LEATHER CASE....... MINT CASED 399.00
CONTAX 21mm f2.8 BIOGON T* WITH FILTER & FINDER ... MINT CASED 695.00
CONTAX 90mm f2.8 SONNAR G + HOOD + FILTER, CAP ..............MINT 199.00
CONTAX 90mm f2.8 SONNAR G + HOOD...........................MINT- BOXED 219.00
CONTAX TLA 140 FLASH FOR G1/G2...................................... MINT CASED 65.00
CONTAX TLA 200 FLASH FOR G1/G2...................................... MINT CASED 99.00
CONTAX GD1 DATABACK FOR CONTAX T3...........................MINT-BOXED 69.00
CONTAX SA-2 FLASH ADAPTOR ...........................................................MINT 55.00
CONTAX AX AUTOFOCUS BODY (RARE NOW) ...............................MINT- 399.00
CONTAX ARIA BODY (STRAP, INSTRUCTIONS) ................ EXC++BOXED 199.00
CONTAX FIT YASHICA 28mm f2.8 SUPERB CONDITION.....................MINT 65.00
CONTAX 28mm f2.8 DISTAGON T* MM..................................MINT BOXED 295.00
CONTAX 45mm f2.8 TESSAR T* PANCAKE LENS + HOOD ...............MINT 225.00
CONTAX 50mm F1.4 MM.........................................................MINT BOXED 295.00
CONTAX 50mm f1.7 PLANAR AE..........................................................MINT 125.00
CONTAX 85mm f1.4 PLANAR MM........................................................MINT- 425.00
CONTAX 135mm F2.8 SONNAR T* MM................................ EXC++BOXED 195.00
CONTAX 35 - 70mm f3.4 VARIO SONNAR .............................MINT BOXED 295.00
CONTAX TLA 280 FLASH ......................................................................MINT- 95.00
RICOH GR1 V DATE COMP + CASE & HOYA FILTER SETMINT-BOXED 295.00
Leica M, R & Screw & Binoculars
LEICA M7 BLACK BODY COMPLETE REALLY NICE .........MINT-BOXED 1,399.00

LEICA M4-P 70TH ANNIVERSARY 1913-1983 ...................MINT- BOXED 1,195.00
LEICA M4 P BLACK BODY ......................................................MINT-BOXED 995.00
LEICA M3 S/W COMPLETE WITH ER CASE...................................EXC+++ 675.00
LEICA Mda BODY SER No 12659XX CIRCA 1970 ..............................MINT- 575.00
LEICA Mda BODY SER No 14111XXCIRCA 1975-76 ........................EXC++ 475.00
LEICA III BODY SER No 1816XX C1945 NEEDS SERVICE ............EXC++ 179.00
LEICA CL BODY COMP WITH 40mm f2 SUMMICRON.......................MINT- 795.00
LEICA CL BODY ..................................................................................MINT- 495.00
MINOLTA CLE WITH 40mm f2 ROKKOR ...........................................EXC++ 499.00
MINOLTA CLE BODY COMPLETE WITH CASE................................EXC++ 365.00
VOIGTLANDER 28mm f1.9 WITH M RING ...........................................MINT 365.00
LEICA 50mm f1.5 SUMMARIT M WITH RARE XOONS HOOD ...........MINT- 495.00
LEICA 50mm f2 SUMMICRON CHROME M FIT...............................EXC+++ 595.00
LEICA 50mm f2.5 SUMMARIT M 6 BIT LATEST.....................MINT BOXED 765.00
LEICA 90mm f2.5 SUMMARIT M 6 BIT LATEST + HOOD....................MINT 875.00
LEICA 90mm f4 COLL ELMAR M MOUNT.......................EXC++IN KEEPER 145.00
LEICA 90mm f4 C ELMAR + HOOD.......................................................MINT 395.00
LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT ...............................EXC++ 99.00
LEICA 135mm f4.5 HEKTOR IN KEEPER.........................................EXC+++ 199.00
LEICA 90mm f4 ELMAR BLACK SCREW.............................................MINT- 145.00
LEICA 135mm f4.5 HEKTOR + HOOD SCREW ...................................EXC++ 99.00
LEICA HANDGRIP FOR M8/M9 etc ....................................... EXC++BOXED 145.00
LEICA WINDER M4-2 FOR M4 etc...........................................MINT-BOXED 145.00
LEICAFLEX SL BODY CHROME .............................................MINT-BOXED 299.00
LEICA 50mm f2 SUMMICRON R 3 CAM ...........................................EXC++ 299.00
LEICA 180mm f4 ELMARIT R 3 CAM .................................................EXC++ 345.00
LEICA 70 - 210mm f4 VARIO ELMAR R.............................................EXC++ 399.00
LEICA MOTORWINDER AND STRAP FOR R6 etc.................MINT BOXED 145.00
MINOX 10 x 25 BR COMPACT BINOCULARS + CASE..........................MINT 99.00
ZEISS 6x20 B MONOCULAR WITH CASE.............................. MINT CASED 125.00
SWAROVSKI 8 x 50 SLC B BINOCULARS WITH CASE......MINT-BOXED 699.00
SWAROVSKI 8x30 WB SLC BINOCULARS WITH CASE.....MINT- CASED 469.00
FUJI 645 WIDE S PROFFESSIONAL WIDE 60....................... MINT-CASED 395.00

FUJI GW 670 MK III C/W 90mm f3.5 LENS .............................MINT BOXED 675.00
MAMIYA 6 BODY WITH 50mm f4 G FOR 6 + HOOD,FILT............MINT- 1,265.00
MAMIYA 150mm f4.5 G WITH HOOD..................................................MINT 365.00
MAMIYA 43mm f4.5 WITH FINDER & HOOD FOR 7/7II .........MINT BOXED 799.00
MAMIYA 150mm f4.5 WITH HOOD FOR 7/7II .........................MINT BOXED 395.00
MAMIYA 150mm f4.5 + HOOD FOR MAMIYA 7/7II...............................MINT 425.00
MAMIYA 180mm F4.5 SEKOR Z W FOR RZ.........................................MINT 199.00
MAMIYA 250mm f4.5 LENS FOR RZ....................................................MINT- 195.00
MAMIYA 150mm f3.5 A/F FOR 645 A/F................................................MINT 299.00
MAMIYA 210mm f4 SEKOR C FOR 645.................................. MINT CASED 195.00
MAMIYA 180mm F4.5 SEKOR FOR RB ...............................................MINT 169.00
MAMIYA RZ 67 PRO BACK ....................................................................MINT- 69.00
MAMIYA 220 BACK FOR RZ 67..............................................................MINT- 95.00
PENTAX 55mm f3.5 TAKUMAR SMC FOR 6x7....................................MINT- 195.00
PENTAX 55mm f2.8 FOR PENTAX 645...................................MINT BOXED 199.00
PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ............MINT- 199.00
ROLLEIFLEX SCHNEIDER 150mm f4.6 MAKRO FOR 6008 ...............MINT- 575.00
WISTA TYPE N 4x5 MOUNT ROLL FILM HOLDER FOR 6x7 MINT-BOXED 145.00
YASHICAMAT 124G COMPLETE WITH CASE ..................................EXC++ 179.00
YASHICAMAT 124G COMPLETE WITH CASE .....................................MINT 225.00
Hasselblad
HASSELBLAD 503 Cxi BODY + WLF ...................................................MINT- 495.00
HASSELBLAD 500CM + 80mm f2.8 T* + HOOD BLACK .....................MINT- 675.00
HASSELBLAD 500CM BODY WITH 80mm f2.8 T* + HOOD................MINT- 695.00
HASSELBLAD 90mm f4 FOR XPAN ................................. MINT-IN KEEPER 365.00
HASSELBLAD 500EL/M BODY + A12 BLACK BACK.........................EXC++ 299.00
HASSELBLAD 50mm f4 CF FLE DISTAGON + HOOD ...........MINT BOXED 699.00
HASSELBLAD 150mm f4 SONNAR CF ............................................EXC+++ 375.00
HASSELBLAD 4504 PRO FLASH COMPLETE .......MINT BOXED UNUSED 145.00
HASSELBLAD A12 BACK....................................................................EXC+++ 99.00
HASSELBLAD CW WINDER + REMOTE...............................................MINT 299.00
HASSELBLAD PLAIN PRISM....................................................................EXC 75.00
HASSELBLAD PM PRISM......................................................................MINT 199.00
HASSELBLAD 500CM/503 WLF BLACK................................................MINT 125.00
HASSELBLAD EXTENSION TUBE 16E F...............................................MINT- 75.00
Nikon Auto-Focus, Digital Lenses & Accessories
NIKON F6 REALLY MINT AS NEW....................................MINT BOXED 975.00

NIKON F5 BODY REALLY NICE LITTLE USE........................MINT-BOXED 375.00
NIKON F60 BODY....................................................................................MINT- 39.00
NIKON F55 BODY.......................................................................MINT-BOXED 39.00
NIKON 10.5mm f2.8 G IF-ED A/F DX FISHEYE LENS .........MINT BOXED 395.00
NIKON 10.5mm f2.8 G IF-ED A/F DX FISHEYE LENS ......... MINT CASED 365.00
NIKON 28mm f2.8 A/F ...........................................................................MINT 129.00
NIKON 50mm f1.4 A/F D ........................................................MINT BOXED 195.00
NIKON 85mm f1.4 A/F D WITH HOOD..................................MINT BOXED 695.00
NIKON 105mm f2.8 G IF - ED AF-S VIB REDUCTION ........MINT BOXED 499.00
NIKON 180mm f2.8 A/F IF-ED ................................................ MINT CASED 299.00
NIKON 180mm f2.8 A/F D IF-ED LATEST LENS....................MINT BOXED 465.00
NIKON 17 - 55mm f2.8 f2.8 G IF-ED AF-S + HOOD .............MINT BOXED 695.00
NIKON 18 - 35mm f3.5/4.5 D IF-ED A/F ................................MINT-BOXED 325.00
NIKON 18 - 55mm f3.5/5.6 G DX AF-S VIBRATION RED.......MINT BOXED 99.00
NIKON 18 - 70mm f3.5/4.5 G DX IF ED AF- S CASED..........MINT+HOOD 149.00
NIKON 18 - 105mm f3.5/5.6 G DX ED AF-S VIBR RED....... MINT CASED 149.00
NIKON 18 - 200mm f3.5/5.6 G DX ED AF-S VR II LATEST MINT BOXED 479.00
NIKON 24 - 85mm f3.5/4.5G AF-S ED VR
(LATEST)...................................................................MINT BOXED AS NEW 325.00
NIKON 28 - 85mm f3.5/4.5 A/F ...............................................................MINT- 69.00
NIKON 35 - 70mm f3.3/4.5 A/F ...............................................................MINT- 75.00
NIKON 35 - 80mm f4.5/5.6 A/F D.............................................MINT BOXED 55.00
NIKON 35 - 105mm f3.5/4.5 A/F WITH MACRO....................................MINT 129.00
NIKON 55 - 300mm f4.5/5.6 G DX AF-S VIBRATION RED...MINT BOXED 199.00
NIKON 70 - 200mm f2.8 IF/ED AF-S VIBRATION
REDUCTION .............................................................................MINT BOXED 999.00
NIKON 70 - 300mm f4/5,6 G BLACK .......................................MINT-BOXED 95.00
NIKON 70 - 300mm f4/5.6 D ED ...........................................MINT-BOXED 145.00
NIKON 70 - 300mm f4.5/5.6 G IF-ED AF-S VIB REDUCTIONMINT BOXED 299.00
NIKON 80 - 200mm f2.8 IF-ED A/F .....................................................EXC++ 295.00
NIKON 80 - 200mm f2.8 IF-ED A/F D ................................... MINT CASED 395.00
NIKON 80 - 400mm f4.5/5.6 D ED VIBRATION REDUCTION.MINT-BOXED 799.00
NIKON TC14E AF- 1 1.4x TELECONVERTER .......................MINT-BOXED 165.00
NIKON TC20E AF-1 2.0X TELECONVERTER........................MINT-BOXED 145.00
NIKON TC20E II AF-S TELECONVERTER.............................MINT BOXED 195.00
NIKON SB28 SPEEDLIGHT .......................................................MINT-BOXED 65.00
TAMRON 1.4x A/F D TELECONVERTER NIKON FIT ..........................MINT 75.00
KENKO 1.5x EXTENDER TELEPLUS SHQ DG NIK A/FD......................MINT 75.00
NIKON FIT TRI-PLUS EXT TUBE SET 12mm,20mm,36mm ...................MINT 45.00
NIKON MC 36 TIMER REMOTE CONTROL FOR D700/200/300...........MINT- 99.00
NIKON DA20 ACTION FINDER FOR NIKON F4/S/E.............................MINT 195.00
SIGMA 20mm f1.8 EF DG ASPHERIC RF (LATEST)..............MINT BOXED 299.00

SIGMA 50mm f2.8 EX DG MACRO..........................................MINT BOXED 195.00
SIGMA 70mm f2.8 EX DG MACRO (LATEST VERSION) ......MINT BOXED 299.00
SIGMA 85mm f1.4 EX DG HSM (LATEST MODEL) ...............MINT BOXED 525.00
SIGMA 180mm f5.6 MACRO A/F APO.....................................MINT BOXED 175.00
SIGMA 500mm f4.5 EX DG HSM (LATEST VERSION) EXC+++CASED 2,195.00
SIGMA 10 - 20mm f4/5.6 EX DC HSM.....................................MINT BOXED 265.00
SIGMA 17 - 35mm f2.8/4 EX ASHERICAL............................. EXC++BOXED 159.00
SIGMA 28 - 135mm f3.8/5.6 D ASPHERICAL ........................MINT + HOOD 99.00
SIGMA 55 - 200mm f4/5.6 DC HSM...........................................MINT BOXED 89.00
SIGMA 135 - 400mm f4.5/5.6 D APO....................................EXC++CASED 275.00
SIGMA 150 - 500mm f5/6.3 DG HSM OPTICAL STABILISER MINT BOXED 625.00
TAMRON 90mm f2.8 A/F Di SP MACRO SP 1:1 ......................MINT BPXED 199.00
TAMRON 55 - 200mm f4/5.6 LD MACRI Di II ..........................MINT BOXED 99.00
TOKINA 35mm F2.8 ATX-PRO DX MACRO 1:1 (LATEST)....MINT BOXED 295.00
TOKINA 12 - 24mm f4 IF DX ASPHERICAL AT-X PRO...........MINT+HOOD 299.00
TOKINA 16 - 50mm f2.8 ASPHERICAL AT-X PRO DX ...........MINT BOXED 275.00
Nikon Manual
NIKON F3 A/F VERY RARE MINT- BODY WITH A/F HEAD...............MINT- 675.00
NIKON 200mm f3.5 ED A/F LENS FOR F3 A/F................................EXC+++ 295.00
NIKON F3 HP T TITANIUM BODY........................................................MINT- 595.00
NIKON F3 BODY REALLY CLEAN BODY ...........................................MINT- 299.00
NIKON F2 A PHOTOMIC BODY CHROME...........................................MINT- 395.00
NIKON F2 BODY WITH MD2/MB1 DRIVE + 50mm f2 NIKKOR...........MINT- 499.00
NIKON F2 PLAIN PRISM (VERY SLIGHT DINK ON PRISM)...........EXC+++ 345.00
NIKON F2 PHOTOMIC BODY CHROME............................................MINT- 345.00
NIKON FE2 BLACK BODY ..................................................................EXC++ 165.00
NIKKOREX WITH 50mm f2 NIKOR LENS.............................................EXC++ 99.00
NIKON 16mm f2.8 AI COMPLETE WITH FILTERS ................. MINT CASED 475.00
NIKON 18mm f4 Ai + 86mm FILTER + HOOD (VERY RARE)MINT AS NEW 599.00
NIKON 28mm f2.8 AI............................................................................EXC++ 169.00
NIKON 28mm f3.5 AI............................................................................EXC+++ 99.00
NIKON 28mm f3.5 AIS............................................................................MINT 125.00
NIKON 35mm f2.8 PC SHIFT MANUAL EARLY ...................................MINT- 295.00
NIKON 45mm f2.8 GN NIKKOR.............................................................MINT- 199.00
NIKON 45mm f2.8 P PANCAKE WITH HOOD, FILTER, CASEMINT BOXED 275.00
ZEISS 50mm f1.4 NIKON FIT
(SUPERB SHARP LENS) .........................................MINT BOXED AS NEW 345.00
NIKON 55mm f2.8 MICRO NIKKOR AIS...............................................MINT- 175.00
NIKON 85mm f2 AIS (FROM A COLLECTION) .................... MINT AS NEW 285.00
NIKON 105mm f2.5 AIS.....................................................................EXC+++ 199.00
NIKON 105mm f4 AIS MICRO NIKKOR................................................MINT- 275.00
NIKON 200mm f4 NIKKOR Q .....................................................MINT-CASED 95.00
NIKON 500mm f8 MIRROR LENS WITH FILTER SET............ MINT CASED 345.00
NIKON 28 - 50mm f3.5 AIS + HOOD.....................................................MINT- 199.00
NIKON 35 - 70mm f3.3/4.5 ZOOM NIKKOR MACRO AIS ....................MINT- 169.00
NIKON 35 - 105mm f3.5/4.5 AIS ZOOM MACRO ...................MINT BOXED 195.00
NIKON 35 - 105mm f3.5/4.5 AIS ZOOM MACRO ...............................EXC++ 139.00
NIKON 35 - 135 f3.5/4.5 AIS..................................................................EXC+ 165.00
NIKON 43 - 86mm f3.5 AI ZOOM ..........................................................EXC++ 69.00
NIKON 70 - 210mm f4.5/5.6 NIKKOR.........................................MINT-BOXED 65.00
NIKON PB5 BELLOWS WITH PS5 SLIDE COPY ADAPTOR .MINT BOXED 165.00
NIKON PB6 BELLOWS WITH DOUBLE CABLE RELEASE.................MINT 199.00
NIKON MF-24 250 EXPOSURE FILM BACK FOR F4S/F4E ................MINT- 299.00
NIKON MD4 DRIVE FOR F3/F3T/F3P .................................................MINT - 125.00
NIKON MD12 MOTOR DRIVE FOR FM3a/FM2/FE2/FM/FE ..............EXC+++ 79.00
NIKON PK13 AUTO EXTENSION RING ....................................MINT-BOXED 55.00
NIKON PK12 AUTO EXTENSION RING ...............................................EXC++ 49.00
NIKON PN11 AUTO EXTENSION RING..................................................MINT 75.00
NIKON TC 16A TELECONVERTER A/F ..................................................MINT 79.00
NIKON TC 200 CONVERTER...................................................................MINT 69.00
NIKON TC 201 CONVERTER................................................................EXC++ 89.00
NIKON TC 301 CONVERTER................................................................MINT- 145.00
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2.................... MINT-CASED 159.00
NIKON SB 16 FLASH FOR F3.................................................... MINT-CASED 75.00
Olympus Manual
OLYMPUS OM4 Ti BLACK BODY.........................................................MINT- 495.00
OLYMPUS OM2N BODY CHROME......................................................MINT- 129.00
OLYMPUS OM2 SPOT BLACK .............................................................MINT- 129.00
OLYMPUS OM2 BLACK ......................................................................EXC++ 115.00
OLYMPUS 35mm f2.8 ZUIKO..................................................................MINT- 69.00
OLYMPUS 50mm F1.8 ZUIKO..................................................................MINT 49.00
OLYMPUS 50mm f3.5 MACRO .............................................................MINT- 129.00
OLYMPUS 135mm f3.5 ZUIKO................................................... MINT-CASED 55.00
OLYMPUS 75 - 150mm f4 ZUIKO ..............................................MINT-CASED 59.00
OLYMPUS WINDER II .............................................................................MINT- 39.00
OLYMPUS T32 FLASH..........................................................................EXC++ 29.00
OLYMPUS F280 FLASH UNIT.................................................................MINT- 49.00
OLYMPUS VARIOMAGNIFINDER............................................................MINT 89.00
Medium & Large Format

BRONICA ETRS BODY + 120 BACK,LENS & WLF + GRIP ..............EXC++ 169.00
BRONICA ETRS COMPLETE WITH 75mm EII + 120 BACK..............EXC++ 175.00
BRONICA 50mm f2.8 ZENZANON MC ...............................................EXC+++ 99.00
BRONICA 150mm f3.5 ZENZANON E MC.................................MINT BOXED 99.00
BRONICA 150mm f3.5 ZENZANON E MC...............................................MINT 89.00
BRONICA 150mm F4 E ...........................................................................MINT- 89.00
BRONICA ETRSi 120 BACK....................................................................MINT- 79.00
BRONICA ETRS/ETRSi POLAROID BACK..............................................MINT 69.00
BRONICA AEII METERED PRISM..........................................................MINT- 89.00
BRONICA PLAIN PRISM FOR ETRS/ETRSi ........................................EXC++ 59.00
BRONICA MOTOR WINDER E............................................................EXC+++ 89.00
BRONICA 150mm f3.5 ZENZANON S...................................................MINT- 165.00
BRONICA SQA + 80mm f2.8 S, PRISM FDR,BACK, GRIP...MINT-/EXC+++ 395.00
BRONICA 65mm f4 ZENZANON PS FOR SQ ......................... MINT-CASED 145.00
BRONICA 110mm f4 PS ZENZANON MACRO FOR SQ......... MINT-CASED 365.00
BRONICA 150mm f4 PS ZENZANON FOR SQ ....................... MINT-CASED 145.00
BRONICA SQAi 120 MAGAZINE BACK................................................EXC++ 45.00
BRONICA SQA/i/M POLAROID MAGAZINE BACK ...................MINT BOXED 69.00
BRONICA 135W BACK FOR SQ VERY RARE.................................EXC+++ 165.00
We urgently require your used photographic equipment. We have

customers waiting for: Nikon, Canon, Leica, Contax, Bronica,
Hasselblad and most other makes of camera lenses, accessories,
binoculars and collectables.
We will buy for cash from you, or we are happy to sell on

your behalf on a commission basis. Best prices paid. We can
arrange collection and even call and collect and pay on the
spot if necessary anywhere in the UK.
Visitors are welcome, please phone for an appointment. PO Box 1052, Cottenham, Cambridge, CB4 8WU
The U.K.s Largest Used

Equipment Specialist
The ORIGINAL commission sale specialists
We also PART EXCHANGE and BUY FOR CASH
Good quality equipment always wanted
Bronica ETRS/Si
ETRSi Complete + Plain Prism Bronica ...........................E+ 279
ETRSi Complete + Grip Bronica..............................As Seen 189
ETRSi Complete Bronica ............................ E+ / E++ 249 - 289
ETRSi Body + Speed Grip Bronica ..................................E+ 149
ETRS Complete Bronica..................................................E+ 159
30mm F3.5 PE Fisheye Bronica..........................E++ 699 - 749
40mm F4 E Bronica .......................................................E++ 149
45-90mm F4-5.6 PE Bronica...............................E++ 399 - 449
50mm F2.8 PE Bronica..................................................E++ 149
70-140mm F4.5 PE Schneider.......................................E++ 599
75mm F2.8 EII Bronica ......................................................E+ 79
105mm F3.5 E Bronica .............................................As Seen 49
150mm F3.5 E Bronica ........................ As Seen / E++ 49 - 109
150mm F3.5 PE Bronica................................................E++ 149
200mm F4.5 E Bronica ..........................E+ / Unused 119 - 219
200mm F4.5 PE Bronica..........................................Unused 279
200mm F5.6 E Bronica ..................................................E++ 129
250mm F5.6 E Bronica ........................ As Seen / E++ 79 - 159
500mm F8 E Bronica .......................................................E+ 349
120 E Mag Bronica.............................................................E+ 25
120 Ei Mag Bronica............................................................E+ 35
220 E Mag Bronica...........................................................E++ 15
Polaroid Mag E Bronica .................................E+ / Mint- 15 - 59
Extension Tube E14 Bronica......................E+ / Unused 39 - 89
Motorwinder E Bronica.......................................................E+ 75
SCA386 Flash Adapter Bronica ..............................E++ 20 - 45
Prism Finder E Bronica ...........................As Seen / Exc 35 - 39
Rotary Finder E Bronica............................................As Seen 49
Bronica RF645 - Please Call
Bronica SQA/Ai/B
SQA Complete Bronica..................................................E++ 299

SQA Body + Magazine Bronica..........................................E+ 99
SQA Body + Speed Grip Bronica.....................................E+ 149
SQAM Body Only Bronica................................................E+ 125
50mm F3.5 PS Bronica..................................................E++ 149
65mm F4 PS Bronica...........................E++ / Unused 149 - 249
150mm F4 PS Bronica...................................................E++ 149
180mm F4.5 PS Bronica................................................E++ 189
500mm F8 S Bronica .....................................................E++ 349
2x Teleconverter S Bronica..............................................E++ 69
SQA 220J Mag Bronica......................................................E+ 75
SQAi 120J Mag Bronica...................................................E++ 49
AE Prism Finder S Bronica.................................................E+ 79
CDS MF Finder S Bronica................................................E++ 79
ME Prism Finder S Bronica.......................................E+ 79 - 89
Prism Finder S Bronica ......................................................E+ 69
Proshade S Bronica..................................................As Seen 15
Canon EOS
EOS 1VHS Body Only Canon..........................................E+ 449
EOS 1N + BP-E1 Grip Canon ........................................E++ 149
EOS 1N Body Only Canon........................................Exc / E+ 99
EOS 1 + BP-E1 Grip Canon......................................As Seen 89
EOS 1 + E1 Booster Canon .......................... E+ / E++ 99 - 149
EOS 1 Body Only Canon ................................................. Exc 79
EOS 3 + E2 Booster Canon .............................................E+ 149
EOS 3 Body Only Canon ..................... As Seen / E++ 99 - 129
EOS 30E Body Only Canon......................................As Seen 39
EOS 30 + BP300 Grip Canon ............................................E+ 69
EOS 30 Body Only Canon........................................ E+ / E++ 79
EOS 5 Body Only Canon ...................................................E+ 49
EOS 5 QD Body Only Canon.............................................E+ 59
EOS 50E + BP50 Grip Canon.................. As Seen / E+ 39 - 69
EOS 50E Body Only Canon......................................E+ 19 - 49
EOS 10 Body Only Canon.................As Seen / Unused 15 - 49
EOS 300V + Sigma 28-80mm Canon...............................E++ 49
10-22mm F3.5-4.5 EFS Canon ...........................E++ 389 - 399
15-85mm F3.5-5.6 IS USM Canon.................................E++ 399
17-40mm f4 L USM Canon.......................E++ / Mint- 449 - 519
17-85mm F3.5-5.6 IS USM Canon.................................E++ 189
17-85mm F4-5.6 IS USM Canon..............................Unused 279
18-55mm F3.5-5.6 IS EFS Canon....................................E++ 69
18-55mm F3.5-5.6 IS EFS II Canon............................... Mint- 79
18-55mm F3.5-5.6 IS STM Canon .............Mint- / Mint 99 - 129
20-35mm F3.5-4.5 USM Canon .....................................E++ 149
24mm F1.4 L USM Canon..............................................E++ 879
24mm F2.8 EF Canon.........................................E++ 219 - 239
24-105mm F4 L IS USM Canon.......................................E+ 499
24-70mm F2.8 L USM Canon .................. E+ / E++ 889 - 1,099
24-85mm F3.5-4.5 USM Canon .....................................E++ 149
28mm F2.8 EF Canon..............................................Unused 139
28mm F2.8 IS USM Canon.......................................... Mint- 389
28-70mm F2.8 L USM Canon ........................................E++ 469
28-70mm F3.5-4.5 EF II Canon..................................Unused 99
28-80mm F3.5-5.6 II Canon...............................................E+ 59
28-80mm F3.5-5.6 USM II Canon ......................................E+ 59
28-90mm F4-5.6 EF III Canon..........................................E++ 49
28-90mm F4-5.6 USM Canon ..........................................E++ 49
28-90mm F4-5.6 USM II Canon .......................................E++ 59
28-105mm F3.5-4.5 USM Canon ...................................E++ 149
28-105mm F3.5-4.5 USM II Canon ................................E++ 129
28-200mm F3.5-5.6 USM Canon ........................E++ 139 - 159
28-300mm f3.5-5.6 L IS USM Canon..........................E++ 1,599
40mm F2.8 STM Canon............................................... Mint- 125
45mm F2.8 TS-E Canon ................................................E++ 849
50mm f1.2 L USM Canon......................................Unused 1,049
50mm F1.4 USM Canon .............................................. Mint- 229
50mm F1.8 EF II Canon...........................E++ / Unused 59 - 69
50-200mm F3.5-4.5 EF Canon...................................Unused 99
55-200mm F4.5-5.6 USM Canon ...............................Unused 99
55-200mm F4.5-5.6 USM II Canon ..........E++ / Unused 89 - 99
55-250mm F4-5.6 EFS IS Canon...................................E++ 129
55-250mm F4-5.6 IS STM Canon ................................ Mint- 229
60mm F2.8 EFS Macro Canon..................................... Mint- 249
60mm f2.8 USM EFS Macro Canon.................................E+ 239
65mm F2.8 MP-E Macro Canon................................... Mint- 649
70-200mm F2.8 L IS USM II Canon.......................... Mint- 1,699
70-200mm F2.8 L USM Canon ........................................E+ 649
70-200mm f4 L IS USM Canon .................................... Mint- 759
70-210mm F3.5-4.5 USM Canon .............................Unused 149
70-210mm F4 EF Canon............................................Unused 99
70-300mm f4-5.6 IS USM Canon...................................E++ 249
70-300mm f4-5.6 L IS USM Canon................................E++ 959
70-300mm F4.5-5.6 DO IS USM Canon...........................E+ 489
75-300mm F4-5.6 EF III Canon........................................E++ 99
75-300mm F4-5.6 IS USM Canon..................................E++ 249
Mail
Order
Hotline
75-300mm F4-5.6 USM III Canon .................................. Mint- 99

80-200mm F4.5-5.6 EF II Canon..................... E+ / E++ 49 - 59
85mm F1.2 L USM MkII Canon...................................E++ 1,289
85mm F1.8 USM Canon ................................................E++ 229
90-300mm F4.5-5.6 EF Canon...........................................E+ 99
100-200mm F4.5 A Canon.........................................Unused 49
100-300mm F4.5-5.6 USM Canon ...........................Unused 149
100-400mm F4.5-5.6 L IS USM Canon..........................E++ 979
135mm F2.8 Soft Focus EF Canon................................E++ 149
180MM F3.5 L Macro USM Canon......................... E+ / E++ 849
300mm F4 L IS USM Canon...............................E++ 899 - 949
400mm F2.8 L IS USM Canon ......................................E+ 4,899
400mm F2.8 L USM Canon...........................................E+ 2,499
400mm f4 DO IS USM Canon............... E+ / E++ 3,849 - 3,899
400mm f5.6 L USM Canon.............................................E++ 959
600mm F4 L IS USM Canon.........................E++ 5,499 - 5,999
Sigma 12-24mm F4.5-5.6 EX DG HSM Sigma...............E++ 349
Sigma 18-200mm F3.5-6.3 DC Sigma ...............................E+ 99
Sigma 24mm F2.8 Super Wide II Sigma ..........................E++ 79
Sigma 28-200mm F3.8-5.6 UC Sigma ...............................E+ 59
Sigma 30mm F1.4 EX DC HSM Sigma..........................E++ 199
Sigma 50mm F1.4 EX DG HSM Sigma........................ Mint- 279
Sigma 50mm F2.8 EX DG Macro Sigma...................... Mint- 169
Sigma 70-210mm F2.8 Apo Sigma ........E+ / Unused 179 - 249
Sigma 70-210mm F3.5-4.5 Apo Sigma ......................Unused 79
Sigma 70-300mm F4-5.6 Apo Macro Sigma ..................E++ 109
Sigma 70-300mm F4-5.6 DG Sigma................................E++ 69
Sigma 70mm F2.8 EX DG Macro Sigma........................E++ 249
Sigma 75-300mm F4-5.6 Apo Sigma .................................E+ 79
Sigma 100-300mm F4.5-6.7 DL Sigma............................E++ 39
Sigma 105mm F2.8 EX Macro Sigma............................E++ 249
Sigma 105mm F2.8 Macro EX DG OS HSM Sigma.......E++ 319
Sigma 150-500mm F5-6.36 DG OS HSM Sigma ...........E++ 599
Sigma 300mm F2.8 Apo Sigma ...............................Unused 399
Sigma 300mm F4 Apo Sigma ........................................E++ 159
Tamron 10-24mm F3.5-4.5 Di II LD Asph Tamron .........E++ 269
Tamron 18-270mm F3.5-5.6 Di VC Tamron...................E++ 219
Tamron 28-105mm F2.8 SP LD Tamron........................E++ 299
Tamron 28-200mm F3.8-5.6 LD Tamron..........................E++ 59
Tamron 60mm F2 Di II (if) Macro Tamron.................... Mint- 249
Tamron 70-300mm F4-5.6 Di Tamron..............................E++ 59
Tamron 90mm F2.8 SP Di Macro Tamron .....................E++ 249
Tokina 12-24mm F4 AF PRO DX ATX MKII Tokina..... Mint- 349
Tokina 16-28mm F2.8 ATX FX Tokina......................... Mint- 589
Tokina 16-50mm F2.8 ATX Pro DX Tokina....................E++ 349
Tokina 28-80mm F2.8 ATX Pro Tokina....................Unused 279
Tokina 50-135mm F2.8 DX ATX Tokina.........................E++ 349
Tokina 100-300mm F5.6-6.7 Tokina ..........................Unused 59
Tokina 300mm F2.8 ATX SD Tokina........................Unused 999
Zeiss 35mm F2 ZE Distagon Zeiss .............................. Mint- 649
Zeiss 50mm F1.4 Planar ZE Zeiss.................................E++ 399
1.4x EF Extender Canon............................. E+ / E++ 139 - 149
2x EF Extender Canon...............................Exc / E++ 129 - 159
Teleplus 1.4x Pro300 Converter Teleplus ........................E++ 79
300EZ Speedlite Canon.................................. E+ / E++ 12 - 29
380EX Speedlite Canon.....................................................E+ 79
420EX Speedlite Canon.................................................E++ 109
420EZ Speedlite Canon...................................................E++ 39
430EZ Speedlite Canon........................... As Seen / E+ 29 - 39
480EG Speedlite Canon...................................................E++ 99
Metz 50MZ5 Flash Metz.................................................E++ 129
540EZ Speedlite Canon.................................. E+ / E++ 59 - 79
550EX Speedlite Canon........................................E+ 129 - 149
580EX Speedlite Canon...................................................E+ 159
Sigma EF500 DG ST Flash Sigma...................................E++ 79
Sigma EF430 Flash Sigma.........................................Unused 49
Sigma EF430ST Flash Sigma....................................Unused 69
Sigma EF500 DG ST Flash II Sigma................................E++ 79
Sigma EF500 ST Flash Sigma...........................................E+ 49
Sigma EM-140 DG Macrofash Sigma............................E++ 219
ML3 Macrolite Canon.......................................................E++ 59
MR-14EX Macro Ringlite Canon ..............E++ / Mint- 329 - 349
MT-24EX Macro Ringlite Canon................................... Mint- 579
ST-E2 Transmitter Canon ................................................E++ 89
Canon Manual
F1NAE Black Body Only Canon.......................................E+ 179

F1N Body Only Canon .....................................................E+ 249
F1 Black Body Only Canon..............................................E+ 149
T90 Body + Databack Canon...........................................E+ 119
T90 Body Only Canon...............................................E+ 79 - 99
T80 + 35-70mm Canon..............................E+ / Unused 49 - 79
T70 Body Only Canon................................................Unused 89
T50 + 50mm F1.8 Canon...................................................E+ 29
T50 Body Only Canon........................................................E+ 25
A1 Black Body Only Canon..............................Exc / E+ 59 - 79
A1 Translucent Body Only Canon.............................As Seen 99
AE1 Chrome + 50mm F1.8 Canon.....................................E+ 59
AE1 Chrome + 50mm F1.8 + Winder Canon......................E+ 49
AE1 Chrome Body Only Canon....................... E+ / E++ 49 - 59
AT1 Chrome Body Only Canon..........................................E+ 49
AV1 Chrome + 50mm F1.8 Canon.....................................E+ 49
AV1 Chrome Body Only Canon..........................................E+ 49
EXEE + 50mm F1.8 Canon................................................E+ 49
FTb QL Chrome + 50mm F1.8 B/Lock Canon...........As Seen 59
FTb QL Chrome Body Only Canon ....................................E+ 59
TX Chrome + 50mm F1.8 Canon..............................As Seen 59
20mm F3.5 Macrophoto Lens Canon.....E++ / Unused 99 - 149
20-35mm F2.8 FD L Canon......................................Unused 499
24mm F1.4 FD L Canon.............................. E+ / E++ 499 - 549
24mm F2 FD Canon.................................................Unused 299
24mm F2.8 FD Canon............................E++ / Unused 89 - 169
28mm F2.8 B/lock Canon...........................................Unused 59
28mm F2.8 FD Canon..............................Exc / Unused 20 - 49
28-55mm F3.5-4.5 FD Canon ......................... E+ / E++ 45 - 49
35mm F2.8 Macrophoto Lens Canon.......................Unused 149
35-70mm F2.8-3.5 B/lock Canon .......................................E+ 89
35-70mm F3.5-4.5 FD Canon ..................E++ / Unused 25 - 49
35-70mm F4 FD AF Canon........................................Unused 89
50mm F1.8 B/lock Canon.........................E++ / Unused 25 - 49
50mm F1.8 FD Canon............................Mint- / Unused 19 - 49
50mm F3.5 B/lock + FD25 Tube Canon...................Unused 149
50mm F3.5 FD Macro Canon....................................As Seen 49
70-210mm F4 FD Canon ....................... As Seen / E++ 29 - 79
75-200mm F4.5 AC Canon ........................................Unused 35
75-200mm F4.5 FD Canon.............................Exc / E++ 29 - 49
100mm F4 FD Macro Canon..........................................E++ 119
100mm F4 FD Macro + Tube Canon......E+ / Unused 119 - 199
100-300mm F5 Vivitar......................................................E++ 45
100-300mm F5.6 FD Canon......................... Exc / Mint- 39 - 79

135mm F3.5 B/lock Canon.........................................Unused 59
135mm F3.5 FD Canon..............................E+ / Unused 29 - 59
200mm F2.8 FD Canon............................................Unused 249
200mm F4 FD Canon.........................................................E+ 25
300mm F2.8 FD L Canon............................................... Exc 850
300mm F4 FD Canon...............................................Unused 249
300mm F5.6 FD Canon.............................................E+ 59 - 79
400mm F4.5 B/lock Canon...............................................E+ 349
Cosina 100mm F3.5 MC Macro Cosina ...........................E++ 49
Cosina 100-500mm F5.6-8 Cosina....................E++ / Unused 99
Tokina 300mm F2.8 ATX Tokina..........E++ / Unused 399 - 599
Vivitar 19mm F3.8 MC Vivitar.............................................E+ 49
Vivitar 70-210mm F3.5 Series 1 Vivitar............................E++ 35
Vivitar 100mm F3.5 MC Macro Vivitar..............................E++ 49
2x A Extender Canon.................................................Unused 49
2x B Extender Canon.................................................Unused 49
Angle Finder A2 Canon.............................................As Seen 15
Angle Finder B Canon..................................... E+ / E++ 25 - 39
Angle Finder C Canon...............................................E+ 75 - 85
Speed Finder F Canon.....................................As Seen 45 - 65
Speed Finder FN Canon ..................................................E++ 99
199A Speedlite Canon .................................... E+ / E++ 20 - 25
244T Speedlite Canon ...................................... E+ / E++ 9 - 15
277T Speedlite Canon .................................... E+ / E++ 15 - 19
299T Speedlite Canon ...............................................Unused 49
300TL Speedlite Canon..............................E+ / Unused 25 - 69
480G Speedlite Canon.......................................................E+ 99
ML-1 Macrolite Canon................................................Unused 99
ML3 Macrolite Canon.....................................E+ / Mint- 39 - 59
AE Motordrive FN Canon....................... As Seen / E++ 49 - 65
Winder A Canon................................................ E+ / E++ 9 - 25
Contax 645 Series
35mm F3.5 Distagon Contax......................E+ / Mint- 749 - 949
45-90mm F4.5 Vario Contax.......................................E++ 1,599
45mm F2.8 Distagon Contax....................E++ / Mint- 589 - 699
55mm F3.5 Distagon Contax..........................................E++ 599
120mm F4 Apo Macro Contax ............................E++ 699 - 999
140mm F2.8 Sonnar Contax................E++ / Unused 399 - 799
210mm F4 Sonnar Contax.........................E+ / Mint- 389 - 549
MFB-2 Polaroid Mag Contax..........................E+ / Mint- 79 - 99
MSB1 Flash Bracket Contax........................................ Mint- 179
Contax G Series
G2 Body Only Contax ....................................................E++ 449
G1 + 45mm F2 Contax................................................. Mint- 449
G1 Body + GD1 Back Contax ........................................E++ 199
G1 Body only Contax.......................................................E+ 199
21mm F2.8 G + Finder Contax..................................... Mint- 649
90mm F2.8 G Contax..........................................E++ 229 - 239
16mm Viewfnder Contax............................................. Mint- 199
TLA140 Flash Contax ....................................E+ / Mint- 39 - 59
TLA200 Flash Contax ......................................................E++ 89
Contax SLR Series
N1 + 24-85mm Contax...................................................E++ 499

NX + 28-80mm Contax.........................E++ / Unused 289 - 389
NX Body Only Contax....................................................E++ 199
AX Body Only Contax ................................. E+ / E++ 249 - 449
RX Body Only Contax................................. E+ / E++ 169 - 229
S2 Body Only Contax...........................E++ / Unused 450 - 549
ST Body Only Contax.......................................................E+ 229
RTS 2 Body + Motordrive Contax.....................................E+ 199
RTS 2 Body + Winder Contax..........................................E+ 169
RTS + Winder Contax......................................................E+ 149
167MT Body Only Contax.........................................E+ 69 - 89
137MD Body Only Contax................................................ Exc 35
139 Body + Winder Contax ................................................E+ 75
Preview Body Only Contax............................ E+ / E++ 49 - 249
15mm F3.5 AE Contax................................................Mint 1,499
28-80mm F3.5-5.6 AF Contax.......................................New 399
45mm F2.8 AE Contax.............................E++ / Mint- 189 - 199
50mm F1.4 AF Contax................................................. Mint- 499
60mm F2.8 AE Macro Contax..................... E+ / E++ 439 - 469
70-200mm F4-5.6 AF Contax.........................................E++ 499
70-300mm F4-5.6 AF Contax...............E++ / Unused 449 - 799
80-200mm F4 MM Contax........................... E+ / E++ 195 - 249
85mm F2.8 MM Contax.......................................E++ 289 - 299
100mm F3.5 AE Contax...................................................E+ 239
100mm F3.5 MM Contax......................E++ / Unused 349 - 389
135mm F2 (60 Year Edition) Contax.....................Unused 2,399
180mm F2.8 AE Contax...........................................Unused 599
180mm F2.8 MM Contax......................E++ / Unused 349 - 599
200mm F3.5 AE Contax.................................................E++ 199
200mm F4 AE Contax..............................................Unused 499
300mm F4 AE Contax......................................................E+ 299
TLA20 Flash Contax ....................................... E+ / E++ 15 - 39
TLA280 Flash Contax .....................As Seen / Unused 39 - 149
TLA30 Flash Contax ....................................... E+ / E++ 25 - 39
TLA360 Flash Contax ................................... E+ / E++ 79 - 149
Digital Mirrorless
Olympus E-P3 + 14-42mm Silver Olympus.................. Mint- 379
Olympus E-P3 Body Only - Black Olympus.................. Mint- 289
Olympus E-P3 Body Only - Silver Olympus....................E++ 249
Olympus E-P5 Silver Body Only Olympus.................... Mint- 649
Olympus E-PL1 Black Body Only Olympus............ E+ / E++ 109
Olympus E-PL5 + 14-42mm Olympus.......................... Mint- 369
Olympus OM-D Black Body +
HLD6 Grip Olympus............................................E++ 549 - 579
Olympus OM-D Black Body Only Olympus .........E++ 489 - 519
Olympus OM-D Silver Body Only Olympus.................. Mint- 589
Panasonic G1 Body Only Panasonic............. E+ / E++ 79 - 169
Panasonic G2 Body Only Panasonic..............................E++ 109
Panasonic G3 Black Body Only Panasonic.........E++ 129 - 139
Panasonic G6 Body Only Panasonic............................ Mint- 359
Panasonic GF-1 Body Only Panasonic ............................E+ 109
Panasonic GF-2 Body + Case Panasonic ......................E++ 149
Panasonic GF-2 Body Only Panasonic ..............................E+ 99
Panasonic GF-3 Black Body Panasonic....................... Mint- 129
Panasonic GF-3 Red Body Panasonic......................... Mint- 129
Panasonic GH-3 Body Only Panasonic..........................E++ 649
Panasonic GH1 Body Only Panasonic...........................E++ 219
Panasonic GX1 Body Only Panasonic ................E++ / Mint- 189
Samsung NX11 + 18-55mm OIS Samsung....................E++ 239
Sony NEX3 + 16mm F2.8 Sony .....................................E++ 239
Sony NEX5 + 16mm F2.8 Sony ................................... Mint- 249
Sony NEX5 + Flash Sony.................................................E+ 139
01463 783850
Sony NEX7 + 18-55mm Sony .............................E++ 569 - 599 Hasselblad H Series

Sony NEX7 Body Only Sony..........................................E++ 499
Micro 4/3rds Lenses
Panasonic 12-35mm F2.8 G Vario OIS Panasonic.........E++ 689
Olympus 12-50mm F3.5-6.3 M Zuiko Olympus..............E++ 189
Olympus 12mm F2 ED M.Zuiko Olympus .................... Mint- 429
Panasonic 14-140MM F4-5.8 OIS HD Panasonic .. E+ / E++ 249
Panasonic 14-42mm F3.5-5.6 Asph OIS Panasonic
............................................................As Seen / Mint- 39 - 179
Panasonic 14-42mm F3.5-5.6 G X Asph OIS PanasonicE++ 169
Olympus 14-42mm F3.5-5.6 M.Zuiko ED Olympus.........E++ 79
Panasonic 14-45mm F3.5-5.6 ASPH G Panasonic
............................................................................E++ 109 - 129
Olympus 15mm F8 Body Cap Lens Olympus................. Mint- 45
Olympus 17mm F2.8 M.Zuiko Olympus...................Unused 169
Voigtlander 25mm F0.95 Nokton Voigtlander............... Mint- 539
Olympus 40-150mm F4-5.6 ED M.Zuiko Olympus
............................................................................E++ 129 - 139
Panasonic 45-200mm F4-5.6 OIS Panasonic ................E++ 169
Panasonic 45mm F2.8 DG Asph Macro Panasonic
..................................................................E++ / Mint 389 - 429
Digital SLR Cameras
Canon EOS 1DS MKIII Body Only Canon.....................E+ 1,499

Canon EOS 1DS MkII Body Only Canon .........................E+ 749
Canon EOS 1D MKIIN Body Only Canon.... E+ / E++ 449 - 589
Canon EOS 1D MkII Body Only CanonAs Seen / E++ 329 - 749
Canon EOS 7D Body Only Canon.......................E++ 689 - 789
Canon EOS 5D Body Only Canon..................................E++ 399
Canon EOS 60D Body Only Canon..........Mint- / Mint 429 - 449
Canon EOS 50D Body Only Canon..................................E+ 349
Canon EOS 40D + BG-E2 Grip Canon...........................E++ 229
Canon EOS 40D Body Only Canon............. E+ / E++ 199 - 219
Canon EOS 30D + BG-E2 Grip Canon..................E+ 189 - 199
Canon EOS 30D Body Only Canon............. E+ / E++ 179 - 189
Canon EOS 20D + BG-E2 Grip Canon..................E+ 129 - 149
Canon EOS 20D Body Only Canon.......................E+ 119 - 129
Canon EOS 10D + BG-ED3 Grip Canon............................E+ 99
Canon EOS 1100D Body Only Canon..............................E+ 149
Canon EOS 550D Body Only Canon..............................E++ 249
Canon EOS 400D + BG-E3 Grip Canon...........................E+ 139
Canon EOS 350D Body Only Canon..................................E+ 89
Canon EOS 300D Infra Red Body Canon ........................E+ 259
Canon EOS M + 22mm F2 Canon .................... Mint- 319 - 349
Fuji S2 Pro Body Only Fuji................... As Seen / E++ 69 - 149
Fuji S3 Pro Body Only Fuji......................................E+ 99 - 139
Fuji S5 Pro Body Only Fuji.......................... E+ / E++ 239 - 249
Kodak DCS Pro14N Body Only Kodak.............................E+ 349
Leica Digital Modular R Leica......................................E++ 1,949
LeicaS2 Black Body Only Leica ................................ Mint- 7,489
Minolta Dynax 5D Body Only Minolta.................................E+ 89
Nikon D3X Body Only Nikon .........................E++ 2,499 - 2,599
Nikon D3 Body Only Nikon.................... E+ / E++ 1,329 - 1,499
Nikon D1X Body Only Nikon ....................... E+ / E++ 189 - 249
Nikon D700 Body Only Nikon................... E+ / E++ 899 - 1,049
Nikon D600 Body Only Nikon..................E+ / Mint- 949 - 1,049
Nikon D300S Body Only Nikon ......................................Mint 789
Nikon D300 Body Only Nikon............... As Seen / E+ 249 - 349
Nikon D200 + MB-D200 Grip Nikon..................................E+ 239
Nikon D200 Body Only Nikon...........................................E+ 199
Nikon D100 Body Only Nikon................................... E+ / E++ 99
Nikon D90 Body Only Nikon........................ E+ / E++ 259 - 289
Nikon D80 Body Only Nikon.............................................E+ 149
Nikon D70 Body Only Nikon.............................................E+ 109
Nikon D60 Body Only Nikon...........................................E++ 129
Nikon D50 Body Only Nikon...............................................E+ 89
Nikon D40 Body Only Nikon.......................... E+ / E++ 99 - 109
Nikon D5100 Body only Nikon..........................................E+ 239
Olympus E5 Body Only Olympus...................................E++ 849
Olympus E3 Body Only Olympus.............E++ / Mint- 379 - 399
Olympus E1 Body + HLD2 Grip Olympus.......................E++ 199
Olympus E30 Body Only Olympus.................................E++ 389
Olympus E500 + 14-45mm Olympus ...............................E+ 149
Olympus E500 + 17.5-45mm Olympus.............................E+ 119
Olympus E450 + 14-42mm Olympus ..................E++ 239 - 249
Olympus E420 + 14-42mm Olympus .............................E++ 169
Olympus E400 + 14-42mm Olympus .......... E+ / E++ 159 - 179
Olympus E300 Body Only Olympus...................................E+ 99
Olympus E20P + Lenses Olympus.................................E++ 159
Panasonic L10 Body Only Panasonic ............................E++ 129
Panasonic L1 Body Only Panasonic ........... E+ / E++ 239 - 279
Pentax K5 IIs Body Only Pentax .................................. Mint- 639
Pentax K7 + 18-55mm Pentax .........................................E+ 329
Pentax K7 Body Only Pentax.........................................E++ 329
Pentax K30 Black Body Only Pentax .............................E++ 349
Pentax KM + 18-55mm Pentax ......................................E++ 159
Pentax *isT DL2 + 18-55mm Pentax..............................E++ 119
Pentax *isT DL2 Body Only Pentax.............................. Mint- 119
Pentax *isT D + D-BG1 Grip Pentax ................................E+ 149
Samsung GX1S + 18-55mm Samsung ............................E+ 159
Sigma SD15 + 17-50mm F2.8 OS Sigma..................... Mint- 549
Sigma SD9 + 18-50mm + 55-200mm Sigma..................E++ 249
Sigma SD9 + 24-70mm Sigma................................As Seen 129
Sigma SD9 Body Only Sigma ..........................................E+ 139
Sony A100 Body Only Sony......................................As Seen 79
Sony A350 Body Only Sony......................................... Mint- 199
Sony A700 Body Only Sony......................................... Mint- 289
4/3rds Lenses
Olympus 7-14mm F4 ED Zuiko Olympus............E++ 849 - 999
Olympus 8mm F3.5 FishEye Zuiko D Olympus
.................................................................E++ / Mint- 449 - 489
Olympus 11-22mm F2.8-3.5 Zuiko OlympusE+ / E++ 329 - 349
Olympus 12-60mm F2.8-4 SWD Olympus .E+ / Mint- 389 - 439
Olympus 14-35mm F2 SWD Olympus ........................E++ 1,249
Panasonic 14-50mm F3.8-5.6 Asph D Panasonic............E+ 289
Olympus 14-54mm F2.8-3.5 MkII Olympus.................. Mint- 369
Olympus 14-54mm F2.8-3.5 Zuiko Olympus.......E++ 239 - 249
Olympus 18-180mm F3.5-6.3 Zuiko Olympus................E++ 269
Sigma 18-50mm F2.8 EX DC Sigma........... E+ / E++ 129 - 159
Panasonic 25mm F1.4 Summilux D Panasonic............ Mint- 569
Olympus 35mm F3.5 Macro Zuiko OlympusE+ / E++ 139 - 149
Olympus 40-150mm F3.5-4.5 Zuiko Olympus..................E++ 59
Olympus 40-150mm F4-5.6 ED Zuiko OlympusE+ / E++ 59 - 69
Olympus 50mm F2 ED Macro Zuiko Olympus ...............E++ 289
Olympus 50-200mm F2.8-3.5 ED Olympus.........E++ 499 - 549
Olympus 50-200mm F2.8-3.5 SWD Olympus
.................................................................... E+ / E++ 589 - 599
Olympus 70-300mm F4-5.6 ED Zuiko Olympus..E++ 199 - 229
Sigma 135-400mm F4.5-5.6 Apo DG Sigma..................E++ 399
Olympus EC14 Zuiko Tele Converter Olympus
.................................................................E++ / Mint- 209 - 229
Flash & Lighting - Please Call
Fuji - Please Call
H3DII Complete (50MP) Hasselblad ...........................E++ 9,889

H3DII Complete (31Mp) Hasseblad.............................E++ 4,499
H2 Complete Hasselblad...............................................E+ 1,989
H2 Body + Prism + Mag Hasselblad............................E++ 1,250
H1 Body + HV90 Prism + Magazine Hasselblad .........E++ 1,289
H1 Body + HV90 Prism Hasseblad .........................As Seen 499
H1 Body Only Hasselblad ................................................E+ 689
35mm F3.5 HC Hasselblad...........................................E+ 1,599
50-110mm F3.5-4.5 HC Hasselblad...... E+ / E++ 1,850 - 1,950
300mm F4.5 HC Hasselblad ..................................... Mint- 2,399
1.7x H Converter Hasselblad ............................ Mint- 789 - 895
Extension Tube H 13mm Hasselblad ...............................E+ 149
Extension Tube H 26mm Hasselblad .............................E++ 159
Hmi100 Polaroid Mag Hasselblad ................. E+ / E++ 79 - 149
HVM Magnifying Hood Hasseblad................................ Mint- 249
Quick Tripod Coupling H Hasselblad..................................E+ 59
Hasselblad V Series
205TCC Complete Hasselblad....................................E++ 3,499
202FA Chrome Body + Winder F Hasselblad...................E+ 549
202FA Chrome Body Hasselblad...................................E++ 649
503CXi Blue/Gold Edition Hasseblad........................ Mint- 3,999
500CM Gold Edition Hasselblad............................Unused 3,999
553ELX Black Body Only Hasselblad...............................E+ 449
553ELX Chrome Body Only Hasselblad...E++ / Mint- 399 - 649
500ELX Black Body Only Hasselblad.......... E+ / E++ 349 - 449
500ELM Chrome Body + WLF Hasselblad.. E+ / E++ 149 - 179
500ELM Chrome Body Only Hasselblad..........................E+ 149
905SWC Complete Hasseblad...........E++ / Mint- 3,999 - 4,499
SWCM Complete Hasselblad........................................E+ 1,399
SWC Body + Finder Hasselblad....................................E+ 1,199
Arc Outft Hasselblad ..................................................E++ 2,250
Flex Outft Hasselblad.................................................E++ 1,299
30mm F3.5 CFi Fisheye Hasselblad ...........................E++ 2,799
45mm F4.5 Apo Grandagon Hasselblad ........................E++ 889
50mm F2.8 FE Hasselblad.......................... E+ / E++ 499 - 649
50mm F4 C Chrome Hasselblad......................................E+ 259
50mm F4 CF Hasselblad..................................................E+ 349
50mm F4 CF FLE Hasselblad..................... E+ / E++ 639 - 699
50mm F4 Cf FLE Hasselblad ..................E++ / Mint- 899 - 999
50mm F4 Classic ZV Zeiss ...................................Unused 2,999
60-120mm F4.8 FE Hasselblad.............................E+ 599 - 649
80mm F2.8 FE Hasselblad.............................................E++ 399
120mm F4 CF Macro Hasselblad...............Exc / E++ 449 - 689
120mm F4 CFi Hasselblad........................................... Mint- 949
135mm F5.6 C Macro Hasselblad.........................E+ 189 - 249
135mm F5.6 S Planar Hasselblad............... E+ / E++ 219 - 249
140-280mm F5.6 C Black Hasselblad..............................E+ 549
140-280mm F5.6 F Variogon Hasselblad.........................E+ 599
150mm F2.8 F Hasselblad...............................................E+ 349
150mm F4 C Black Hasselblad......................................E++ 299
150mm F4 CF Hasselblad............................Exc / E+ 249 - 299
160mm F4.8 CB Hasselblad ..........................................E++ 399
180mm F4 CF Hasselblad..............................................E++ 489
250mm F4 FE Hasselblad..............................................E++ 549
250mm F5.6 C Black Hasselblad.....................................E+ 199
250mm F5.6 C Chrome Hasselblad .................................E+ 189
250mm F5.6 CF Hasselblad................................... E+ / E++ 349
250mm F5.6 CF Super Achromat Hasseblad................E+ 1,999
350mm F4 F Hasselblad................................................E++ 899
350mm F5.6 CF Hasselblad................................E++ 749 - 849
1.4x E Converter Hasselblad..........................................E++ 399
1.4x PC Mutar shift Converter Hasselblad........................E+ 749
2xE Converter Hasselblad..............................................E++ 249
Komura 2x Converter Komura..........................................E++ 45
Vivitar 2x Converter Vivitar.............................. E+ / E++ 35 - 45
Teleplus 2x MC6 Converter Teleplus .......E++ / Unused 49 - 79
A12 Black Mag Hasselblad ................................................E+ 79
A12 Chrome Mag Hasselblad ................ As Seen / E++ 79 - 99
A12 TCC Black Mag Hasselblad......................................E+ 149
A24 Black Mag Hasselblad ........................... E+ / E++ 49 - 129
A24 Chrome Mag Hasselblad ......................Exc / E++ 39 - 125
A24 TCC Black Mag Hasselblad......................................E+ 139
E12 Chrome Mag Hasselblad ........................................E++ 249
E24 Black Mag Hasselblad ........................E+ / Mint- 169 - 199
Polaplus Mag Hasselblad...................................................E+ 69
HC Prism Hasselblad.......................................................E++ 99
HC1 Prism Hasselblad.......................................................E+ 39
PM45 Prism Hasselblad.............................E+ / Mint- 249 - 289
PM5 Prism Hasselblad........................................E++ 199 - 249
PM90 Prism Hasselblad...............................Exc / E+ 129 - 159
PME5 Meter Prism Hasselblad ........................................E+ 299
PME90 Meter Prism Hasselblad ............................ E+ / E++ 349
Autobellows Hasselblad......................................E++ 199 - 249
Bellows + Hood Hasselblad..............................................E+ 179
CW Winder Hasselblad..................................................Mint 249
Extension Tube 16 Hasselblad...........................................E+ 35
Extension Tube 32E Hasselblad ......................................E++ 59
Extension Tube 55 Hasselblad..................................E+ 30 - 35
Profash 4504 Hasselblad ........................... E+ / E++ 149 - 199
SCA390 Flash Adapter Hasselblad........ As Seen / E++ 20 - 79
SCA3902 Flash Adapter Hasselblad.............................. Mint- 39
Winder F Hasselblad........................................................E++ 95
Hasselblad Xpan Series
Xpan II + 45mm F4 Hasselblad............. E+ / E++ 1,399 - 1,489
Xpan + 45mm F4 Hasselblad...........................................E+ 849
30mm F5.6 Asph + Finder Hasselblad..........E++ 1,789 - 1,899
90mm F4 Hasselblad .................................. E+ / E++ 239 - 349
Fujinon 90mm F4 Fujinon.................................................E+ 239
45/90mm Centre Filter Hasselblad...............E+ / Mint- 99 - 109
Large Format - Please Call
Leica M Series
M Monochrom Body Only Leica ..................................E++ 4,799

M9 Black Body Only Leica ..........................................E++ 2,849
M9 Steel Grey Body Only Leica .......................... E+ / E++ 2,849
M8 Black Body Only Leica .................... E+ / E++ 1,199 - 1,399
M8 Chrome Body Only Leica ......................................E++ 1,389

M6 Platinum + 50mm F1.4 Leica.................................Mint 6,499
M6 Titanium + 35mm F1.4 Asph Leica........................E++ 4,499
M6 Titanium + 35mm F1.4 Leica...................................E+ 3,499
M7 0.58x Black Body Only Leica...................................E+ 1,499
M7 0.72x Black Body Only Leica.................................E++ 1,399
M7 0.72x Chrome Body Only Leica...............E++ 1,399 - 1,499
M6TTL 0.72x Black Body Only Leica .............................E++ 999
M6 0.72x Black Body Body Only Leica.............................E+ 749
M5 Chrome Body Only Leica ...........................................E+ 499
M4-P Black Body Only Leica....................... E+ / E++ 679 - 699
M4-2 Black Body Only Leica.......................................... Exc 399
MD2 Black Body Only Leica.............................................E+ 349
MDA Chrome Body Only Leica ........................................E+ 359
CL Black Body Only Leica........................... E+ / E++ 299 - 349
Konica Hexar RF Body Only Konica.................................E+ 429
21mm F2.8 Asph M Black Leica.........E++ / Mint- 1,399 - 1,699
21mm F2.8 Asph M Black 6bit Leica................E++ / Mint- 1,849
21mm F2.8 M Black Leica..................... E+ / E++ 1,199 - 1,299
21mm F2.8 M Black 6bit Leica......................................E+ 1,249
21mm F3.4 R + 122228 M Mount Leica....................... Mint- 799
21mm F4 Chrome + Finder Leica..................................E+ 1,199
24mm F1.4 Asph M Black 6bit Leica...........................E++ 2,899
24mm F2.8 Asph M Black Leica.........E++ / Mint- 1,599 - 1,649
24mm F2.8 Asph M Black 6bit Leica...........................Mint 1,899
28mm F2 Asph M Black Leica.....................................E++ 1,749
28mm F2 Asph M Black 6bit Leica.............. Mint- 1,899 - 1,949
28mm F2.8 Asph M Black 6bit Leica......................... Mint- 1,289
28mm F2.8 M Black Leica........................... E+ / E++ 649 - 749
35mm F1.4 Asph M Black Leica....................E++ 2,149 - 2,249
35mm F2 Asph M Black 6bit Leica.....E++ / Mint- 1,599 - 1,649
35mm F3.5 Chrome (M3) Leica .....................................E++ 399
50mm F1.4 Asph M Black Leica................................ Mint- 1,899
50mm F2 Collapsible Leica...................................E+ 349 - 449
50mm F2 M Anniversary Chrome Leica......................Mint 1,799
50mm F2 M Black Leica.............................. E+ / E++ 699 - 999
50mm F2 M Black 6bit Leica.........................................E+ 1,099
50mm F2.5 M Black 6bit Leica.......................................E++ 749
50mm F2.8 M Black Leica................................................E+ 599
50mm F2.8 M Chrome Leica...............................E++ 599 - 699
75mm F2 Apo M Black 6bit Leica.............................. Mint- 1,699
75mm F2.5 Black 6 BIT Leica..................E++ / Mint- 849 - 889
90mm F2 Apo M Black Leica ......................................E++ 1,899
90mm F2.8 Black Leica.........................................E+ 349 - 399
90mm F2.8 Chrome Leica..........................Exc / E++ 199 - 450
90mm F2.8 M - Black Leica..............................................E+ 649
90mm F2.8 M Black Leica.............................................. Exc 550
90mm F4 Collapisible Leica ....................................As Seen 119
90mm F4 Collapsible Leica..............................................E+ 199
90mm F4 Elmar Leica............................ As Seen / E+ 95 - 199
90mm F4 Elmar E39 Leica.......................... E+ / E++ 189 - 299
90mm f4 M Rokkor Minolta .................................... E+ / E++ 249
90mm F4 Macro M Black 6bit Set Leica......................E++ 2,199
135mm F2.8 Black Leica..................................................E+ 349
135mm F2.8 M Black Leica.....................................As Seen 250
135mm F4 Black Leica..........................................E+ 389 - 399
135mm F4.5 Hektor Leica.........................................As Seen 99
21mm Chrome Viewfnder Leica ......................................E+ 199
24mm Black Viewfnder Leica ..................... E+ / E++ 199 - 249
28mm Black Viewfnder Leica ..........................................E+ 199
A42 Swing Polariser Leica ...............................................E++ 59
21/24/28 Viewfnder - Black Leica.........................E+ / Mint- 249
21/24/28 Viewfnder - Chrome Leica ..............................E++ 229
Large B&S Head Leica...................................Exc / E++ 35 - 49
Ever-Ready Case M Leica .............................................E++ 119
M6TTL/M7 Leather Case Leica........................................E++ 75
Motor M Leica ..........................................E++ / Mint- 199 - 249
Winder M Leica..................................................................E+ 75
Visofex II Leica.........................................................As Seen 45
Leica R Series
Digital Modular R Leica.................................................E+ 1,899
R9 Anthracite Body Only Leica ................... E+ / E++ 699 - 799
R9 Black Body Only Leica...................................E++ 789 - 799
R8 + Digital Modular R Leica.......................................E++ 1,999
R8 Black Body Only Leica..............................................E++ 399
R8 Chrome Body Only Leica..........................................E++ 399
R7 Black Body Only Leica........................E++ / Mint- 349 - 399
R7 Chrome Body Only Leica............................................E+ 299
R6.2 Black Body Only Leica........................ E+ / E++ 449 - 549
R6.2 Chrome Body Only Leica.................E++ / Mint- 499 - 649
R6 Black Body Only Leica........................... E+ / E++ 289 - 349
R6 Chrome Body Only Leica....................E++ / Mint- 349 - 449
R5 Black Body Only Leica........................... E+ / E++ 299 - 349
R5 Chrome Body Only Leica....................... E+ / E++ 299 - 349
RE Black Body Only Leica ...............................................E+ 219
R4S Model 2 Black Body Only Leica..............................E++ 249
R4S Black Body Only Leica ........................ E+ / E++ 149 - 179
R4 Black Body Only Leica.....................................E+ 125 - 159
R3 MOT LHSA Edition Leica........................................ Mint- 499
R3 MOT + Winder Leica.............................. E+ / E++ 239 - 299
R3 Black Body Only Leica.....................................E+ 129 - 159
SL2 MOT Black + Motordrive Leica........................... Mint- 1,099
SL2 MOT Black Body Only Leica...................................E++ 499
SL2 Anniversary Body Only Leica..................................E++ 649
SL2 Black Body Only Leicafex .............................E+ 279 - 299
SL Chrome + 50mm F2 Leica ..........................................E+ 289
SL Chrome + 50mm F2 (Dummy) Leicafex .....................E+ 149
SL Chrome Body Only Leica....................... E+ / E++ 149 - 249
24mm F2.8 R 3cam Leica................................................E+ 399
24mm F2.8 ROM Leica..................................................E++ 999
28mm F2.8 PCS Shift Leica................................E++ 949 - 989
28-70mm F3.5-4.5 R 3cam Leica.....................................E+ 199
35mm F2.8 R 3cam Leica........................... E+ / E++ 299 - 349
35mm F4 PA Curtagon Schneider............... E+ / E++ 299 - 399
35-70mm F3.5 R German Leica.....................................E++ 549
35-70mm F3.5 R Japan Leica..........................................E+ 279
50mm F2 ROM Leica.....................................................E++ 499
60mm F2.8 Macro ROM Leica ............................E++ 549 - 649
60mm F2.8 R 3cam Macro Leica .....................................E+ 399
60mm F2.8 R Macro + Tube Leica...............Exc / E+ 299 - 399
70-210mm F4 R 3cam Leica..........................................E++ 449
75-200mm F4.5 R 3cam Leica.........................................E+ 149
80-200mm F4.5 R 3cam Leica..............................E+ 189 - 199
90mm F2.8 R 1cam Leica................................................E+ 225
90mm F2.8 R 3cam Leica........................... E+ / E++ 299 - 450
100mm F2.8 APO Macro ROM Leica..........................E++ 1,399
135mm F2.8 R 3cam Leica......................... E+ / E++ 249 - 349
180mm F2.8 R 3cam Leica........................Exc / E++ 299 - 499
180mm F4 R 3cam Leica.............................Exc / E+ 169 - 299
280mm F2.8 Apo R 3cam Leica..................................E++ 2,499
560mm F5.6 Telyt R Leica.............................................E++ 599
560mm F6.8 Telyt R Leica...............................................E+ 599
2x Apo Extender R Leica................................................E++ 349
2x Extender R Leica.....................................E+ / Mint- 49 - 129
Nikon 35mm F3.5 PC Shift Nikon.....................................E+ 249
The Kirk, Wester Balblair, E: [email protected]

Beauly, Inverness. IV4 7BQ. F: 01463 782072
www.ffordes.com
See up to 3 images of each used item on website

Website updates used equipment list 10-15 times daily
All items come with 6 month warranty - (unless stated)
Our knowledgeable staff are on hand and ready to help
Tamron 70-350mm F4.5 Tamron .....................................E+ 169 Nikon AF

Tamron 500mm F8 SP Refex Tamron.............................E++ 79
Angle Finder R Leica........................................................E++ 59
Angle Finder R (14300) Leica ........................................E++ 125
Bellows Unit R Leica ......................................................E++ 125
Macro Adapter R Leica ................................E+ / Mint- 69 - 125
Motordrive Set R8/R9 Leica...........................................E++ 269
Motorwinder R Leica ........................................................E++ 49
Motorwinder R + R7 Grip Leica........................................E++ 69
Motorwinder R8/R9 Leica............................ E+ / E++ 129 - 249
R8/R9 Remote control Leica ...................................E++ 89 - 99
F6 Body Only Nikon.................................E++ / Mint- 749 - 849
F5 Anniversary Body Only Nikon ...................................E++ 799
Leica Screw Series
F5 Body Only Nikon.....................................Exc / E+ 159 - 299
F4E Body Only Nikon.......................................................E+ 249
F4S Body + MF23 Control Back Nikon.............................E+ 249
F4S Body Only Nikon...................................Exc / E+ 189 - 199
F100 Body Only Nikon ........................... As Seen / E+ 79 - 119
F90X Body Only Nikon.......................................................E+ 35
F90 Body Only Nikon.........................................................E+ 39
F80 Black Body Only Nikon..............................Exc / E+ 35 - 39
F80 Chrome Body Only Nikon............................................E+ 39
Pronea S + 30-60mm Nikon..................................... E+ / E++ 39
10.5mm F2.8 G AF ED DX Fisheye Nikon .......................E+ 349
IIIG Chrome Body Only Leica................................. E+ / E++ 549 12-24mm F4 G AFS DX ED Nikon......................E++ 429 - 439
IIIF R/Dial + 50mm F2.8 Leica .........................................E+ 299 16-35mm F4 G AFS ED VR Nikon.................................E++ 729
IIIF R/Dial Chrome Body Only Leica..... As Seen / E+ 189 - 259 16-85mm F3.5-5.6 G ED VR AFS DX Nikon..................E++ 289
IIIF B/Dial Chrome Body Leica.........................................E+ 249 17-55mm F2.8 G AFS DX IFED Nikon.............................E+ 549
III Chrome Body Only Leica .........................Exc / E+ 225 - 275 18-55mm F3.5-5.6 G AFS VR Nikon................................E++ 79
35mm F3.5 Elmar Leica...................................................E+ 149 18-70mm F3.5-4.5 G AFS ED DX Nikon........................E++ 129
35mm F3.5 Summaron Leica...........................................E+ 199 18-105mm F3.5-4.5 G AFS ED DX VR Nikon
50mm F1.5 Summarit Leica........................................... Exc 229 .................................................................E++ / Mint- 129 - 149
50mm F2 Summitar Leica.......................................As Seen 199 18-125mm F3.8-5.6 DC OS HSM Sigma ..................... Mint- 179
85mm F1.5 Summarex Leica......................................E++ 1,995 18-200mm F3.5-5.6 DC OS Sigma .............................. Mint- 189
90mm F4 Elmar Leica......................................As Seen 59 - 89 18-200mm F3.5-5.6 G AFS DX VRII NikonE++ / Mint- 439 - 459
135mm F4.5 Hektor Leica...................... As Seen / E+ 45 - 119 18-300mm F3.5-5.6 AFS DX VRII Nikon........................E++ 499
20-35mm F2.8 AFD Nikon.....................................E+ 449 - 499
Canon 35mm F3.2 Serenar + Finder Canon ..................E++ 249 24mm
F1.4 G AFS ED Nikon...................... Mint- 1,149 - 1,349
Canon 50mm F1.2 Canon..............................................E++ 449 24mm F3.5 ED PC-E Nikon ...................................... Mint- 1,199
Jupiter 35mm F2.8 Jupiter Jupiter......................................E+ 49 24-50mm F3.3-4.5 AFD Nikon .......................................E++ 119
Nikon 135mm F3.5 Q Nikkor..........................................E++ 249 24-50mm F3.3-4.5 AFN Nikon ..................................E+ 79 - 99
Voigtlander 75mm F2.5 Color Heliar Voigtlander .............E+ 219 24-70mm F2.8 G AFS ED Nikon.........................E++ 949 - 999
Voigtlander 90mm F3.5 Apo Lanthar Voigtlander.............E+ 219 24-85mm F2.8-4 AFD Nikon ...............................E++ 269 - 299
BELUN Copy Stand Leica.............................................. Mint- 50 24-120mm F3.5-5.6 ED AFD Nikon............. E+ / E++ 125 - 149
BOOWU Copy Set Leica.......................................... E+ / E++ 45 24-120mm F3.5-5.6 G AFS ED VR Nikon......................E++ 179
IUFOO Lens Hood Leica..................................Exc / E+ 29 - 35 28mm F2.8 AF Nikon.....................................................E++ 139
SBLOO 35mm Chrome Finder Leica................................E+ 139 28mm F2.8 AFD Nikon........................................E++ 159 - 169
SHOOC 13.5cm Finder Leica.............................................E+ 95 28mm F2.8 AFN Nikon.....................................................E+ 125
TUVOO 28mm Finder Attachment Leica........................Mint 150 28-70mm F3.5-4.5 AFD Nikon .........................................E++ 99
VIOOH Finder Leica......................................................... Exc 29 28-80mm F3.3-5.6 AFG Nikon.........................................E++ 49
28-100mm F3.5-5.6 AFG Nikon .........................................E+ 59
Mamiya - Please Call
28-300mm F3.5-5.6 G ED AFS VR Nikon E++ / Mint- 549 - 599
Meters - Please Call
35mm F2 AFD Nikon......................................................E++ 189
35-70mm F3.3-4.5 AF Nikon............................................E++ 49
Minolta/Sony AF
35-70mm
F3.3-4.5 AFN Nikon ........................ E+ / E++ 39 - 59
Dynax 7 Body Only Minolta................................................E+ 79
Dynax 4 + 28-80mm Minolta ............................................E++ 49 35-80mm F4-5.6 AFD Nikon ..............................................E+ 29
Dynax 40 + 28-100mm Minolta ................................ E+ / E++ 69 35-105mm F3.5-4.5 AF Nikon...................................As Seen 49
Dynax 40 Body Only Minolta....................E++ / Unused 49 - 59 35-135mm F3.5-4.5 AFN Nikon .........................................E+ 99
50mm F1.4 AFD Nikon.....................................................E+ 139
800Si Body Only Minolta.......................................... E+ / E++ 49 50mm
f1.8 AFD Nikon......................................................E++ 79
700Si + 28-80mm + VC700 Minolta .................................E++ 89 55-300mm F4.5-5.6 G AFS VR Nikon..............................E+ 169
700Si + 35-70mm + VC700 Minolta ...............................E++ 119 60mm F2.8 AF Micro Nikon.................................E++ 219 - 229
700Si + VC700 Grip Minolta............................ E+ / E++ 59 - 79 60mm F2.8 AFD Micro Nikon.........................................E++ 269
600Si + VC600 Grip Minolta............................ E+ / E++ 59 - 69 60mm F2.8 AFS ED Micro Nikon ................................. Mint- 289
600Si Body Only Minolta................................. E+ / E++ 35 - 39 70-200mm F2.8 G AFS ED VR Nikon........E+ / Mint- 879 - 999
505Si Super + 28-80mm Minolta..................E++ / Mint- 39 - 59 70-200mm F2.8 G AFS ED VRII Nikon.......................E++ 1,299
505Si Super Body Only Minolta .......................................E++ 19 70-210mm F4-5.6 AF Nikon...............................................E+ 69
505Si Super Date + Sigma 24-70mm Minolta ..................E++ 39 70-300mm F4-5.6 AFG Nikon..........................................E++ 69
505Si Super Date Body Minolta .......................................E++ 19 70-300mm F4-5.6 ED AFD Nikon ............... E+ / E++ 119 - 149
500Si Super + 28-80mm Minolta......................................E++ 49 70-300mm F4-5.6 G AFS VR Nikon....................E++ / Mint- 319
500Si Super Body Only Minolta .......................................E++ 19 75-240mm F4.5-5.6 AFD Nikon ............................... E+ / E++ 69
404Si + 28-100mm Minolta ..............................................E++ 59 80-200mm F2.8 ED AF Nikon..........................................E+ 249
404Si + 28-80mm Minolta ............................... E+ / E++ 39 - 49 80-200mm F2.8 ED AFD Nikon........................................E+ 499
404Si + 35-80mm Minolta ................................................E++ 29 80-200mm F4.5-5.6 AFD Nikon .........................................E+ 69
404Si Body Only Minolta..............................E+ / Unused 9 - 35 80-400mm F4.5-5.6 AFD VR Nikon................................E++ 589
85mm F1.4 AFD Nikon...............................Exc / E++ 589 - 699
17-35mm F2.8-4 D AF Minolta............................E++ 189 - 249 105mm
F2 AF DC Nikon..................................................E+ 549
18-200mm F3.5-6.3 DT Minolta .....................................E++ 149 105mm F2.8 AF Micro Nikon............................................E+ 349
20mm F2.8 AF Minolta.....................................................E+ 249 180mm F2.8 ED AFD Nikon.....................E++ / Mint- 489 - 499
24mm F2.8 AF Minolta........................................E++ 149 - 199 200-400mm F4 G VR AFS IFED Nikon.........................E+ 3,299
24-85mm F3.5-4.5 AF Minolta....................... E+ / E++ 99 - 119 300mm F2.8 IFED AF Nikon............................... Exc 749 - 989
24-105mm F3.5-4.5 D Minolta....................... E+ / E++ 99 - 159 300mm F4 AFS IFED Nikon...........................................E++ 799
28mm F2.8 AF Minolta.................................... E+ / E++ 79 - 99 300mm F4 ED AFN Nikon................................................E+ 399
28-75mm F2.8 D Minolta................................................E++ 299 Sigma 8mm F3.5 EX DG Fisheye Sigma ..................... Mint- 449
28-85mm F3.5-4.5 AF Minolta............................................E+ 79 Sigma 10-20mm F4-5.6 DC HSM Sigma .........................E+ 269
35mm F1.4 AF G Minolta...............................................E++ 679 Sigma 18-50mm F2.8 EX DC Macro Sigma.....................E+ 159
50mm F1.4 AF Minolta...................................................E++ 169 Sigma 18-200mm F3.5-6.3 DC Sigma ...............................E+ 89
70-210mm F4 AF Minolta.................................................E++ 99 Sigma 20mm F1.8 EX DG Sigma...................................E++ 279
75-300mm F4.5-5.6 D Minolta............................................E+ 59 Sigma 24-70mm F2.8 EX DG Sigma................................E+ 159
80-200mm F2.8 Apo Minolta............................................E+ 649 Sigma 30mm F1.4 DC EX HSM Sigma..........................E++ 219
100-300mm F4.5-5.6 AF Minolta....................................E++ 125 Sigma 35mm F1.4 DG HSM Sigma.............................. Mint- 549
500mm F8 AF Refex Minolta..............................E++ 369 - 399 Sigma 50mm f1.4 EX DG Sigma......................................E+ 249
Sigma 8-16mm F4.5-5.6 DC HSM Sigma .................... Mint- 399 Sigma 50-200mm F4.5-5.6 DC HSM OS Sigma .......... Mint- 129
Sigma 10-20mm F4-5.6 EX DC Sigma...........................E++ 249 Sigma 50-500mm F4-6.3 Apo DG HSM Sigma................E+ 449
Sigma 20-40mm F2.8 Sigma..........................................E++ 199 Sigma 55-200mm F4.5-5.6 DC HSM Sigma.....................E++ 69
Sigma 28-200mm F4-5.6 Sigma ........................................E+ 45 Sigma 70-210mm F3.5-4.5 D Apo Sigma...........................E+ 79
70-300mm F4-5.6 Apo DG Sigma.........................E++ 69
Sigma 50mm F2.8 DG Macro Sigma..............................E++ 119 Sigma
Sigma 70-300mm F4-5.6 Apo Macro Sigma ... E+ / E++ 69 - 99
Sigma 105mm f2.8 EX DG Macro Sigma.......................E++ 239 Sigma 70-300mm F4-5.6 Apo Macro Super SigmaE++ 89 - 109
Sigma 150-500mm F5-6.3 Apo DG HSM Sigma............E++ 649 Sigma 70-300mm F4-5.6 DG Macro Sigma .... E+ / E++ 69 - 79
Sigma 400mm F5.6 Sigma.......................... E+ / E++ 149 - 159 Sigma 80-400mm F4.5-5.6 Apo DG OS Sigma..............E++ 499
Sony 18-55mm F3.5-5.6 SAM Sony.............E++ / Mint- 59 - 69 Sigma 120-300mm F2.8 EX DG OS HSM S Sigma .. Mint- 2,199
Sony 24-70mm F2.8 ZA SSM Sony ............................E++ 1,089 Sigma 135-400mm F4.5-5.6 Apo D Sigma.. E+ / E++ 249 - 349
Sony 24-105mm F3.5-4.5 DT Sony................................E++ 249 Sigma 150-500mm F5-6.3 Apo DG OS HSM Sigma
Sony 28mm F2.8 AF Sony.............................................E++ 119 ............................................................................E++ / Mint- 599
Sony 28-75mm F2.8 SAM Sony.....................................E++ 399 Sigma 170-500mm F5-6.3 Apo D Sigma...................... Mint- 349
Sony 50mm F1.4 AF Sony.............................................E++ 219 Tamron 17-35mm F2.8-4 XR Di Tamron........................E++ 189
Sony 50mm F1.8 DT Sony...............................................E++ 89 Tamron 17-50mm F2.8 XR Di II Tamron........................E++ 189
Sony 55-200mm F4-5.6 DT Sony...................................E++ 109 Tamron 70-300mm F4-5.6 AF LD Tamron..............E++ 69 - 79
Sony 85mm F1.4 ZA Sony.............................................E++ 799 Tokina 10-17mm F3.5-4.5 DX Fish Eye ATX Tokina......E++ 379
Tamron 10-24mm F3.5-4.5 Di II LD Asph Tamron .........E++ 249 Tokina 12-24mm F4 ATX PRO SD Tokina..........E++ 249 - 279
Tamron 28-300mm F3.5-6.3 XR Di Tamron.....................E++ 99 Tokina 24-200mm F3.5-5.6 Asph Tokina .........................E++ 89
Tamron 70-300mm F4-5.6 Di VC USD Tamron ...............E+ 199 Tokina 35mm F2.8 Macro DX ATX Tokina.....................E++ 299
Tokina 400mm F5.6 ATX SD Tokina..............................E++ 249
Tamron 90mm F2.5 SP AF Tamron...............................E++ 199 Zeiss
85mm F1.4 Planar ZF Zeiss ...........E++ / Mint- 729 - 749
Tamron 180mm F3.5 Di 1:1 Macro AF Tamron..............E++ 499 Zeiss 100mm F2 Macro Planar ZF2 Zeiss ..................E++ 1,149
Tokina 11-16mm F2.8 ATX Pro DX Tokina....................E++ 329 Sigma 1.4x Apo EX Converter Sigma ......E++ / Mint- 109 - 119
Tokina 28-70mm F2.6-2.8 ATX Pro Tokina......................E+ 199 Sigma 2x Apo EX Converter Sigma .................................E++ 99
Tokina 100mm F2.8 ATX Macro Tokina.........................E++ 249 TC-17 EII Converter Nikon.......................E++ / Mint- 189 - 259
1200AF Ringfash Minolta............................. E+ / E++ 59 - 165 TC-20E Converter Nikon....................................................E+ 99
3200i Flash Minolta............................................................E++ 9 TC-20EII Converter Nikon..............................................Mint 219
3500Xi Flash Minolta.................................................E+ 19 - 29 Metz 34AF-3N Flash Metz ...............................................E++ 29
3600HSD Flashgun Minolta .............................................E++ 79 Sigma EF500 Super Flash Sigma..............................Unused 75
4000AF Flash Minolta ........................................................E+ 29 Sigma EM 140 DG Macrofash Sigma..............................E+ 169
5200i Flash Minolta......................................... E+ / E++ 39 - 99 SB21B Ringfash Nikon.........................................E++ 99 - 179
5400HS Flash Minolta..................................... E+ / E++ 49 - 59 SB22 Speedlight Nikon ....................................................E++ 35
5600 HSD Flash Minolta ................................................E++ 119 SB22S Speedlight Nikon....................................................E+ 39
Jessops Extension Tube Set Jessops..............................E++ 29 SB24 Speedlight Nikon ....................................................E++ 49
Triplus Extension Tube Set AF Triplus....................E++ 45 - 49 SB27 Speedlight Nikon ......................................................E+ 49
SB28 Speedlight Nikon .........................................E++ / Mint- 79
IR1 Infra Red Set Minolta................................ E+ / E++ 39 - 59 SB50DX
Speedlight Nikon .............................E+ / Mint- 59 - 69
MD90 + BP90 Drive (9000) Minolta................. E+ / E++ 49 - 95 SB800 Speedlight Nikon ..................................................E+ 159
MD90 + NP90 Drive (9000) Minolta.........................E++ 65 - 95 SB900 Speedlight Nikon .....................................E++ 219 - 239
VC600 Vertical Grip Minolta.............................................E++ 29 SU800 Wireless Commander Nikon...............................E++ 189
Connect
NOW
Nikon Manual
F3HP + MD4 Motordrive Nikon ................... E+ / E++ 149 - 199

F3HP Body Only Nikon .........................................E+ 149 - 159
F3 + MD4 Motordrive Nikon .............................................E+ 199
F3 + MF14 Databack Nikon .............................................E+ 219
F3 Body + DW2 Finder Nikon...........................................E+ 149
F3 Body Only Nikon.........................................................E+ 129
F2A Black Body Only Nikon.........................Exc / E+ 179 - 249
F2A Chrome Body Only Nikon .........................................E+ 179
F2 Photomic Black Body Only Nikon................................E+ 149
F2 Photomic Chrome Body Only Nikon............................E+ 119
F2 Chrome Body Only Nikon.......................................... Exc 175
F Photomic FTN Body Only Nikon ...................................E+ 149
FM3A Black Body Only Nikon........................................E++ 399
FM3A Chrome Body Only Nikon ..............E++ / Mint- 399 - 449
FM2T Titanium Body Only Nikon ...................................E++ 499
FM2N Chrome Body Only Nikon................. E+ / E++ 179 - 199
FM Chrome Body Only Nikon...........................Exc / E+ 69 - 89
FM10 + 35-70mm Nikon...........................................Unused 149
FA Chrome Body Only Nikon.............................................E+ 75
FE2 Black Body Only Nikon.......................... E+ / E++ 99 - 129
FE2 Chrome Body Only Nikon ...........................................E+ 79
FE10 Body Only Nikon...............................................Unused 99
FG Chrome + MDE Drive Nikon.........................................E+ 79
FG Chrome Body Only Nikon................................... E+ / E++ 79
FG20 Chrome Body Only Nikon.......................................E++ 59
EM Body Only Nikon.................................................E+ 35 - 39
EL Black Body Only Nikkormat ..........................................E+ 79
EL2 Chrome Body Only Nikkormat.....................................E+ 59
FT2 Black Body Only Nikkormat ................... E+ / E++ 75 - 119
FTN Black Body Only Nikkormat........................................E+ 79
FTN Chrome Body Only Nikkormat................... As Seen / E+ 59
15mm F3.5 AIS Nikon....................................................E++ 749
20mm F2.8 AIS Nikon.................................................. Mint- 399
24mm F2 AI Nikon ....................................................... Mint- 349
28mm F2 AIS Nikon.........................................................E+ 249
28mm F2.8 AI Nikon ..........................................................E+ 99
35mm F2 AIS Nikon.................................... E+ / E++ 249 - 349
35mm F2.8 PC Shift Nikon..................................... E+ / E++ 249
35-70mm F3.3-4.5 AIS Nikon...........................................E++ 79
43-86mm F3.5 AI Nikon ...................................Exc / E+ 49 - 79
43-86mm F3.5 Non AI Nikon..............................................E+ 75
45mm F2.8 GN Auto Nikon...................................E+ 149 - 175
45mm F2.8 P Nikon ...................................E+ / Mint- 179 - 249
50-300mm F4.5 AI Nikon .................................................E+ 399
55mm F2.8 AIS Micro Nikon ..........................Exc / E+ 69 - 129
55mm F3.5 AI Micro Nikon.................................................E+ 79
55mm F3.5 Non AI Micro Nikon .........................................E+ 79
80-200mm F4 AIS Nikon....................................................E+ 99
80-200mm F4.5 AI Nikon .............................Exc / E++ 49 - 129
85mm F1.4 AIS Nikon....................................................E++ 479
100-300mm F5.6 AIS Nikon...............................................E+ 99
105mm F2.8 AIS Micro Nikon ...............................E+ 289 - 299
120mm F4 Medical Nikon...............................................E++ 399
135mm F2 AI Nikon .......................................................E++ 299
135mm F2.8 Non AI Nikon.................................................E+ 45
135mm F3.5 AI Nikon ...............................................As Seen 45
135mm F3.5 Non AI Nikon............................................... Exc 65
180mm F2.8 AI Nikon ......................................................E+ 249
200mm F2 IFED AIS Nikon...........................................E+ 1,599
200mm F4 AI Nikon ...........................................................E+ 79
200mm F4 AIS Nikon.......................................................E+ 125
200mm F4 Non AI Nikon....................................................E+ 69
200mm F5.6 Medical Nikon..............................................E+ 399
300mm F4.5 AIS Nikon.................................................. Exc 149
300mm F4.5 Non AI Nikon...............................................E+ 125
500mm F8 Refex Nikon.............................. E+ / E++ 289 - 349
500mm F8 Refex C Nikon...............................................E+ 349
600mm F4 IFED AIS Nikon...................................Unused 3,499
600mm F4 IFED AIS + TC300 Nikon ............................E+ 1,749
1000mm F11 Refex Nikon...............................................E+ 689
Arsat 35mm F2.8 PC Shift Arsat......................................E+ 149
Tamron 200-500mm F6.9 Tamron ...................................E+ 249
Voigtlander 58mm F1.4 Nokton SL Voigtlander .............E++ 339
Zeiss 28mm F2 ZF Distagon Zeiss ................................E++ 749
SB15 Speedlight Nikon ................................... E+ / E++ 25 - 29
SB16 Speedlight Nikon ................................... E+ / E++ 59 - 75
SB16A Speedlight Nikon..................................................E++ 59
SB17 Speedlight Nikon ......................................................E+ 35
SB18 Speedlight Nikon ..............................E+ / Unused 10 - 30
SB20 Speedlight Nikon ...........................................E++ 39 - 49
SB21B Ringfash Nikon..................................................E++ 149
Olympus - Please Call
Pentax 645 - Please Call
Pentax 67 - Please Call
Pentax Manual - Please Call
Pentax AF
Z1-P Body Only Pentax.............................................E+ 69 - 79
SFXN Body Only Pentax..................................................E++ 29
SFX Body Only Pentax .............................................As Seen 39
MZ7 + 28-80mm Pentax...................................................E++ 59
MZ7 Chrome Body Only Pentax.......................................E++ 39
MZ5 + 28-80mm Pentax.....................................................E+ 79
MZ60 + 28-70mm Pentax.................................................E++ 69
MZ60 + 28-80mm Pentax.................................................E++ 59
MZ50 Body Only Pentax ..................................................E++ 19
MZ30 + 35-80mm Pentax...................................................E+ 35
MZ30 + Tamron 28-80mm Pentax ...................................E++ 29
MZM + 35-80mm Pentax....................................................E+ 59
16-45mm F4 DA ED AL Pentax .....................................E++ 169
16-50mm F2.8 A* DA SDM Pentax................................Mint 629
17-70mm F4 DA AL (IF) SDM Pentax............................E++ 289
18-35mm F4-5.6 FA J Pentax...................................... Mint- 149
18-55mm F3.5-5.6 DA AL Pentax .........................E++ / Mint- 39
21mm F3.2 DA AL LE Pentax........................................E++ 349
24mm F2 SMC FA IF AL Pentax....................................E++ 499
28-70mm F4 FA AL Pentax............................. E+ / E++ 49 - 69
28-80mm F3.5-5.6 FA Pentax......................... E+ / E++ 25 - 49
31mm F1.8 AL Limited Pentax.......................................E++ 799
35-80mm F4-5.6 SMC F Pentax ..................... E+ / E++ 19 - 25
50mm F2.8 D FA Macro Pentax................................... Mint- 249
50mm F2.8 SMC D FA Macro Pentax............................E++ 249
70mm F2.4 DA Limited Edition Pentax...........................E++ 359
70-200mm F4-5.6 SMC FA Pentax..................................E++ 69
Samyang 14mm F2.8 IF ED UMC Asph Samyang.........E++ 229
Sigma 10mm F2.8 EX DC Fisheye Sigma.................... Mint- 369
Sigma 18-250mm F3.5-6.3 DC Macro HSM Sigma........E++ 199
Sigma 24mm F1.8 EX DG Sigma................................. Mint- 249
Sigma 70-210mm F4-5.6 UC AF Sigma.............................E+ 39
Sigma 24mm F1.8 EX DG Sigma................................. Mint- 249
Tamron 28-200mm F3.8-5.6 XR Tamron .......................E++ 119
Tamron 70-300mm F4-5.6 LD Macro AF Tamron ............E++ 59
AF400FTZ Flash Pentax................................. E+ / E++ 35 - 89
AF500FTZ Flash Pentax................................. E+ / E++ 69 - 79
Pentax Manual - Please Call
Rolleiex - Please Call
Voigtlander - Please Call
Established 1960
OMD EM-1 +
12-40mm Kit
CLAIM 100 OFF A LENS

FROM OLYMPUS*
1949
* Until 31/03/14
16MP MOS Four Thirds format sensor with no

low-pass lter
5-axis image stabilization with automatic panning
detection (S-IS Auto)
1.04M-dot 3 LCD touchscreen display - tilts
80 upwards and 50 downwards
Electronic viewnder: 2.36M-dot LCD, 0.74x
magnication (equiv.), eye sensor
Built-in Wi-Fi for remote shooting and image
transfer to smartphone or tablet
Dust, splash and freeze-proof (to -10 C)
OMD EM-5 + 12-50mm

+ MMF-2
Adapter Kit
16MP MOS Four Thirds format sensor
Weather-sealed body
5-axis image stabilization
Shoot at up to ISO 25,600
Up to 9fps shooting (4.2 fps continuous AF)
1.44M dot LCD electronic viewnder
3 OLED touchscreen display - tilts 80 upwards
and 50 downwards
SRP 1149.99
928.99
MMF-2 Four Thirds

to Micro Four Thirds
Adapter
Pen E-P5 +
14-42mm Kit
16.1MP Micro Four Thirds Live MOS sensor

and the TruePic VI processing engine.
Top shutter speed 1/8000 sec.
Top ISO speed 25,600.
5-axis image stabilisation with IS Auto.
9fps sequential shooting plus Interval shooting
with time lapse.
Wireless Image Transfer allows sharing
via mobile devices.
SRP 999.99
CLAIM FREE VF4 ELECTRONIC

VIEWFINDER WORTH 249
FROM OLYMPUS Until 31/03/14
899
Pen E-PL5 + 14-42mm +

Street M Case Kit
16.1 megapixel Live MOS sensor
Double-axis in-body image stabilisation for
blur-free movies and stills with any lens
3inch touch screen 460k dots, tilting screen
Front grip - removable
Full HD video with stereo sound
8fps high-speed sequential shooting
SRP 589.99
458.99
CLAIM FREE 17mm f2.8

FROM OLYMPUS
Until 31/03/14
Pre-Orders now being taken for the NEW OMD EM-10 kits
Shop On-Line 24/7
Shop open Mon-Fri
9 till 5.30
Pay by Cash or Cheque plus...

Prices correct when compiled. E&OE.
78
subscribe 0844 848 0848
To advertise here, call Rob on 01922 412 720 Email [email protected]
subscribe 0844 848 0848
8 February 2014 | www.amateurphotographer.co.uk | 81

Cameras For Sale
SPECIAL OFFERS CLEARANCE OFFERS END OF LINES

NEW HOYA MULTI-COATED SLIM
DIGITAL UV FILTERS
11.49
52mm 12.49
13.49
58mm 14.49
15.49
67mm 16.49
19.49
77mm 21.49
S/H CANON EOS 35mm GEAR

Canon EOS 650 Body
11.95
Canon EOS 500N Body
14.95
Canon EOS 1000FN Body
16.50
Canon EOS 50E Body
19.95
Canon RS60-E3
16.50
Off Camera Shoe Adapter
8.95
Canon EOS Body Cap
2.99
Canon 300-EZ Speedlite
14.95
Canon 420-EZ Speedlite
29.95
49mm
55mm
62mm
72mm
Digital & AF Cameras and Lenses (many more on our website)

Canon EOS 20D + BG-E2....................................... good 100
Canon EOS 50D body ...............................................vg 335
Canon EOS 7D body ................................................vg 649
Canon EOS 1v body ..................................................vg 225
Canon EOS 1n body.................................................. vg 100
Canon EF 15mm f2.8 Fisheye.....................................exc 475
Canon EF 24mm f1.4L II USM .................................. exc 849
Canon EF 24mm f2.8............................................... exc 225
Canon EFS 60mm f2.8 Macro USM........................... exc 235
Canon EF 85mm f1.2L II USM boxed.................... mint- 1249
Canon EF 100mm f2.8 Macro USM........................... exc 250
Canon EF 55-200mm f4.5-5.6 II .................................mint- 79
Canon EF 100-400mm f4.5-5.6L IS USM.....................exc 875
Fuji S3 Pro body ....................................................179 150
Minolta Dynax 7000i body...........................................vg 25
Minolta AF 28mm f2.8 ............................................... exc 89
Minolta AF 75-300mm f4.5-5.6.................................. 75 49
Nikon D70s body ...................................................... vg 120
Nikon D700 body...................................................used 850
Nikon D300 body................................................... from 299
Nikon MB-D200 Battery Grip ...................................... exc 80
Nikon F65 + 28-100mm f3.5-5.6G............................. 65 49
Nikon F80 + 28-100mm f3.5-5.6G................................vg 95
Nikon F801 + 50mm f1.4 AF...................................mint- 250
Nikon F100 body + MB-15 .................................... good 149
Nikkor 16-35mm f4G ED AFS FX - boxed ................. exc+ 649
Nikkor 16-85mm f3.5-5.6G VR ED AF-S DX ............... exc 295
Nikkor 17-55mm f2.8G AFS DX ..............................850 750
Nikkor 24mm f2.8 AF .............................................mint- 225
Nikkor 35-105mm f3.5-4.5 AFD.................................. exc 85
Nikkor 70-300mm f4-5.6G AFD ................................. 65 49
Nikkor 80-400mm f4.5-5.6D ED AF VR ....................699 650
Olympus 14-54mm f2.8-3.5 Zuiko Digital 4/3 ............ exc 225
Olympus 35mm f3.5 Macro Zuiko Digital 4/3 .............exc 120
Pentax K20D + 18-55mm AL WR................................exc 275
Pentax 50-135mm f2.8 DA SDM .............................550 499
Sigma 20-40mm f2.8D Nikon AFD............................vg 250
Sigma 28mm f1.8 II Nikon AFD (pre Live View only) .....vg 99
Sigma 50mm f2.8 EX Macro Nikon AFD...................exc 185
Sigma 70mm f2.8 EX DG Macro Canon EF...............exc 275
Sigma 180mm f2.8 OS HSM Macro Sony/Minolta 999 899
Sigma 1.4X Apo EX DG Sony/Minolta AF ................exc 125
Sony 85mm f2.8 SAM boxed ..................................exc 120
Tamron SP 20-40mm f2.7-3.5 boxed, Sony/Minolta...exc 100
Tamron SP 200-500mm f5-6.3 Di LD Nikon AFD.....550 499
Manual Focus Cameras and Lenses (many more on our website)
Canon AE-1 + FD 35-70mm f4 ......................................vg 99
Canon AT-1 + 50mm f1.8 FD ........................................vg 79
Canon F1N with AE-FN head + 55mm f1.2 SSC .......good 325
Canon FD 100mm f2.8 SSC......................................good 50
Canon FD 135mm f3.5 SC ......................................... exc 35

Canon FD 300mm f4 .............................................199 150
Minolta X700 + 50mm f1.7MD .....................................vg 75
Minolta 28mm f2.8 MD............................................ exc+ 35
Nikon FA + 50mm f1.8 AiS......................................... vg 195
Nikkor 24mm f2.8 Ai ................................................. vg 120
Nikkor 28mm f3.5 Ai ...................................................vg 85
Nikkor 35-105mm f3.5-4.5 Ais ..................................used 39
Nikkor 55mm f3.5 Micro Pre-Ai..................................used 75
Nikon 70-210mm f4 Series E ....................................good 95
Nikkor-Q 35mm f2 Pre-Ai........................................249 199
Nikkor-Q 135mm f3.5 Pre-Ai....................................... exc 95
Nikkor-Q.C 200mm f4 Pre-Ai .................................... exc+ 75
Nikkor-C 500mm f8 Refex w/flter set & case.............vg 300
Olympus OM 28mm f2.8............................................ exc 55
Olympus OM 135mm f3.5............................................vg 25
Pentax MX + 50mm f1.7 SMC-M ................................exc 120
Pentax 20mm f4 SMC-M.........................................295 250
Pentax 28mm f3.5 SMC-M.......................................... exc 30
Pentax 135mm f3.5 SMC-M........................................ exc 35
Tamron 28mm f2.8 Adaptall BBAR (excl.mount)...............vg 25
Tamron SP 90mm f2.5 Macro Adaptall (excl.mount)......VG 125
Vivitar 300mm 5.6 Canon FD................................... exc 35
Medium Format & Other Cameras (many more on our website)
Contax TVS III...........................................................exc 150
Fuji GX680 ProL kit ................................................good 499
Hasselblad XPanII + 45mm f4 kit boxed..................exc 1650
Hasselblad 500CM + 80mm f2.8 T*Planar...............599 550
Hasselblad 503CX+80mm f2.8 T*Planar......................vg 750
Leica Minilux ............................................................exc 175
Mamiya RZ67ProII + 90mm f3.5 + wlf .....................good 399
Accessories (many more on our website)
Canon/Nikon/Minolta flters - phone ............................from 5
Canon Angle Finder B ..................................................vg 45
Canon BG-E3 Battery Grip (EOS350D/400D) .............mint- 30
Canon Speedlite 550EX.............................................exc 149
Capital SP-1 Spotmeter ............................................... exc 75
Centon MR40 Ringfash Canon EOS Film only ..............vg 30
Contax TLA140 Flash ................................................. exc 30
Gossen Lunasix F .........................................................vg 65
Hahnel Pro Remote Release Canon AF ....................... exc 35
Leisegang 300AF + 85mm f2.8 Slide Projector.............. exc 75
Minolta Flashmeter III....................................................vg 95
Nikon Speedlight SB-600............................................ vg 135
Nikon PK-11 Auto Extension Ring................................. exc 29
Olympus OM Adapter MF1 (OM to 4/3rds) ............... exc+ 50
Olympus OM Vari-Finder ............................................ exc 45
Panasonic DMW-LVF1 Finder - boxed ........................mint- 100
Praktica Extension Tube Set (B & M42 ft) .......................exc 10
Sekonic Flashmate L-308B.............................................vg 85
Sony FDA-A1AM Angle Finder boxed....................... 95 75
New KOOD Japanese Optical

Flat Skylight or UV Filters
27/28/30/30.5/34/35.5/37/37.5
39/40.5mm
each 7.99
43/46/49/52mm
each 8.99
55/58mm
each 9.99
62/67mm
each 11.99
72/77mm
each 15.99
CLIP-ON LENS CAPS
27, 28, 30, 34, 37mm
2.99
40.5,43,46,48,49mm
3.35
52, 55, 58, 62mm
3.65
67, 72, 77, 82, 86mm
3.99
S/H PENTAX MANUAL GEAR

Tokina 25/50mm f4
29.95
Vivitar 28mm f2.8
10.95
Pentax A 70/210mm f4
27.50
Cosina 100mm f3.5 macro
57.50
Sunagor 400mm f5.6
34.95
Auto Extension Tubes (3)
12.50
PK Fit 2X Converter/Case
5.99
Pentax A 50mm f1.7
17.95
Pentax Rear Lens Cap
1.99
each
each
each
each
LINEAR POLARIZING FILTERS

to clear (for Manual Focus only)
49mm 1.99
55mm 2.99
Hoya 82mm Linear Pol
39.95
Kood 67mm Linear Pol
7.99
KOOD SOFT LENS POUCHES

75x90 3.49
75x110 3.99
90x140 4.49
90x170 4.99
S/H 35mm CAMERA OUTFITS

Cosina CT-1 Kit, CT-1 Body, 28/70mm
Zoom Lens, Zoomhead F/gun, Tripod,
Gadget Bag
28.50
Minolta Dynax 500si Kit, 500si Body,
35/80mm Minolta Zoom Lens, Sky, Lens
Hood, Mini Tripod, Gadget Bag 29.95
Chinon CE-5 Kit, CE-5 Body, 50mm
f1.9 Chinon Lens, Sky, Lens Hood,
Vivitar 75/150mm Zoom, F/Gun,
Tripod, Bag
34.50
Minolta 404si Kit, 404si Body,
35/80mm Minolta Zoom Lens, Sky,
Lens Hood, Mini Tripod, Gadget Bag the lot
33.95
HARD LENS CASES to clear

Small 2.99 Med 3.99 Large 5
S/H Boxed SIGMA 70/200mm

f2.8 APO EX-DG-OS 565.95
WIDE ANGLE LENS HOODS

49, 52, 55mm (rubber)
6.49
58, 62, 67mm (rubber)
7.49
RUBBER LENS HOODS
46, 49, 52, 55mm
3.99 each
58, 62, 67, 72mm
5.35 each
77mm 7.99
82mm Metal 8.99
5 ONLY 52mm Hoya Circular

Polarizing Filters
15.95
2 ONLY 67mm Kood Circular
Polarizing Filters
13.49
3 ONLY 58mm HOYA PRO-1
Circular Polarizers
29.95
2 ONLY 62mm B&W Circular
Polarizing Filters
14.95
S/H MINOLTA 35mm GEAR

Miranda 24mm f2.8 macro
17.95
Mitakon 28mm f2.8
9.95
Miranda 70/210mm f4.5
11.95
Jessops Power Winder
6.99
4.99
Minolta 200X Flashgun
each
each
each
each
20ft AIR RELEASE to clear

20 CABLE RELEASE
CLEARANCE PRICES ON
BANKRUPT STOCK HOYA 55mm
82B, 82C, 85, 85B, 85C
2.99
Mail Orders by return, ask

for Trish, Dave or Dennis
Tel: 0161 336 4603
4.99
4.99
2 POST/PACKING SMALL ITEMS
OPEN
MON - FRI
11am - 3.30pm
www.ukltercentre.co.uk
DENTON
PHOTO
OPTICS
Specialist Repairers
Always
a good sign
FEBRUARY CLEAROUT OF
COKIN A, P, Z-Pro & X-Pro
Bankrupt Stock Cokin A
99p each
Skylight, Orange, Red, Green, Sepia
Spot 1, Spot 2, Spot Orange, 80A,
Spot Blue, Spot Red, Diffuser 2,
Pastel 1, Double Mask 1, Linear B,
Coloured Diffuser, 82A, 81C, 85B
A160 Linear Polarizers
3.99 each
Bankrupt Stock Cokin P 2.99 each
Spot Green, Spot Orange, 80B,
Spot Red, Spot Blue, FLW
New Cokin Z-Pro Filters
Z007 Infra-red
39.95
Z005 Sepia
19.95
Z006 Yellow/Green
14.95
Z148 Wedding White 1
14.95
Z121M Grey Grad 4
29.95
New Cokin X-Pro
24.95 each
Yellow/Green, FLW, 81Z, FLD,
Sepia Light, W/A In-Color 2,
Oval C Spot White, FLW, 81Z,
Net Filter 2 White, FLD, 80B,
Net Filter 2 Black, Green, Sepia
New Cokin X-Pro
34.95 each
Diffuser Light, Diffuser 3, Sunset 1,
Grad Tobacco T2 Light
S/H UNUSUAL LENSES
Fujinon 28mm f3.5 Fuji X
17.95
Fujinon 50mm f1.9 Fuji X
4.99
Tamron 70/210mm for Mamiya ZE 17
Prakticar (bayonet) 70/210mm 7.95
MINOLTA AUTOFOCUS LENSES
Tamron 28/80mm f3.5/f5.6
19.95
Minolta 28/80mm f3.5/f5.6 D
18.50
Minolta 35/80mm f4/f5.6
13.50
Tokina 75/300mm f4/f5.6
33.95
Sigma 400mm f5.6 built-in lens hood
(slight growth) to clear
26.95
BATTERY CLEARANCE
PX625 2.99
PX28 3.99
V76PX 1.49
MN21 99p
123A or CR2 Lithium
3.99 each
2CR5 or 2CRP2 Lithium 3.99 each
CR2016 or CR2325
99p each
CR1620 or CR1220
99p each
CR1216 or CR1025
99p each
67 Manchester Road
Denton, Manchester
M34 2AF
[email protected]
Black & White processing
Holidays & Courses
80
subscribe 0844 848 0848

Printing
Wanted
Camera Fairs
Accessories
Cameras For Sale
Classic Dealer
Black & White processing

KAREN WILLSON BRISTOL,Superior
quality processing & printing.Tel: 01179
515671 www.kwflmprocessing.co.uk
subscribe 0844 848 0848
15 February 2014 | www.amateurphotographer.co.uk | 81
The nal frame
Editorial
OGDEN
CHESNUTT
Ogden thinks that 2014 will be the year he

wins big on the stock (photography) market
MY 2013 came to a rather unceremonious
end, as I unashamedly shared with all of you.
Except I was ashamed. Not for falling down drunk,
but for having got through another year at my
age - without doing anything meaningful with
my photography.
And its not like I can even say I tried and failed.
I just failed.
The morning after my New Years misadventure
I sat on my sofa eating cold nachos and coffee,
searching my soul for reasons why I keep coming
up with excuses still, at my age to not take
pictures and, worse, not do anything with the ones
I have taken.
Photography is one of
my greatest passions, so
why dont I do it?
I met Eli later that day,
the 1st, for a hair of the
dog, and found that
he, too, was lost in the
same dilemma.
I want to be a working
photographer more than
anything or even just
make a bit of cash on the side, he said. And its
not even about the money. My wife gets paid well.
I guess its a validation of my talent.
Your talent? I asked.
Well, my wife thinks Im good!
No, you are good, I told him. I feel terrible and
my lters gone so I can say this, but often when
were out Im amazed at how effortlessly you
can get creative compositions out of nothing.
Im looking for the big, bold subject matter and
you can nd a great picture in a puddle or a pile
of newspapers.
He looked at me like Id just handed him a picture
of myself naked. Im thank you, Ogden. Then he
smiled and bought me a pint.
He is good and hes right. Theres an element
of every photographer who wants to be adored.
Me, Id just settle for the money.
In the depths of my hangover that morning
on the sofa, I gured out where Ive gone wrong
all these years. I let my early failures in stock
photography dissuade me from trying, and if
Im really honest I secretly appreciated it as they
allowed me to justify my inherent laziness.
Like atulence and Facebook accounts, everyone
makes a New Years resolution. And so I guess I
should make mine. So here goes: 2014 is the

year I will make money from stock photography.
My rst attempts failed because I was too artistic
moody lighting and dramatic monochrome but
picture editors and designers cant use those.
For my next attempt I tried to be a jack of
all trades. I thought I could take one picture of
everything, and then watch my bank balance
grow. But it didnt work that way.
Last year I met a man, a sculptor, on the bus.
I cant say Ive ever met a sculptor before, but
apparently there are a lot of them because when
I asked how he makes money from sculpting he
said the key was specialise in something. He sculpts
animals. Thats all he
does. And hes the
best at that.
If Im going to
make money at stock
photography, I need to
pick one thing and be
the best at it.
A mate of mine in
Northumbria used to
photograph postmen,
although he was a bit strange and Im not even sure
he was a photographer. But I could do that. Or I
could photograph men in suits looking at their
watches. Or women looking at their watches. And
soon I could be the go-to photographer for any art
editor in need of an image to illustrate a story about
being late or keeping busy schedules!
Or perhaps I could specialise in petrol pumps.
Rising fuel costs arent going anywhere.
I told Eli about my plan, and his face lit up.
Its like we have the same mind! he said.
I dont think I want to know what goes on in
Ive been thinking about the same thing! Except
Im going to specialise in animals, he added.
Theres a lot of animals.
There are, and thats why Im going to
photograph only the animals that are most likely
to go extinct.
Well, theres lots of those, too. And none of them
live in London, I said.
The London Zoo, baby! Theres enough
endangered animals there to keep me busy. And
when the last one dies in the wild, Ill clean up!
Thats pretty cynical, I said. How do you even
sleep?
Hopefully on a bear-skin rug! AP
In the depths of my
hangover that morning
on the sofa, I gured
where Ive gone wrong
all these years
An avid AP reader since birth, Ogden Chesnutt lives for photography and the sound of a tripped shutter.
In the third issue of each month he shares his photographic experiences and thoughts, as well as his
adventures with his camera club friend Eli
82
Amateur Photographer, IPC Media, Blue Fin Building,

110 Southwark Street, London SE1 0SU
Telephone 0203 148 4138 Fax 0203 148 8123
Email [email protected]
Picture returns: Telephone 0203 148 4121
Subscriptions
Email [email protected].
Telephone 0844 848 0848 or +44 (0)330 3330 233 from overseas.
One year (51 issues) UK 145.55; Europe e259;
USA $338.99; Rest of World 221.99.
Test Reports
Contact OTC for copies of camera test reports published in AP.
Telephone 01707 273 773.
Advertising
Amateur Photographer, IPC Media, Blue Fin Building, 110
Southwark Street, London SE1 0SU. Telephone 0203 148 2516
Classied telephone 0203 148 2929. Fax: 0203 148 8158
Display telephone 0203 148 2516. Fax: 0203 148 8158
Inserts call Innovator on 0203 148 3710
Editorial team
Nigel Atherton
Christine Lay
Richard Sibley
Michael Topham
Jonathan Devo
Callum McInerney-Riley
Phil Hall
Oliver Atwell
Chris Cheesman
Lesley Upton
Breandan Maguire
Oliver Cotton
Mark Jacobs
Sarah Foster
Antony Green
Professor Robert Newman
Andrew Sydenham
Rosie Barratt
Special thanks to The moderators of the AP
website Andrew Robertson, Fenris Oswin, lisadb, Nick Roberts,
The Fat Controller Contributors Chris Gatcum, Jon Stapley
Group Editor
Group Editors PA
Technical Editor
Deputy Technical Editor
Technical Writer
Technical Writer
Technique/Features Editor
Senior Features Writer
News Editor
Production Editor
Deputy Production Editor
Senior Sub Editor
Art Editor
Deputy Art Editor
Designer
Photo-Science Consultant
Studio Manager
Picture Researcher
Advertising team
Advertising Director
Advertisement Manager
Senior Display Sales Exec
Display Sales Exec
Area Manager Midlands & North
Classied Sales enquiries
Display Ad Production
Copy Chaser
Mark Rankine
Julia Laurence
Simon Gerard
Sophia Freeman
Rob Selvey
Rob Selvey
John Jones
Kumu Vithlani
0203 148 2516

0203 148 2508
0203 148 2510
0203 148 2637
01922 412 720
01922 412 720
0203 148 2671
0203 148 2645
Marketing and promotions

Marketing Manager
Samantha Blakey
0203 148 4321
Online Manager
Karen Sheard
0203 148 4943
SPI Administrator
Nadine Thomas
0203 148 4326
Inserts Innovator Telephone 0203 148 3710
Repro Camden Town Typesetters Ltd Telephone 0208 523 6700
Printed in the UK by Wyndeham Group
Distributed by Marketforce, Blue Fin Building,
110 Southwark Street, London SE1 0SU. Telephone 0203 148 3333
Publishing team
Group Magazines Editor
Publishing Director
Managing Director
Garry Coward-Williams
Alex Robb
Paul Williams
All contributions to Amateur Photographer must be original, not copies or duplicated to

other publications. The editor reserves the right to shorten or modify any letter or material
submitted. IPC Media or its associated companies reserves the right to re-use any submission
sent to the letters column of Amateur Photographer magazine, in any format or medium,
WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer is a registered
trademark of IPC Media IPC Media 2014 Amateur Photographer (incorporating Photo
Technique & Camera Weekly) Email: [email protected] Website: www.
amateurphotographer.co.uk IPC switchboard tel: 0203 148 5000 Amateur Photographer is
published weekly (51 issues per year) on the Tuesday preceding the cover date by IPC Inspire,
part of IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 0SU. Distributed by
Marketforce (UK) Ltd, Blue Fin Building, 110 Southwark Street SE1 OSU. ISSN 0002-6840. No
part of this publication may be reproduced, stored in a retrieval or transmitted in any format
or medium, whether printed, electronic or otherwise, without the prior written permission
of the publisher or the editor. This is considered a breach of copyright and action will be
taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed
of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to
any publication or advertising matter without rst obtaining written permission from the
publisher. IPC Media Ltd does not accept responsibility for loss or damage to unsolicited
photographs and manuscripts, and product samples. IPC Media reserves the right to use any
submissions sent to Amateur Photographer Magazine in any format or medium, including
electronic. One-year subscription (51 issues) 145.55 (UK), 7259 (Europe), $338.99 (USA),
221.99 (rest of world). The 2014 US annual DEU subscription price is $338.99, airfreight
and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th
Avenue, 2nd oor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US
Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet
Shipping Inc, 156-15, 146th Avenue, 2nd oor, Jamaica, NY 11434, USA. Subscriptions records
are maintained at IPC Media, Blue Fin Building, 110 Southwark Street, London, SE1 0SU. Air
Business Ltd is acting as our mailing agent.

Amateur Photographer

Uploaded by

Copyright:

Available Formats

Amateur Photographer

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Amateur Photographer

Uploaded by

Copyright:

Available Formats

PHOTOGRAPHER FIRED

OVER ALTERED PICTURE

THE WORLDS NO.1 WEEKLY PHOTO MAGAZINE

OLYMPUS OM-D E-M10

David Baker reveals how he creates his

Sony Alpha 7R vs Nikon D800E:

You can buy a used Pentax *ist DL

SURF & TURF

Saturday 15 February 2014

THE AP READERS POLL

Amateur Photographer For everyone who loves photography

few us need 36 megapixels of image-capturing

36-megapixel full-frame sensor, it raised the obvious

YOUR WORDS & PICTURES

Canon launches wireless A3 printer; Ricoh to focus on Pentax

AP readers speak out on the weeks issues

The latest books, exhibitions and websites

82 THE FINAL FRAME

25 THE COMEBACK KID

Olympuss latest micro four thirds CSC:

Ogden Chesnutt thinks that 2014 will be the year

TESTS & TECHNICAL

10 OLYMPUS OM-D E-M10

Another selection of superb reader images

Benro CoolWalker Messenger bag M100N

Our experts answer your questions

COVER PICTURES: DAVID BAKER, HEATHER BUCKLEY

NEWS, VIEWS & REVIEWS

SAC Graham Taylor talks us through his spectacular shot of a

With 36-million-pixel, full-frame sensors, the Nikon D800E

Martin Evening explains how to change hair colour

Ian Burley investigates whether contemporary software can

David Baker skilfully

15 February 2014 I www.amateurphotographer.co.uk

Breasts are now

News I Analysis I Comment 15/2/14

SONY TO CUT FACTORY WORKFORCE

SONY has offered early retirement to

workers at ve factories across Japan

reportedly Cyber-shot compacts, as well

Contreras, who also freelances for other

to a Sony representative in an interview

Pentax DSLRs will

be the main focus

Olympus will launch

Contact Chris Cheesman

15 February 2014 I www.amateurphotographer.co.uk

This week in 1896 AP broached the subject

The lawsuit was triggered

Drama over Empire State Building photos

August last year.

he is being sued for more than

Club news from around the country

SAWTRY CAMERA CLUB

Sawtry Camera Club in Cambridgeshire is looking for new members, reports

www.amateurphotographer.co.uk I 15 February 2014

subscribe 0844 848 0848

Magazine masterclass leads to RHS plaudits

has triumphed in the RHS Garden

the essential relationship between plants