Digital Camera - Ken Gilbert

ISSUE101 

JULY 2010/£4.99 

NEW 

LOOK! 

Moretechniques, 

moregear, more 

inspiration 

MAKE CASH 

WITH YOUR 

CAMERA p.38 

CANONvsNIKON 

Which mid-range SLR is 

best? Full verdict on p.126 

You can achieve 

PERFECT 

PHOTOS 

Everything you need is inside 

your new and improved mag! 

KIT ADVICE 

TRUSTEDTESTS 

Filters, wireless flash 

gear and tripods rated 

PHOTOSHOP 

LAYERS EXPLAINED 

Howtounlockthe best 

possible image quality 

The definitive guide 

to SLR photography 

TECHNIQUE 

COMPOSITION101 

Why great scenics start 

with strong foregrounds 

10 

CREATIVE 

IDEASYOU 

CANTRY 

TODAY p.22 

ISSUE 101 JULY 2010 £4.99

02 

Welcome to your all-new 

Welcome to thenew-look Digital 

Camera!This is the biggest 

overhaul to the magazine since 

2005 and we’ve refreshed and 

revitalised everything to ensureitstill meets your 

needs – after all, photography’s changed a lot in the 

last fiveyears. So,overthe next 172pages, you’ll 

findmorein-depth and scientificcamerareviews, 

more essential photography and camera tips, 

easier to followPhotoshop tutorials and much 

more. Ournew-look video disc is the best it’s ever 

been and we’realso giving away afree52-page 

supplementonlandscape photography. Ireally 

hope you like your new-look Digital Camera –let 

me know what you think! 

Geoff Harris, editor 

geoff.harris@futurenet.com 

Ben Brain 

Deputy editor 

Ben’s an ex-pro 

who built his first 

darkroom when 

he was just 12! 



Meet your photo experts 

Ed Godden 

Technique editor 

Ex-press shooter 

Ed fixes reader 

niggles in The 

Photo Fixer (p68) 

Ali Jennings 

Digital editor 

Ali’s our disc 

mastermind and 

an authorityon 

photo-editing 

George Cairns 

Technique writer 

George’s disc 

tutorials make 

Photoshop 

a joy to learn

Exciting new sections this month! 

10 things to try right now p22 

Get your month offtoaflier with this suiteofinspirational 

ideas for new techniques to try and new things to shoot 

Photoshop School p75 

Discover the secrets of ultimate photo quality in our new 

image editing section – seriously good shots guaranteed! 

KitZone p111 

We’veoverhauled our gear section to bring youBritain’s 

most rigorous tests and more reviews than ever before! 

Shoot! p51 

Perfect your camera skills with our massive 16-page guide 

to mastering your SLR and creative photo techniques 

Photo Advisor p89 

We solve all your photographic problems and give you 

feedback on your photos in our new reader help section 

The Photo Fixer p68 

Ourroving troubleshooterhas alicence to 

improve your photos – don’t miss his advice! 

PLUS Ditch the day job and make cash with your SLR p38 

Inside 

every 

issue 

Inspiration 

See the very best 

newphotography 

in Hot Shots p12 

Techniques 

Expertguides 

help you 

develop new 

photo skills 

KitAdvice 

Find out whatto 

buy and howto 

use it in the field! 

Save 

% 

And get a tutorial-packed 

DVDwhenyou subscribe 

to the new DigitalCamera 

See page 86 for more 

DigitalCamera July2010 

03

Story 

of the 

Cover 

Loes 

By Ralph Lemarechal, 

Amsterdam 

www.photoshoot.me 

“This is a portrait of Dutch 

model Loes Fielt. There weren’t 

any make-up artists or stylists on 

the shoot – we were just helping 

each other improve our 

portfolios. I tried hard to isolate 

her eyes, making them the key 

elementofthe picture, as this is 

important in portraits. Rather 

than relying on Photoshop to 

create ashallowdepth of field, 

I opened my lens to its widest 

aperturetoget anatural blur.” 

CanonEOS-1DsMarkIIIwithCanon 

EF85mmf/1.2LIIUSMlens;ISO200; 

1/1250secatf/1.2 

Behind the image… How Ralph got his striking shot 

1ijust used natural 

light for this shot, 

without involving any 

flashguns or studio 

lights. ishot against a 

neutral background and 

used a very shallow 

depth of field. 

2back on my PC, 

iprocessed the 

RaW file in adobe 

Camera Raw 6.0, where 

imade a few simple 

adjustments to the 

exposure, brightness 

and Contrast. 

Story of the Cover 

behind the image 

3ithen opened 

the image in 

Photoshop Lightroom, 

where iadded a 

split-tone effect to 

create an atmospheric 

colour palette and 

darken the corners. 


05

Nikon D300s 

CALUMET 

Sony NEX-5 Professional quality in your pocket! 

Sony’s new NEX-5 is an ultra-slim, interchangeable lens digital camera with 14.2MP resolution and 

full AVCHD 1080i video capture capability,making it perfect for all photographers, either as amain, 

or aback-upcamera. 

With arange of 3interchangeable lenses,intuitive graphic menu and advanced features such as Intelligent 

Auto,Face/Smile Recognition, Sweep Panorama, manual control override, 7fps motor drive, background defocus 

and ISO settings up to 12,800, the NEX-5 is an all-new camera system capable of tackling awide range of 

assignments and suiting the needs of all users from first time hobbyists to experienced professionals. 

SonyNEX-5 black with 16mm f2.8 lens 993-003C £549.99 

SonyNEX-5 black with 18-55mm lens 993-003D £589.99 

SonyNEX-5 black with 16mm &18-55 kit 993-003N £679.99 

SonyNEX-5 black with 18-200mm lens 993-003E £999.99 

Acompact DX formatprofessional DSLR thatextends the options for 

those who value creative flexibility.Incorporating Nikon’s 

D-movie with in-camera editing function, letting 

you switch quickly between capturing 

stills or movie clips in stereo sound. 

D300s BodyOnly 355-303A 

£1139.00 

D300s 18-200mm VR Lens Kit 355-303C 

£1565.00 

CanonCanoScan9000F 

KTPLB220 £259.95 

NEW LOWER 

PRICE! 

Take aleapforward in creating high quality film and photo scans with the new 

CanoScan 9000F.The new 9600 x9600dpi CCD sensor offers you the ultimate 

in reproduction quality,producing 

exceptionallydetailed images 

ideal for enlargement and high 

resolution printing, with 48-bit 

colour depth. 

Kata Pro-Lite 

Bumblebee Backpack 

The Pro-Light Bumblebee-220isamassively 

specified backpack designed to offer the best 

carrying, storage and working solution. 

The DL-220’s new "Spine Guard" is amade from 

spring-steel, encased in specially formed foam, 

and placed in the front panel of the bagtogive 

greatprotection from impact. 

321-842A £229.00 

Canon EOS-550D 

The EOS 550D incorporates technologies and features into acompact, 

lightweight body. With anewly-developed 18 Megapixel 

(MP) APS-C CMOS sensor,coupled with Canon’s 

advanced DIGIC 4image processor and 

the abilitytoshoot Full HD movies. 

EOS-550D BodyOnly 321-606A 

£629.00 

EOS-550D 18-55mm Lens Kit 321-606B 

£689.00 

NEW LOWER 

PRICE! 

Epson Stylus 

Photo R2880 

Larger,long-lasting images taken to anew 

level of excellence: Foranyone moving into 

the larger formatA3+ printing arena, the 

R2880 is ideal. Enjoy stunning images 

thanks to Epson UltraChrome K3 Vivid 

Magenta ink –aseriously goodink system 

for the seriousphotographer. 

650-021B £569.00 

Walkstool 

The essential accessory for Landscape, Sports and 

Nature Photographers! The Walkstool’s telescopic 

legs offer 2sitting positions; lowposition with the 

legs retracted and normal sitting height with the 

legs extended. 

Comfort 45 L(45cm/18") 801-555A £55.99 

Comfort 55 XL (55cm/22") 801-555B £61.99 

Comfort 65 XXL (65cm/26") 801-555C £66.99 

All prices include VAT. E&OE. 

www.calumetphoto.co.uk

“Our photographs should 

reflect what we feel, believe, 

think, care about and see” 

12 

Contents 

51 

111 

34 

Win 

£2,000 

of Canon kit 

See page 145 

issue101/July 2010 

expertphotoadvice 

22 

New! 10 Things to Try Right Now 

Kick-start your creativity by tackling 

a new subject or technique today! 

34 

New! Postcards from the Edge 

Takingrisksundergroundisallinaday’s 

workforcavephotographerRobeavis 

38 

New! Ditch the Day Job 

Bypasseconomicwoesandstartmaking 

cashwithyourcamera–weshowyouhow! 

51 

New! Shoot! 

sixteenpagesofexpertcameraskills 

advicetohelpyouperfectyourphotography 

68 

New! The Photo Fixer 

everyissueourrovingtroubleshooter 

diagnosesandcuresyourphotoproblems 

75 

New! Photoshop School 

expertadviceforperfectingyourphotos 

andapplyingcreativeeffectsaftertheshot 

89 

New! Photo Advisor 

WeanswerallyourslRandPhotoshop 

questionsandgiveyoufeedbackonyourshots 

The Digital Camera Interview 

100 GettysportsproCliveMasonreveals 

theartofshootingfootballandmotorsports 

New! Kit Zone 

111 Themostrigoroustestsofanyphotomag 

willhelpyoutobuythebesteverytime 

essentials 

05 

New! Story of the Cover 

Ralphlemarechalonthismonth’sshot 

10 Viewfinder 

yourstrongopinionsmakeforalivelyread 

12 Hotshots 

Get inspired by high-class reader photos 

Next Month 

67 Findoutaboutissue102’sgreatfreegifts 

86 Subscriptions 

Choosefromoneoftwoexclusiveoffers 

Overseas Subscriptions 

109 AspecialdealfortheusandCanada 

170 

New! My Life in Focus 

JoeCornishlooksbackonhiscareer 


07

08 

ON YOUR FREE DISC 

On Your Disc 

Free with issue of Digital Camera 

Perfectphotos 

Welcome to your new and 

improved Digital Camera CD. 

Not onlyhaveweredesigned 

the whole disc to makeit 

easier for youtouse,but we’ve 

also included arangeofgreat 

new video-based content. 

First up is Teach Yourself Photoshop 

–anew,ten-part seriesthatbuilds into 

acompletevideo referencelibrary. These 

easy-to-followvideo guideswill take you 

on astart-to-finish journeythrough 

perfecting your photos in the digital 

darkroom, with the first instalment 

covering getting started with Photoshop 

Elements. Next month we’ll tackle the 

subject of editing RAW files. 

Don’tworryifyou’ve already mastered 

the basicsbecause the video tutorials that 

accompany the new Photoshop School 

section in the mag will show you a host 

of advanced tricks for mastering layers. 

AliJennings,digital editor 

ali.jennings@futurenet.com 

ON THIS ISSUE’SDISC… 

Teach yourself Photoshop with George Cairns 

1 Introducing Adobe 

Photoshop Elements 

4 Essentialphoto 

fixesexplained 

2 Importand organise 

your digital images 

5 Saving and printing 

out your images 

3 Gettogripswith 

the RAW file format 

6 Understanding how 

AdobeBridge works 

THISPRODUCTISNOTENDORSEDORSPONSOREDBYADOBESYSTEMSINCORPORATED,PUBLISHER 

OFPHOTOSHOPCS5,PHOTOSHOPEXTENDED,PHOTOSHOPLIGHTROOM AND PHOTOSHOPELEMENTSPRODUCTS 


Magazine support videos 

1 Adjustment Layers 

with George Cairns 

4 Double Exposures 

withChris George 

2 Modernmakeovers 

with Ben Brain 

5 PanasonicG2review 

withAli Jennings 

3 Textureeffects 

with Ben Brain 

Wheneveryou see this 

logo in the magazine 

there’s corresponding 

content on the CD

Lumix G2 available as body only or single and twin lens kits. Lenses featured sold separately. 

LET YOUR CREATIVITY RUN FREE 

BEST AUDIO VISUAL BRAND 

which.co.uk 

AWARDS 2010 

Thenew award-winning LumixG2isthe world’sfirst 

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It allowsyou to reactquickly to your surroundings 

andtake stunning picturesonthe go. 

With aflexible free-anglescreenand arange of 

interchangeable lenses,itgives youD-SLR performance 

andcompletecreative freedom –whether you’re 

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10 

Getyour views heard We’d love to hear your thoughts on the magazine and all things photographic! 

So email us at digitalcamera@futurenet.com or visit the Digital Camera forum at www.photoradar.com 

STAR LETTER 

DOCTOREDTIGER? 

The shot ‘Indian Tiger’ in your 

Thorsten Milse interview(issue 98, 

Spring 2010) lookswrong. Howcan 

the whiskersbepin-sharp,when on 

the same plane itsfront and back 

haunchesare blurred, and itsmiddle 

is also sharp? Also,the background 

streaksshowonthe tiger’srearleft 

leg. I’ve no objection to retouching, 

as long as it’snot detectable.The rest 

of the mag is super,though! 

Barry Allton 

Thorsten Milse explains: “It’s areal 

photo,not aPhotoshop job.Wewere 

only asmall distance away from the 

tiger and he wasmoving quickly.One 

focus pointwas on the eye and the 

middle of his back wasonthe same 


ViewFinder 

The placetoair your viewsonthe magazine 

andshare your photographic experiences 

HIT RATE BOOSTED 

IenjoyedChris Gatcum’s feature‘Boost your 

hit rate’inissue 98 (Spring 2010). It’s exactly 

the sortofthing Ineed to read beforeI’m 

going out on ashoot.Sometimes on aday out 

Ifind it hardtoget my mindset rightbecause 

other work/lifedemands interfere. So I’vecut 

the article out to keep in my kit bag forinstant 

inspiration, whereverIam. 

Elizabeth Parkins 

It’s easy to forget key set-up and technique points, so 

we’reglad youfound our checklist helpful. See page 

38 foradvice on making moneyfromyour shots too! 

WIN ANATIONAL GEOGRAPHIC NGTT2TRIPOD 

Elizabeth wins atripod and bag worth over£100.For moreinformation 

on this and other National Geographic kit,visit www.geographicbags.co.uk. 

level. Iused AI Servomode on my 

Canon EOS-1Ds Mark II and panned 

with my 70-200mm f/2.8lens. The 

aperturewas set at f/10 and the ISO 

was320.For this kind of shottowork 

youneed to experimentwith different 

shutter speeds, but it’s important to 

keep the focus pointonthe eyes. Since 

Icouldn’t control howthis tiger moved, 

thereare several‘sharpness levels’.” 

Thorsten Milse kept 

the focus pointon 

the tiger’s eyesfor 

this amazing shot. 

Want to improve 

your ownwildlife 

photos? Get expert 

tips on page 68... 

Followuson… http://twitter.com/photoradar www.facebook.com/PhotoRadar 

THESTATE WE’RE IN 

Ijustreadthe reader posting on 

the PhotoRadar.com forum about 

copyright and the curtailing of 

photographyinpublic places.I’m 

abit concerned about this, because 

Iliketravelphotography, including 

landscapesand nature.But the way 

thingsare going,you’ll onlybeable 

to take photos in your ownhome! 

Andy Sheppard 

Well, with anew governmentin 

place, it’s agood opportunityfor us 

photographers to get the surveillance 

stateand overzealous securityforces 

offour backs. Whynot contact your 

MP or mobilise your local cameraclub? 

BLOOMIN’ AVERAGE? 

I’dliketorespond to your article 

in issue 98 (Spring 2010) on how 

to shoot spring flowers.While I 

enjoyedthe article for itstechnical 

instruction, Iwas disappointed with 

the final images presented. We look 

up to youguysand expect abit of 

‘wow’. The standardofyour readers’ 

submissions often amazesmeand 

also inspires me –fantastic! 

I’ve attached aphotoItook 

with your recent monthlyMission 

(CreativeSpring) in mind (see right). 

This photoIrejected as being below 

standard. Ithought the lovely tree 

shape as abackdrop to the carpet of 

flowers would work,but in my mind 

it came up short. The question now 

comestomind: howdoesitcompare 

with the images in your article? 

“I like photographinglandscapes 

andnature. Butthe waythings are 

going, you’ll only be abletotake 

photos in your ownhome!”

WHAT’SWORKED 

FORYOU?ORNOT! 

Yourecently advised trying 

abridge compact at gigs 

because manyvenues won’t 

allowyou to shootwith SLRs 

from the crowd (issue 95, 

February 2010). Well, here’s 

an image Igot with my Canon 

PowerShotSX120 IS at an 

OMD/Simple Minds gig at 

WembleyArena. Ididn’t move 

from my seattotakeany of 

Peterused LiveViewtocompose this shot, 

then took it blind at ground level 

Please accept my commentsas 

constructive.Ilove Digital Camera 

and Iamjustgiving some feedback! 

PeterRees 

Well done to get an image likethis at 

an awkwardangle –and thanks for 

the feedback. There’s morebotanical 

inspiration on page 56 of this issue. 

SONY SIDE UP 

Iwas looking at aCanon D when 

asalesassistant introduced me to the 

SonyAlpha a.Idecided to give it 

agoand wasverypleased with it. 

When Idecided to upgrade again 

Iwas swayed towardsaCanon or 

Nikon, but decided on the Sonya. 

I’ve had it for nearly months now 

and it’sawonderful camera. 

So don’tjustbuy aCanon or Nikon 

because the professionals use one – 

buyacamerayou’rehappywith and 

that’swithin your budget. 

StuartRussell 

Well said, sir.Panasonic and Samsung 

have launched some greatcameras this 

year,too (see page 114). Keep an open 

mind and keep reading our reviews. 

the pictures. This wasthe first 

time Ihad used the camera 

because it had only just arrived 

from Amazon. With acashback 

promotion, it only cost £127! 

Paul King 

SNAP SHOTS 

Viewsfromthe forum 

ABRIDGE 

TOOFAR? 

Year in, year out thereare 

thousands of stunning 

and worthyentries for 

the Photographer of the 

Year competition, all 

takenusing D-SLRs. 

But how long,Iwonder, 

beforeweget awinner 

with abridge type or 

high-spec compact? 

Highlandscenics 

WIKI WANNABE 

Iwould liketoknow if any 

other readers would be 

able to assist in aproject 

I’vestarted, www. 

thephotographywiki.com. 

I’dliketohaveall the 

photographydefinitions 

in one place and have 

createdthe Photography 

Wiki to do this. But Ican’t 

fill it out because I’m 

learning at aslow pace! 

Iknow how websites 

and wikis work, but I’m 

slowly getting my head 

around professional 

photographyand so this 

sitewould benefit me, 

as well as manyothers. 

Adam Collins

12 

HotsHots 

Get inspired by nine pages ofthe very best 

reader photography from around the world 

DigitalCamera July2010

hotshots 

inspiringreaderphotography 


13

14 hotshots 


1 

“this is a two-section ‘vertorama’. I shot the foreground 

detail with along shutterspeed to gain exposureand 

motion and then movedthe tripod to vertical to capture 

the sky. Istitched the images together in Photoshop and 

tweaked the Curves, saturation and sharpening.” 

NikonD300withSigma10-20mmf/4-5.6 EXDCHSMlensat10mm; 

ISO100;twoexposuresat5secsand1.6secsatf/2.8 


Previouspage 

Poppy Sunset 

Aaron Bennett 

Portsmouth, UK 

The Pelican 

Alan Price 

Caernarfon Gwynedd, Wales 

2 

“there were dozens of exotic birds 

to shoot at Birdland, but the comical 

appearance of this pelican won the day. 

Iwanted to take afull-on portrait that 

would show off the wacky head plumage.” 

NikonD40xwithNikon70-300mmf/4.5-5.6G 

IF-EDlens;ISO200;1/500secatf/11 

loves… 

“thisisawonderful characterstudy that’s 

loaded with personality. your bold and 

confident composition works a treat.” 

AliJennings,digitaleditor 

Red on Green 

David Orias 

santa Barbara, UsA 

3 

“A slow shutter speed panning shot 

of a surfer catching an early morning 

wave. It’s different from the typical, fast 

shuttershots. Iused aPhotoshop plug-in 

to give the photo a Fuji Velvia look.” 

CanonEOS5DMarkIIwithCanonEF600mmf/4LIS 

USMlens&1.4xteleconverter;ISO50;1/6secatf/20 

High Above 

Karl Willson 

east Wittering, UK 

4 

“I took this image from the basket of 

a hot-air balloon, using a wide-angle 

lens to capture as much as possible of the 

surreal and vast landscape. I used Levels, 

Curves and saturation to varying extents.” 

PentaxK20DwithSigma24-70mmf/2.8EXDG 

Macrolensat24mm;ISO200;1/30secatf/9.5 

2 

3

hotshots 



4 

15

16 

5 


6 

7 

hotshots 


TrulyAsia 

– Teh Tarik 

Edward Wong 

Kota Kinabalu, Malaysia 

5 

“teh tarik is aChinese teapopular 

in Malaysia thatis‘pulled’ to form 

bubbles, which are believed to add a touch 

of softness to the tea. this photocaptured 

the teabeing made by aMalayguy in 

aChinese kopi tiam. Ilove the way it 

representsthe culture, harmonyand 

lifestyle in a multi-racial country.” 

NikonD300withNikonAF-S24-70mmf/2.8GED 

lensat24mm;ISO640;1/100secatf/2.8 

loves… 

“rob’s minimal shot is rightupmystreet. it’s all 

aboutanglesand symmetry.ialso love thedark, 

spooky look he’s given the image post-shoot.” 

SimonMiddleweek,arteditor 

Underneath 

Rob Cherry 

Bournemouth, UK 

6 

“I’ve attempted this shot quite a few 

times. the stormyconditions helped 

to create a great mist effect over the sea. 

I used a ten-stop filter to obtain the kind 

of exposureIwas after.Later,Iused 

Photoshop Cs4 to convert the image to 

black and white, and then adjustedthe 

Levels to enhance the overall contrast.” 

NikonD90withNikon16-85mmf/3.5-5.6GEDVR 

AF-SDX lensat70mm;ISO200;56secsatf/8 

Rome 

LeeJeffries 

Bolton, UK 

7 

“I sawthis man approach me 

and quicklyflicked my camerato 

continuous focus. Itracked him for afew 

seconds and fired off a few quick frames. 

Iblended atexture layertoeliminate 

background distractions and then 

painstakingly dodged and burned to give 

local contrast and light enhancement.” 

NikonD3withNikonAF-S300mmf/2.8GEDVRII 

lens;ISO250;1/1000secatf/2.8 


17

18 

this photo was taken in an abandoned mental asylum. 

I try to capture what, in my opinion, is the beauty in the 

decay, and then give the images an HDR treatment 


8 

9 

hotshots 


End of Days 

Andre Govia 

Berkshire, UK 

8 

“this photowas takeninan 

abandoned mental asylum. Itry to 

capture what, in my opinion, is the beauty 

in the decay,and then give the images 

an HDR treatment. I use Photoshop for 

exposuremapping along with multiple 

layers and Layer Masks.” 

CanonEOS5DwithSigma17-35mmf/2.8-4EXDG 

lensat18mm;ISO129;threeexposuresat0.6 sec, 

1/6secand2.5secsatf/5 

loves… 

“hdr can be over-used, but you’ve managed 

to use the technique skillfully to capture the 

intricate detail of this crumbling old building.” 

BenBrain,deputyeditor 

Whitby Abbey 

Sunset 

Ken Wilson 

sedgefield, UK 

9 

“this spectacular sunset onlylasted 

a short time, so I was lucky to balance 

my sLR and tripod on a wall and compose 

the shot in time to capturethe light on 

the side of the abbey. I used Photoshop to 

adjustthe Levels and the Dodgeand Burn 

tools to bring out the shot’s best features.” 

NikonD40xwithNikonAF-SDX Zoom-Nikkor 

18-55mmf/3.5-5.6GEDlensat28mm;ISO100; 

10secsatf/25 


19

20 hotshots 


11 


10 

What AreYou 

Looking At? 

Ireneusz Waledzik 

Glasgow, scotland 

“this imagecomesfrom 

10 my big collection of macro 

photographs. Iwakeupatabout 4am to 

go to some of my ‘secret places’. At this 

time of the day the insects are still asleep 

and move very slowly.this gives me the 

opportunity to get closer to them and 

achieve this kind of shot.” 

NikonD40withNikkor50mmf/1.8Dlensand 

extensiontubes;ISO200;1/400secatf/11 

loves… 

“the buoysand rope create foreground 

interest and draw the eye in, while the rich 

sunset colours are expertly captured.” 

GeoffHarris,editor 

Krabi Buoy 

Nick Walker 

st Ives, UK 

“this shot wastaken in thailand 

11 back in 2007 when I first picked up 

a camera. this was an amazing sunset on 

Railay beach, and I was lucky enough to 

have this great lead-in line,which takes 

you right into the sunset. I was very 

pleased with the result, but decided to 

tweak the Levels and try a little HDR.” 

NikonD40xwithNikon18-55mmf/3.5-5.6GEDII 

AF-SDX lensat18mm;ISO100;6secsatf/20 

send us your shots! 

Want to see your photos in Hotshots? 

then all you need to do is create a photo gallery at 

our website, photoradar (www.photoradar.com/photos) 

and then email the link to digitalcamera@futurenet.com, 

putting ‘hotshots’ as the subject. if we like your pictures, 

you’ll join the ranks of fellow Digital Camera readers who 

have featured on these pages over the years! 

Submit your photos today at

22 


Clive Nichols 

Camera skills 

01 Take macro 

flower shots 

Make the most ofsummer 

flowers withour expert tips 

Summer means flowers, and there’s no shortage of 

species to shoot. But howdoyou bag flowershots 

that will be interesting all-year round? Try extreme 

close-up or ‘macro’ images. Kit yourself out with a 

macro lens and get up early to capture flowers at their best. 

“Look for a specimen that has an interesting pattern of 

unfurling leaves,” says garden-photo guru Clive Nichols. “Fill 

the frame with the flower using a macro lens, as this adds to 

the overall impact and your eye won’t be distracted by leaves.” 

Overcast conditions tend to be better than working in direct 

sunlight, and shootwell out of the wind to avoid unwantedblur. 

Get started today… 

* Get a proper macro lens; we recommend the Tamron SP AF 

90mm f/2.8 Di Macro (www.tamron.co.uk). 

* Composition is crucial –focus on visually interesting areas 

and avoid distracting backgrounds by using a wide aperture. 

* Maximise colours and reduce noise by selecting a low ISO. 

* Use a tripod to minimise camera shake. 


23

Clive Mason (Getty Images) 

photo teChniques 

02 Tryyour hand 

at motorsports 

Make your RAW shots really roar! 

The summer months are a petrolhead’s 

dream, whether you’re an F1 or MotoGP 

nut, or more into classic motors. Head 

to glorious Goodwood for this year’s Festival 

of Speed (2-4 July) and you can rub shoulders 

with motorsports legends and other celebrities 

while bagging great shots of everything from 

muscle cars to bubble cars. Meanwhile, the F1 

British Grand Prix takes place at Silverstone 

on 9-11 July. Or, check out your local paper for 

details of classic car and bike rallies – colour, 

chrome and characters guaranteed! 


Get to grips with panning 

techniques and you could 

capturedramatic 

motorsports shots like this 

Don’t 

miss… 

Our interview 

with an F1 pro 

shooter 

on p100 


* Use a diffuser (or white card) and polarising 

lens filter for killer car close-ups on sunny days. 

* Don’t forget the details can look great too, 

so include decals, interiors and shiny chrome. 

* Try graduated filters (whether physical 

or in Photoshop later) to give your skies that 

dramatic Top Gear look. 

* Try panning when shooting car races – set a 

1/50 sec shutter speed and swivel your hips to 

create wonderful motion blur. Merely freezing a 

racing vehicle in a shot gives no sense of speed. 

DiGital Darkroom 

03 Lightup 

asunset 

Glorious sunset aphoto 

washout? Read this… 

Warm it up 

1Use Adobe Camera Raw (ACR) in 

Photoshop CS to liven up your flat 

sunset. First move the Temperature slider 

to a hot 12250. It’s a very similar process in 

Photoshop Elements. 

Back to black… 

2For deep tones and rich blacks in the 

foreground take the Blacks slider to 

around 15, the Exposure slider to -0.40 and 

Contrast to about 40. Use the Fill Light slider 

to recover foreground detail, if necessary. 

Thefinal polish 

3Move the Clarity slider to around 25 

to refine the midtone contrast and 

perceived sharpness. Set the Vibrance 

slider to a similar level to boost the colours 

while leaving over-saturated colours alone.

10things 

…to try right now 


04 Rock out with your SLR out 

Summer’s here and the time is right for… shooting in the mud 

That’s right, it’s music festival time! While 

ordinary punters are unlikely to get a 

space in the photo pit at the front, you 

can still get some great band shots at festivals, 

particularly at smaller events. When shooting 

bands, watch how they move around the stage. 

“Festival bands are usually younger and 

more energetic than arena and stadium 

bands,” says Classic Rock and Q photographer 

Laurence Baker. “Limited time slots mean that 

they’ll probably be giving it everything, so you’re 

going to want to keep shutter speeds high. 

Meanwhile, slow to middle shutter speeds are 

Youmay notget access to 

the photographers’ pit, but 

youcan still get amazing 

shots from the crowd – 

you just need the right kit 

great for shooting hard rock bands. If the 

guitarist’s headbanging, choose a shutter 

speed of around 1/60 sec to get a nicely 

blurred head but static body. As for which lens 

to use, if you can get away with using one lens 

with a wide focal range (like a zoom), go for it. 

Having to change and carry extra lenses in the 

festival muck is a pain.” 

Take plenty of storageand 

charged-up batteries, and 

get insurance if you camp 

And don’t forget the practicalities. Take 

plenty of storage and charged-up batteries, 

and get insurance if you camp. 


* Take along a good zoom lens for crowd shots. 

* Festival bands are often energetic, so freeze 

the action with a higher shutter speed. 

* Or slow down shutter speeds for some 

interesting panning effects, as with cars (left). 

* Open up the aperture (eg f/2.8) to isolate the 

subject and blur distracting backgrounds. 

* Keep ISO below 800 to minimise noise. 

Wuestenhagen/ Dalle / Retna Pictures 

25

26 

Adam Burton 


05 Get out into 

thecountryside 

Better weather means photo opportunities 

We’ve seen how great flower macros 

can look, but don’t forget the bigger 

picture. The countryside looks lovely 

at this time of year, so it’s the perfect time to 

hone your landscape skills. Remember, around 

dawn and dusk will give the best light. Then, 

frame your shot to include foreground as well 

as background interest (see page 52). Use a 

narrow aperture to maximise your depth of 

field and try an ND grad filter for a nice, rich sky. 

Finally, never leave your SLR at home, as the 

best photo opportunities are often unexpected. 

DigitalCamera July2010 June2010 

iStockphoto 


* Shoot in Aperture Priority mode and you can 

easily adjust the depth of field to ensure a crisp 

image from foreground to background. 

* Use a tripod to avoid camera shake and 

make the most of slow shutter speed effects 

(slowed-down, ‘milky’ water, for example). 

* As well as ND graduated filters, get a polariser 

– this will help to reduce reflections. 

* Always shoot RAW so you can bring out 

maximum detail from your landscapes in 

Photoshop or Photoshop Elements later. 


Bouncy castles, tombolas, brass bands 

and cream teas – that’s right, it’s summer 

fête time. To make sure you don’t end 

up at a fête worse than death, do a bit of local 

research to find the best events, and then go 

equipped to get great shots of your family or 

just interesting local characters. Shoot 

handheld, in a discreet, candid way that won’t 

cause subjects to pose or be self-conscious. 

County shows can yield great photo 

opportunities too. Get out there with your SLR, 

but be tactful if you’re taking photos near other 

above and top Deep depth of field, 

layers of visual interest and punchy 

colours… As Adam Burton’s images 

reveal, these techniques can really 

lift your scenic shots. See your free 

landscape supplement for more tips 

06Be a fête-alist! 

Make the most of colourful local events this summer 

people’s kids – it’s best to ask permission 

before you start shooting. 


* Use faster shutter speeds to freeze kids at 

play or slow them down for creative blur and 

panning effects. 

* When shooting local characters, use a wide 

aperture (low f-number) to isolate the subject 

and blur the background. 

* Zoom in on evocative details of the day, 

such as backslapping locals at the beer tent.

Françoise Mascaraque 

Corbis 

28 

10things… 



07Catch 

summer 

in the city 

Scour the streets for 

photo opportunities 

Summer’s not just about glorious 

countryside; our great cities come to life 

at this time of year too. Whether you live 

in London or Llandudno, there’s tons of vibrant 

street life to capture with your camera, not to 

mention the many street festivals and free gigs 

that take place in the summer. 

Remember to take your camera everywhere, 

use a long zoom for candids and use a shallow 

depth of field to isolate subjects from their 

background. If you want to sell a candid street 

portrait to a stock library, bear in mind that you 

will need a model release form – in other words, 

the subject will have to agree formally that their 

likeness can be used for commercial gain. 


* Set up your D-SLR beforeyou leave.City 

streets are busy and change fast, so you don’t 

want to miss a shot while you faff with settings. 

* Use a long zoom lens (or your camera’s rear 

LCD screen with Live View) for candid shots. 

* Use a wide aperture (such as f/4) to isolate 

subjects from their background. 

* Don’t have the subject looking at you or 

posing – you want a natural, spontaneous look. 

But be sensitive to people’s feelings. 

* Try different angles and perspectives to get 

that gritty reportage look. 


Camera skills 

08 Shoot from thehip 

Capture the world differently for original shots 

Bored of shooting in the same old way? 

Why not try shooting from a different 

angle – from the hip, for instance, 

upside down, whatever. Many new cameras, 

particularly Micro Four Thirds hybrid and bridge 

cameras, also come with articulated screens, 

which can be twisted around for interesting 

and disorientating effects. Or (carefully) throw 

your camera up in the air, setting a slow shutter 

speed (try half a second) for cool effects. 

above This great 

summer scene was 

shortlisted in the 

This Is Britain 

category of 2009’s 

Photographer of 

the Year (POTY) 

competition. See 

page 145 for details 

about this year’s 

competition 

left Keep a lookout 

for interesting shots 

and don’t forget 

that the obvious 

angle isn’t always 

the best 


* Set up your D-SLR before you leave to avoid 

missing creative photo opportunities. 

* Experiment with slower shutter speeds 

(1/50 sec, for example) and panning. 

* Use a medium to wide focal length, such as 

28mm to 50mm. 

* Try using a long exposure when throwing a 

camera up in the air for cool blurred effects. 

* Get some inspiration from www.in-public.com. 

Corbis


09 Here 

comes 

the sun 

Go on,break therules… 

Forget old photography chestnuts like ‘never shoot 

into the sun’, you can get some great effects by 

taking advantage of strong summer sunshine. 

Agreat place to startiscontre-jour (‘against daylight’), 

where you point directly to an object against the sun in 

order to backlightit. This is agreat silhouette technique, 

especially if you isolate the sun’s rays coming through 

a tree, for example. Or why not mix strong sunlight with 

fill-in flash, as Brett Harkness did with this image. 


* Contre-jour is all about positioning – move around 

so you get in the right place in relation to the sun. 

* Under-expose forcontre-jour,because the camera’s 

metering could get fooled by over-bright areas. 

* Try using a studio light off camera when shooting a 

model against bright sunlight, and again, under-expose. 

* Don’t point your SLR straight at strong sunlight with 

nothing in the way. It’s bad for your eyes and camera. 

* Keep an eye out for strongly defined shapes and 

patterns when shooting silhouettes. 

10things 


Forget old chestnutslike‘never 

shootintothe sun’.Try isolating 

rays coming through a tree Brett Harkness 


29

David Caudery 30 

10things… 


Your 

Mission 

10Take our latest 

photochallenge 

Hitthe city andcapture some stunning 

urban abstracts – you could get your shots 

in print and win a great Lowepro rucksack 

The term ‘urban abstracts’ sounds a 

bit pretentious, but it’s actually pretty 

straightforward – it’s about finding 

eye-catching shapes and patterns in 

town and capturing them with your camera. 

Just look around you for a minute and see 

how many strong and distinctive shapes and 

patterns you notice. Maybe it’s the sweep of 

a staircase, railings silhouetted against the sky, 

or the futuristic effect created by zooming into 

a detail of a striking modern building. 

In fact, many large towns and cities in the 

UK have had old industrial areas regenerated in 

the last few years, so you might be surprised at 

how many interesting-looking modern buildings 


are on your doorstep. Shooting urban 

abstracts gives you a chance to try new 

techniques too, such as using fish-eye lenses 

for a radical new perspective, or converting 

to black and white in editing software. 


* Look for interesting shapes, patterns and 

textures; railings, glass, concrete, whatever. 

* Go for striking and contrasting colours. 

* Composition should always be paramount, 

so weed out distracting visual elements. 

* Consider using an ND grad lens filter to perk 

up boring-looking grey skies. 

* Increase ISO for interesting grain effects. 

WIN a Lowepro Flipside 400 AW 

Each month we’re giving away this high-capacity Lowepro 

camera backpack worth £120 to the lucky winner of our Your 

Mission challenge. 

* The Lowepro Flipside 400 AW backpack has been designed for 

a full day’s shooting – come rain or shine. 

* This high-performance camera backpack offers expanded 

capacity, with room for a professional D-SLR with a zoom lens 

attached, plus four to six additional lenses. 

* The Flipside 400 AW features aunique back-entry 

compartment that provides easy access to gear when setting up 

– keeping the harness off the ground and clean – plus extra 

security when on the move. 

www.lowepro.com 

hoW to enter Create a gallery on www.photoradar.com, upload your entry and email the link to 

digitalcamera@futurenet.com with ‘Your Mission: Urban Abstracts’ in the subject line by 26 July 

2010. The three best shots will be printed in issue 103, on sale 24 August 2010. A selection of the 

best shots will appear on our website. 

Geturban 

inspiration 

Still notsurewhattoshootfor this 

month’s Mission?Asmentioned, 

it’s just about getting out with your 

camera and keeping an open mind and 

sharp eye, but here are some examples to 

get your creative juices flowing. Inspiration 

is all around you, and you might even 

notice something eye-catching in a place 

you pass everyday if you keep an open 

mind and try different shooting angles.

At the heart of the city… try some of these funky visual approaches 

1For this shot, our art editor 

stood safely under a pylon, using 

a narrow aperture to maximise the 

depth of field. The mono conversion 

was done in Adobe Camera Raw. 

2A great example of how to use 

glass, reflection and shadow to 

create abeguiling urban abstract. 

Again, the RAWfile wasconverted to 

mono and a split-tone effect added. 

3Forthaton-trend modern art 

look, try capturing strong colours 

and bold shapes; here, the stripe of 

white paint contrasts nicely with the 

black hole and rivets. 

Seeissue 99’s 

best entries 

overleaf! 

4Don’t forget compositional 

aids such as the rule of thirds. 

By placing the circle and stripe 

off-centre, the overall effect is much 

morepleasing to the eye. 


31

32 

Your 

Mission 

WInners 

Last issue’s Mission was 

‘Green’. Here are the 

top three shots... 


1st 

The Last Green 

By James W Gillies 

“This simple shot may look like it was 

taken on a weekend golfing trip, but I 

actually took it at 7.15am, on the way to 

work. I think the low early morning sun 

really brings out the vibrancy of the 

2nd 

Ten Green Bottles 

By niCk kemp 

“I shot these bottles hand-held, using a single Bowens 

400w lamp and a standard reflector directed onto the 

back of the bottles against a light coloured background. I also placed a 

black board on top of the bottles to get the reflections where I wanted 

them, under the rims.” 

Canon eos40D with Canon eF 35mm f/1.4 lusm lens; iso200; 1/250 sec at f/4.5 

green. I was mindful that if you use the 

lens at its full zoom, and focus at not too 

far a distance, it shortens the depth of 

field. Because there was a rise up to the 

green itself, which then fell away to the 

hole, I was able to lay down on the grass 

and use the highest parttosteady my 

camera and lens.” 

nikonD40xwithtamronaF70-300mmf/4-5.6 

DilDmacrolens;iso100;1/100secatf/5.6 

3rd 

Into the Unknown 

By Joseph lamBert 

“This picture was an experiment with shutter speeds. 

I closed the focal area down to a single point and auto 

focused on the light. The camera was mounted on a tripod to eliminate 

camera shake and a shutter speed of 2.5 seconds let in just the right 

amount of light to isolate the surrounding railings and the arch.” 

olympus e-600 with Zuiko Digital 14-42mm f/3.5-5.6 eD lens; iso200; 2.5 secs at f/8 

Fancy your chances at this issue’s Mission? Upload your shots today on our website –

All the news, reviews 

and photo ideas a 

Photographer needs! 

Rachael D’Cruze Contributor, PhotoRadar.com 

www.photoradar.com 

facebook.com/photoradar 

twitter.com/photoradar 

Step-by-step 

techniques 

Upload and share 

your portfolio 

High-quality 

video lessons 

Daily news and 

in-depth reviews

01 Peak Cavern, Peak District 

My camerawas triggered with a 

radio shutter on Bulb mode, but 

first an LED torchlit the model 

from the front. In complete 

darkness, I then ran behind and 

shone the lightathis back. I 

waved an electroluminescent 

wiretocreatethe fireeffects, 

and then ranaround with a£2.99 

multi-colour LED glow stick for 

a minute or so. This is the image 

straightout of the camera– 

there was no post-processing

01 

What lies 

beneath 

To kick offour series on extreme photography, 

we meet Rob Eavis, acaving specialist who 

managestoget great shots while crouching in 

the dark, or submerged in freezing water… 

Cave photography is a specialist 

area – how did you get into it? 

My father is acaveexplorer and 

photographer, and always has 

been. Igrewupsurrounded by 

photos of his fantastic adventures all over 

the world, discovering new cave systems in 

China and Borneo. He’s in Borneo at the 

moment for amonth. Iwent on the 

occasional fun trip with him in the UK, but 

it neverreallycaught me.Iwasyoung,still 

toointerestedinrollerblading and other 

extreme sports, but I joined the caving club 

at Sheffield University and that all changed. 

How dangerous is caving, and getting great 

caving photographs? 

Caving is, in general, a very safe activity. 

Yes, youneed to be careful, research the cave 

you’re visiting and make sure the weather is 

suitable, but it’s all easy stuff to predict and 

protect yourself against. 

The mostdangerous timesfor the most 

experienced cavers are probably when they’re 

MISSION FACTFILE 

What: To adopt, create,re-use 

and evolvenew underground 

photographic techniques. 

Where: Mainly the impressive 

and varied cavesofthe Peak 

District, as well as a yearly 

overseas expedition –this 

year it will be to the beautiful 

mountains of Albania. 

Who: Rob Eavis – sales 

manager during the week, 

cave photographer 

PostCarDs 

…from the edge 

extraordinairewhen the 

weekend arrives. 

Kit list: Canon EOS40D, 

Canon EF-S 10-22mm 

f/3.5-4.5 USM, cheap 

second-hand flashguns, radio 

slave triggers, 1300 Pelicase, 

Manfrotto 715SHB compact 

tripod, assortedcheap and 

tacky LED lights. 

More info at: www.flickr.com/ 

rob_eavis 

distracted by other things. Photography, 

for example,can easilyencourageyou to 

not look where you’re placing your feet. A 

twistedankle afew milesunderground can 

be aserious problem! 

What sortofprecautions do youtaketo 

keep yourself safe? 

The clothing and equipment we use is 

designed specifically to protect us against 

the harsh conditions of the caves. Under our 

water resistant over-suits we wear high-tech 

fleeces thatdry instantaneously. If they’re 

wetcaves then we’ll wear thick wetsuitsto 

keep us warm. Tough kneepads and helmets 

are a must for all but the easiest trips. 

It’s common to take a small amount of 

provisions and afirstaid kit underground 

with you, just in case. 

What’s the biggest risk youhaveevertaken 

to get a photo? 

Often the best position to take a picture of 

aperson in adangerous location, sayabove a 


35

36 

PostCarDs 

…from the edge 

02 apassage in Peak Cavern, 

Derbyshire 

An LED lightwas placed about 20 

metres behind Katie. My camera 

wasonatripod and Iused acable 

release. It turned out as a 

17-second exposure, but was 

only intended as a set-up shot! 

03 Paracetamole cave, 

stoney Middleton, Derbyshire 

I was amazed to find these little 

gems hidden behind apile of 

boulders. Ihad to lie on my side, 

squeezed into the bedding plane 

–lightturned off, camerainmy 

righthand, flashgun in my left. 

Ihad no slave units so had to 

trigger them manually 

04 West Chamber in 

oxlowCaverns, Derbyshire 

Igot this effect using spinning 

wirewool, which I’dset alight.I 

had my shutter on radio release 

and my camera in Bulb mode 

05 Bagshaw Cavern, 

Derbyshire 

Asmall section of the cave that 

was worked by old lead miners 

hundreds of years ago.There’s a 

flashgun in the caver’s right hand, 

triggered by the optical slave of 

the camera’s on-board flash 

06 ogof Ffynnon Ddu 

in south Wales 

The easiest cave photo I have 

evertaken! Iput ahomemade 

LED unit behind them, turned 

their lights off, and got the shot. 

Then we did the YMCA… 


02 

03 04 05 

06 

“You’rehanging there, in thedark,above a30-metre 

drop.thenyou realiseyou need to take your rope 

attachment off because it shows in the foreground” 

big drop,isinanevenmoredangerous 

location! To photograph a person ascending 

arope it’s good to get above the rope, up near 

whereitattachestothe roof. So you’re 

hanging there, in the dark, above a 30-metre 

drop. Then you realise you need to take your 

rope attachment off because it shows in the 

foreground. Probably a stupid thing to do, 

but unfortunately sometimesthere’sjust 

no way around it. 

Howdoyou achieve your painting with 

lighteffects? 

Iget my burning explosion shotsusing 

spinning wirewool thathas been ignited 

with amatch. In the spinning process the 

wool is aerated and burns extremely hot, 

letting off sparks. For misty glowing shots 

Iuse electroluminescent wire, wobbling it 

about while all other lights are turned off. 

On their own, these light techniquesare 

interesting, and get people’s attention, but 

it’smyambition to reallypush their creative 

possibilities. Finding effectsthatsuit the 

cave environment is the difficulty, but we’re 

right at the start of this journeyand there’s 

lots of work to be done. 

What’s it like shooting underground, 

semi-submerged in water? 

Normally, it’s very calm and still. Random 

strangersaren’twatching you, looking 

whereyou’rephotographing. Time isn’t 

toomuch of an issue, and you certainly 

aren’t bothered if it’s cloudy or sunny 

outside! Occasionallythe semi-submerged 

situations can get exciting, especially on 

rickety tripods. 

You’re obviously very passionate about 

your work. What keeps you shooting? 

My inabilitytocompletemy‘photographic 

mission’! Ienjoy both the technical 

challenges and the artistic results.

Fast-track your career with 

Barrett &Coe Portrait and 

Wedding courses 

● Ideal for anyone considering acareer change; 

full or part-time 

● Discover how to take stunning, contemporary 

images with customer appeal and high 

commercial value 

● Learn askill and how tomake money out of 

it as fast as possible 

● Find out how to build aprofitable and enjoyable 

business with our franchise options 

For more details and to book call (01603) 629 739 

or email enquire@barrettandcoe.co.uk 

(Lines open Mon-Fri, 9am -5.30pm) 

“The training is ideal 

to set you up for a 

career change with 

lots of support and 

practical experiences 

which other courses 

do not provide.” 

Michaela Beaumont, 

completed Portrait course, 

option 1, June 2010. 

www.barrettandcoe.co.uk

38 

Joby Sessions 


Ever dreamed about making a living from your 

photography? Chrisgatcum has a practical guide 

for anyone keen to make cash from their camera 


39

40 

iStockphoto x4 

ditch the dayjob 

I 

fyou’ve been shooting 

forafew years, there’s 

every chanceyour hard 

drive is bursting with 

images of far-flung 

destinations, local landscapesor 

the flowers in your back garden. 

Regardless of the subject, all of 

your shotshaveone thing in common 

– they’ve got the potential to be 

transformed from pixels into pounds. 

How you go about this comes 

down to one simple choice: do you 

want to sell them directly, or do you 

want to have someone else do it for 

you? If yougodownthe self-selling 

route, there’sone hugebenefit –you 

canset whateverfeesyou likeand, as 

long as someone’s willing to pay, you 

get every penny. Sounds good, yes? 

It is, but it’s not quite that simple. 

Forastart, youneed to find people to 

buyyour pictures and, evenwith the 

slickest website, it’s going to take a lot 

of work finding people whowill spend 

their money on your shots. If you do, 


then you’ve got to enter the minefield 

of rights negotiation and contracts, 

which canquicklytakemoretime and 

effort than you necessarily want or 

need to devote to it. 

Stock up 

If that’sthe case,then the other 

option is to have somebodysell your 

images for you, which means placing 

them with a stock library such as 

Corbis, AlamyorGetty (who also own 

iStockphoto and license images via 

Flickr). The advantage here is that 

the companywill already have ahuge 

number of customers who use them 

as afirstport of call, and they’ll take 

care of the licensing and contractsas 

well, leaving youtosit back and wait 

for the cash to come in. 

“you couldearnthousands 

of pounds if someonewants 

an exclusivelicense” 

DO read the rules 

All libraries have different 

submission requirements, so read 

these carefully – you don’t want 

your images rejected just because 

they’re the wrong file size, for 

example. Get it right the first time 

and avoid headaches later. 

DON’T pay up front 

If a library asks for an up-front fee 

for submitting your work or for 

keeping your images on file, just walk 

away. The library is going to get a cut 

of any sale, so why give them two 

bites of your photographic cherry? 

DO keep the work coming! 

It’s no good sending a handful of 

images to a library and expecting 

the payments to start rolling in. 

Submitting hundreds, if not 

thousands, of images will give you a 

much better chance of sales in this 

highly competitive market. 

However, while stock libraries 

take the pain out of the process,this 

has to be tempered with ahugedose 

of reality. As competition in the stock 

markethas increased, so per-picture 

prices have dropped –iStockphoto 

has a disparagingly named ‘Dollar Bin’, 

for example,whereimages cost,asthe 

name suggests, just one dollar. 

As the libraryisgoing to take 

ashareofany sale (which could be 

anything from 40-80% of the total), 

this could mean youreceive pennies 

for an image sale. That said, you could 

also earn several thousands of pounds 

if someone wanted an exclusive 

license on an image, or a single shot 

sold thousands of times over. This 

isn’t going to happen every day, but it 

is possible –and let’sbehonest,you 

won’tsee apennyifyour pictures are 

justsitting on your harddrive… 

DiffiCulty rating 

Sell your photos 

Start turning your photo library into a second source of income 

Followthe rules of good stock 

photography and it could 

turn into a real money-maker 

Earning potEntial 

the dos and don’ts of Stock photography 

DO choose your rights 

Some libraries allow you to choose 

whether you want to sell your 

images on a royalty-free or 

rights-managed basis. What’s the 

difference? Well, in a nutshell, 

royalty-free images command a 

lower price, but because of this they 

can consequently sell in higher 

quantities. Rights-managed images, 

meanwhile, cost more to the 

end-user (thus limiting the number 

of buyers), but will give you a higher 

return as a result. 

DO check the exit 

Before signing any agreement with 

a library, make sure you find out 

how long you’re tying your images 

in with them for, whether they have 

exclusive distribution rights and 

what sort of notice period you have 

to give them if you want to move 

your images to another library, or 

simply reclaim them.

Stock that sells 

With millions of images to choose fromand hundreds of image libraries supplying 

them, competition is fierce, but it’s still possible to make a killing on the ‘stock market’ 

Landscapes (above) 1With a collection of just over 2,000 

royalty-free images, the iStockphotoexclusivephotographer 

known simply as 

‘AVTG’ has generated in excess of 120,000 

sales over the past five years. This 

beautifully illuminated woodland scene – 

known as Autumn Forest – has been paid 

for almost 4,000 times alone. 

Portraits (below left) 2Business-style portraits are always 

popular for companies looking to produce 

corporate material, whether it’s a printed 

brochure or newsletter, or for online 

publication, especially if there’s space for 

copy on the image. This shot has netted 

photographer Nicole Waring over 10,000 

sales in the past two years – up to £50,000! 

3 Creative shots (below right) 

Although this creative water droplet 

image can be found in iStockphoto’s Dollar 

Bin, its low price has helped this royaltyfree 

shot to sell over 1,100 times – and all 

those dollars soon add up! Had it been on 

at a royalty-based price, it possibly would 

neverhad received such exposureand thus 

earned less moneyfor the photographer. 


41

42 


Runa 

workshop 

Chris Weston (www.chrisweston. 

uk.com) walked away from his 

nine-to-fivetopursue acareer as 

a wildlife photographer, running 

workshops to share his passion. 

What advice would you give to 

anyone looking to start running 

a photography workshop? 

There’s intense competition, 

so you need to find a niche. And 

you must be confident that you 

know what you’re talking about. 

Being published in magazines or 

authoring books, for example, will 

help you gain credibility. 

What would you recommend as 

the maximum number of students 

for a workshop? 

Numbers can be limited by logistics 

– the number of seats in your 

transport, for example – and the 

leveloftuition; the higher the level, 

the fewer people attending. 

What’s the best way to advertise 

your workshop? 

Likeany business, youneed to 

explore multiple channels such as 

magazines, online and awebsite. 

Social networking sites arealso 

becoming popular because they 

givepeople the chance to get to 

know you and your style before 

they commit to spending money. 

how much should you charge? 

You need to work out the per 

person cost to run it, including fees 

to outside contractors, travel, 

advertising and so on, and set it 

against your desired profit. 




Setting yourself up as a 

social photographer and 

shooting portraitsand 

weddings is a moneymaking 

routewith the 

potential to grow into a full-time 

career, but it isn’t an easy ride. 

“This over-saturated market isn’t 

for the faint hearted, but if done well, 

there’snoreason whyyou can’tmake 

a great living from the social market.” 

So claims Brett Harkness (www. 

brettharknessphotography.com), 

aManchester-based photographer 

whoknows exactly what’s involved in 

going it alone and setting up asocial 

photography business. 

“The best adviceIcan give is 

practice, practice, practice. Assisting 

other photographers can be a great 

way of getting good shotswithout 

the pressure, or you can use family, 

friends, neighbours or someone’s kids 

to practice on – anyone who will help 

youcreateabroad bodyofworkthat 

youcan use to showpotential 

customers what you’re capable of.” 

Of course,taking pictures of people 

you know is relatively easy, but taking 

this to the next level(getting 

completestrangerstopose in front of 

your cameraand payfor the privilege) 

In asaturated 

market, you have to 

work hardtomake 

yourself –and your 

work –known, says 

Brett Harkness 

“Ifyou’restartingout,you 

shouldget yourself known 

within your local community” 

is the real challenge. The onlyway to 

do this is to make them aware of you, 

and that means advertising. 

coMMunIty SerVIce 

“You canbethe best photographer 

around, but if no-one but your hard 

drive knows about your pictures then 

there’s absolutely no point!” says 

Harkness.“If you’restarting out, get 

yourself known within your local 

community. Photographing kids is a 

consistent market, so approach play 

centres and kids clothesshops with 

leafletsadvertising your services.Ask 

them to put your literatureintotheir 

shops and offer to take pictures of 

their productsinreturn –you’ll be 

giving them something thattheycan 

use, and expanding your portfolio.” 

However, when it comes to other 

people paying for your services,you 

need to be realistic about what you 

cancharge.When you’restarting out 

it can be tempting to do a few jobs for 

free, but Harkness isn’t convinced. 

“Don’tdotoo much for free,asit’ll be 

a hard spiral to get out of,” he says. 

“Someone referring youtotheir 

friend is one thing,but if theyweren’t 

charged for the work, their friend 

would expect the same,socharge 

what you’reworth. Don’tovercharge 

though –it’simportant thatclients 

aren’t scared away by your prices.” 



Work as a social 

photographer 

look the part 

Arm yourself with this essential kit to ensure the best results 

a full-frame D-Slr 

will give you a shallower 

depth of field with 

wide-aperture lenses than 

an APS-C sized sensor, 

while the option to record 

HD video could be an 

added bonus for wedding 

shooters. If you want to 

shoot in low light, or make 

your subject stand out, 

fast f/2.8 zooms are the 

way to go. A wide zoom 

will enable you to cover 

large groups or show a 

subject within their 

environment, while 

alonger zoom lens is 

perfect for head-andshoulders 

shots. 

A versatile piece of 

kit, a flashgun can light a 

shot, subtly liftshadows 

or be taken off-camera 

and used to create a 

portable studio. As your 

business starts to grow, 

you’ll be able to substitute 

hotshoe flashes for 

location lighting kits.

Get the contemporary look 

Brett Harkness’s bold, bright and contrasty images have a fresh and breezy 

look that you can try and emulate for your own contemporary social shots 

1 Exposure 

Most of the time, Harkness shoots JPEG 

images, which means getting the exposure 

right is important. Under-exposing the 

image slightly helps, because it means more 

detail can be kept in the highlights –it’s 

much easier to recover shadow areas. 

2 Curves 

Once he has the shot, it gets taken 

into Photoshop for ‘spicing up’. The process 

starts with acontrast-boosting Curves 

adjustment, and then Nik Software’s Color 

Efex Pro plug-in is used to brighten the 

midtones and boost the colour saturation. 

3 Colour and contrast 

The Background layer is then 

duplicatedand its Blending Mode set to 

Hard Light. This punches up the overall 

colour and contrast, and after a little 

dodging and burning, the image is complete 

and ready for the world to see. 


43

44 


Thosewho 

can, teach 

Teaching an evening class won’t 

get youout of your dayjob,but it’s 

a great way of making a bit of extra 

money, sharing your experience 

with like-minded people and 

perhaps even learning something 

from them too. However, before 

you can start you need to do a bit 

of homework yourself. 

First off, you need to identify 

learning centres that run part-time 

evening classes (although not 

necessarily in photography). It 

might sound obvious, but try and 

keep them local – you’ll be getting 

paid an hourly rate that won’t 

include your commute. 

pitCh it right 

Take a look at the ‘competition’. 

Colleges that already run part-time 

photography courses will obviously 

have one or more tutors, so you 

need to approach them with 

something different –there’s no 

pointproposing abeginner’s 

photography class if they already 

run one. Think your course through 

and write down exactly what you’ll 

be teaching on a week-to-week 

basis and, most importantly, what 

the students will learn from you 

(the ‘learning outcomes’). 

Once you’ve got your course 

plan together, it’s time to make 

your ‘pitch’, which means arranging 

a face-to-face meeting with the 

course co-ordinator. This is 

basically a job interview, so make 

sure you sell yourself and your 

course – all going well, you’ll be well 

on your waytothe frontofthe class 

and a fulfilling future career. 




Ten great tips for 

selling prints & 

merchandise 

Twelve years ago, 

andrew Ray owned a 

pet shop and had just 

takenupphotography 

as a part-time hobby. 

However, in 2008 he became a 

full-time photographer, supplying his 

images as fine-art prints, cardsand 

calendars to galleries and shops across 

the county, and selling direct at local 

eventsand through his website 

(www.andrewrayphotography.com). 

So howexactly doesapet-shop 

owner become asuccessful fine-art 

photographer in the spaceoften 

years? He shares his top ten tips: 

1Alocal galleryorcraft fair is a 

good way of determining if people 

areinterestedinyour work.A 

selection of 20 images produced as 

both mounted prints and cards is a 

good starting point. 

2Captureimages at different 

times. Manyofmycustomers 

prefer printstaken in the type 

of conditions they would experience, 

rather than the ‘golden hours’ around 

sunrise and sunset. 

3Offer similar images in both 

horizontal and vertical formats 

wherepossible,and in avariety 

of sizes. Don’t worry about framing, 

though, as mostpeople prefer to 

choose their own frames. 

4Print and mount the 

photographs yourself when 

ordersare received. This helps 

keep costs under control and prevents 

Andrew Rayhas 

made the giant leap 

from pet shop 

owner to full-time 

photographer 

“a selectionof20images 

as mounted prints and cards 

is a good starting point” 

overstocking –commercial printing 

requires quantitypurchasestobecost 

effective,and dead (non-selling) stock 

just ties up your capital. 

5Invest in quality equipment, 

including aphotoprinter 

capable of producing archival 

professional prints to at least A3 size. 

A printer that can use a variety of 

media will broaden your range. 

6Presentation is important. 

Many shops/galleries require 

youtosupplyyour owncard 

racksand photostands. When selling 

at craft events, lightsare important to 

display your work to its potential. 

7Set up awebsitewith the option 

to purchase via PayPal. There 

arenumerous cost-effective 

template styleoptions available,such 

as Clikpic, which helps advertise your 

business and increases sales. 

8Mounted printsand cards 

arebestsuited to postal 

distribution; onlyspecialist 

carrierswill accept framed prints 

under glass. Mounted printscan 

easily be shipped in a flat-packed box. 

9You’ll need to inform your 

taxofficeifyou start earning 

anything through selfemployment, 

and will need to keep 

records for your tax return. 

neglect your 

photography! It’seasyto 

10Don’t 

getcaught up in printing 

and selling, but people will expect a 

newselection of images to choose 

from on a regular basis. 


Earning potEntial

MOUNTS BAY SUNSET has won national 

and international competitions – including 

Best Digital Landscape in the 2007 Bristol 

International Salon of Photography. It was 

taken by Andrew Ray before he started 

his company, but it remains one of his 

best-selling images. “I guess it’s because 

it has a tranquil, timeless quality,” he says 

prepare your ShotS for prInt 

1 Optimise 

The first step with any print is to 

optimise the image. This means checking 

and adjusting the exposure as necessary, 

using Levels to ensure your black and white 

points are set, and perhaps adding (or 

removing)some contrast using Curves. 

Once the exposure is set you can 

accurately see and correct any colour casts. 

2 Resize 

Some people liketoresizetheir images 

so that they match the intended print size 

at a 300ppi resolution. Although this isn’t 

really necessary for small print sizes if 

you’re printing them yourself, it will speed 

up the time it takes to upload them to an 

online lab if you’re planning to have them 

commercially printed. 

3 Sharpen 

The final step in your print preparation 

is to sharpen the image, which should 

always be done after the image has been 

resized because the print size has a direct 

impact on the amount of sharpening 

required. In Photoshop, use either the 

Unsharp Mask filter or the Smart Sharpen 

option, which offers greatercontrol. 


45

46 

Approach 

localfirms 

John Durrant of www.propertyphotographer.co.uk 

turns a profit 

from photographing property, 

so why don’t you show your local 

estate agents what you can do? 

Estate agents seem happy to 

advertise properties snapped on 

a compact – why is that? 

The only explanation I can come 

up with is that a lot of agents don’t 

realise they’re in the marketing 

business. A few photographers 

knocking on their doors might 

enlighten some of them! 

So is ‘knocking on their doors’ 

the best way to get business? 

There’s no substitute for seeing an 

agent face to face. Take prints to a 

meeting to show them your work, 

although a good website is also an 

important marketing tool. 

how much can you charge? 

At the lowerend of the property 

market you might be charging 

£30-£50 for a job that might take 

an hour or two, while properties 

over £1m are likely to involve 

advanced techniques and 

additional time in Photoshop. At 

that level you’ll need to charge 

£350-£700 per day. 

how busy could you be? 

The peak selling season is spring, 

and this year I was flat out, working 

every dayfor almost twomonths. 

That kind of stress and effort is not 

for the faint-hearted, but it would 

typically be followed by a less busy 

period over the summer. 




iStockphoto 

Make cash from 

your holidays 

above Alwaysask 

before taking 

pictures of locals – 

some nations are 

sensitive about this 

Last year’s POTY 

winner Bragi 

J. Ingibergsson 

There’snothing like 

going on holidayand 

taking pictures of 

exciting new places, 

but while you’ve got 

your camera with you, why not take 

advantageofthe opportunityto 

recoup some of the costs? 

While youcould set up aspecialist 

photoholidayand ask otherstopay 

to join you in a photogenic location, 

the holiday/work bias will obviously 

be shifted towardsthe latter as you 

take on the role of tutor-come-host. 

However, youcan still potentially 

make some money and have a ‘proper’ 

holidayifyou think alittlemore 

laterally. Forexample,when you 

booked your holiday, it wasmost 

likelypictures of hotels, campsites 

and destinations thathelped you 

decide. Brochures and websites get 

With prizes totalling £850 in each of 

its 12 categories, plus a cheque for 

£10,000 for the overall winner, you 

don’t need to look any further than 

Digital Camera’s Photographer of the 

Year competition forthe chance to 

makemoneyfromyour photographs. 

But with morethan 101,000 entries 

last year, you’ll have to fend off some 

pretty stiff competition if you want 

to emulate last year’s champion, Bragi 

updated regularly so, while you’re 

away,why not shoot some pictures 

with aviewtomarketing them to the 

placeyou stayed when youget back? 

Making £20 for ashot of acampsite 

would pay for a night, perhaps. 

Speculate too… 

Similarly,consider shooting images 

for stock libraries, competitions and 

magazines – not just photography 

publications, but travel and holiday 

magazines as well. It’s speculative 

work, but thinking about where you 

are, who might use pictures of it and, 

mostimportantly,contacting them 

when youget back could coverthe 

cost of morethan afew of the meals 

you had under the summer sky. 


Enter POTY and win £10,000! 


J. Ingibergsson: “I’ve been taking part 

since 2005 and, in this time, three of 

my photoshavewon prizes and two 

were highly commended,” he reveals. 

”I wanted to win awards, but the most 

important thing formewas to enjoy 

photography – if you get a prize, great, 

but I don‘t shoot with that in mind.” 


Earning potEntial

16 PAGES 

OF EXPERT 

ADVICE FOR 

SLRUSERS 

52 Core Skills 

Discoverhow to frame 

your landscapeslikeapro 

with our foreground 

compositional primers 

55 Gear Craft 

Prevent your tripod 

falling apart by giving it 

a jolly good clean – we 

explain how to do it 

THIS MONTH’S HIGHLIGHTS 

56 CreativeZone 

Capturestunning fine-art 

shotsbyheading out into 

the woods with your SLR 

and a flashgun 

60 Jargon Busting 

Doubleexposures are 

reallyon-trend, but what 

are they and how do you 

do it? We explain all... 

D-SLRCAMERASKILLS 

S H O O T ! 

Your complete camera skills improvement plan 

66 Kit Hacks 

Field skills expert Ben 

Birchall shows youhow 

to getsteadier shotswith 

lentils and some old jeans 


51

52 

Paolo De Faveri 



CORE SKILLS 

FOREGROUND 

ATTRACTIONS 

Transformyourlandscapesbyusing naturally 

occurring lines and objects to draw in the eye… 

However strong the mid-ground and 

background in your landscape shot, 

it will fall at the first hurdle if it lacks 

foreground interest.There’s nothing particularly 

complex about this element of photocomposition 

theory; it’s simply about ensuring 

there’s an object or natural feature in your 

landscape image that strikes the viewer’s eye 

and leads it into the shot. It’s got to be in the 

foreground, and it’s got to be interesting or 

eye-catching – in other words, aesthetically 

pleasing. That’s whyyou tend to see mossy 

boulders or flowery banks placed in the front of 

the best landscape compositions, rather than 

scruffy hedges or hijacked Tesco trolleys. 

However, placing boulders in the foreground 

of all your landscape shots will soon get boring. 

Read on for some essential tips for interesting 

foregrounds, with exclusive insight from Italian 

pro Paolo De Faveri (who took this image). 


ESSENTIAL SLR 

SET-UP TIPS 

Tweak your SLRfor 

killer compositions 

Switch to Manual 

For total exposure control, 

don’t rely on your SLR’s auto 

modes –switch to Manual mode. 

You’re going to need an artful 

combination of slow shutter 

speed to create the milky water 

effect and asmall aperture(f/22) 

to create adeep depth of field. 

Try hyperfocal focusing 

Use the basic principles of 

hyperfocal focusing to get a shot 

that’s sharp from foreground to 

background. You’ll need to make 

calculations, but as a rough rule 

of thumb set your lens to MF (or 

M) and focus on a point roughly 

one third into the scene. 

How low can you go… 

For maximum image quality, you 

want to keep light sensitivity (ISO) 

to the lowest possible setting to 

reduce noise. Typically this is ISO 

100. Low ISO might mean slow 

exposures, which is ideal for 

a shot like the one on the left – 

but youwill need astable tripod. 


53

54 


Top tips… 

FORBETTER 

FOREGROUNDS 

Learn from others 

Study the images taken by your 

favourite photographers and 

try to work out which are the 

compositional elements that 

make them stand out. 

Try vertical stitching 

Try stitching several vertical 

frames together to create a 

horizontal one. Apart from the 

obvious increase in resolution, 

the biggest advantage is that 

you can overcome the limits 

imposed by your camera gear, 

such as the sensor shape and 

size, the focal length of your 

lenses and their field of view. 

Know your location 

To understand how the light 

falls on a scene, you may need 

to return to it several times. 

“If the place is not too far away, 

I keep going there until I find the 

best conditions, looking for 

that moment when I feel I got 

to the right place at the right 

time,” says De Faveri. 

It’s notjust about 

boulders and streams 

Remember that people and 

animals can also add significant 

foreground interest, particularly 

in context against the landscape. 

Use your imagination 

Keep walking and exploring – 

don’t just pick the most 

obvious foreground element, 

such as wet boulders on the 

beach. It’s a real cliché. 

YOUR LENSES: THE GATEWAYTOCREATIVITY 

Theright glassmakes abig difference 

Landscape photographers tend to favour 

wide-angle lenses. “Their vast field of 

view, great depth of field and exaggerated 

perspective make the reader feel part of 

the scene,” says De Faveri. 

When using a wide-angle lens to shoot a 

landscape, set a narrow aperture (f/22) for 

maximum depth of field and think carefully 

about where you want to focus in the scene 

– set the AF points manually, rather than 

relying on the camera to work it out for you. 


Paolo De Faveri 

1 

“Landscape photographyisall 

about depth and perspective,” 

explains Paolo De Faveri. 

“Different planes–fromthe 

very near to the infinite– 

should work harmoniouslyto 

give the viewerarealsense of 

place. Sinceagood landscape 

photograph is aphotograph that 

communicates, that speaks to 

the viewerand provokesan 

2 

emotional response,agood 

foreground is aforeground that 

contributes to the emotion. So 

foregrounds are very important, 

particularly as the wide-angle 

lensesused by mostlandscape 

photographersmeanthatthey’re 

one of the first things you notice 

in an effective composition.” 

“There are many ways to make 

aforeground work,” De Faveri 

In this shot, man-made objects and animals add essential foreground interest 

3 

PHOTO SCIENCE 

Why this photo works 

1 In our opening shot, the foreground 

introduces what you find in the middle and 

background: the leaves fade into a prairie 

and the grass in the middle recalls the rock 

in the river. The mossy rock on the right is 

repeatedbythe slope of the mountain. 

2 The river adds a dreamy mood to the 

image, but also leads the eye towards the 

upper elements of the picture. 

3 The rhododendrons break the repetition 

of elements and add foreground interest. 

continues.“If youwant to add 

dynamism and depth, you look 

for curvesorleading lines 

capable of drawing the eye inside 

the scene, up to the distant part 

of the image; if you want to 

createdrama, youmight look for 

an object in the foreground that’s 

been hit by the light, contrasting 

nicelywith adark, ominous sky 

in the background.” 

And, as De Faveri explains, 

you can also ‘make’ your own 

foreground and add mood to 

your pictures,bytaking 

advantage of moving elements, 

such as waves,astream or grass 

waving in the wind.“But for 

me,the best foreground is the 

one thatsmoothlymergeswith 

the rest of the scene,that 

harmoniously complements and 

enhances the messagethatyou 

want to convey,” he says. 

So getout therewith your 

SLR and think about foreground 

interest–and don’tforgetto 

send us your best shots(email 

digitalcamera@futurenet.com)! 

WIDE-ANGLE: 35mm TELEPHOTO:200mm

GEAR CRAFT 


Clean and care for a tripod 

Your tripod can be an expensive investment, so halt the unnecessary 

build-up of dirt and grime with this simple guide to keeping it clean 

If you’re constantly taking your 

trusty tripod out into the field, 

there’s no escaping the chances 

of it taking a few bumps and knocks. But 

the responsibility of keeping it clean and 

in perfect working order is solely down to 

you. A trip to the beach to catch a stunning 

Ensureyou clean your 

tripod regularly and 

it will carry on giving 

you good service for 

years to come 

sunset can leave the feet of your tripod 

packed full of sand and salty water – both 

of which are guaranteed to corrode your 

tripod’s legs over time. 

And if the wind is really whipping the 

sand up, there’s nothing to stop it working 

its wayintothe central column, too. 

Set your tripod 

up outside 

It’s likely that you’ll make a mess 

with soap and water, so find 

yourself an area with plenty of 

space outside. You may think you 

can do this in your sink, but once 

the legs of a tripod are at their full 

extent, things get busy! 

01 02 

Dig deep 

The catches that open to 

extend the legs are just as prone 

to keeping the grime locked in as 

the feet.Use an old toothbrush to 

really dig deep and remove grains 

of sand and mud from between 

the nuts and bolts, which can rust – 

especially if exposed to seawater. 

03 04 

You need to get into the habit of cleaning 

your tripod whenever you come back from a 

shootthat’s left the feet,legs and joints dirty. 

But youdon’t need to fill your cupboards 

with expensive cleaning products and 

lubricants: chances are you have everything 

you need under the kitchen sink! 

With mild, green 

Fairy Liquid... 

Mix a small amountof washingup 

liquid in a bowlof warmwater. Open 

the tripod’s catches and release 

the legs to their fullextent.Soak 

a household cleaningclothinthe 

bowl and wipe the grimeoffthelegs, 

working methodically. 

Finishing off 

Give the whole tripod a final 

rinse with clean tap water to wash 

off any suds that are left on the 

legs. To finish, wipe everything 

down with aclean kitchen towelso 

that the legs, joints and catches are 

bone dry and the tripod looks as 

good as new! 


55

56 


Five-minute 

masterclass 

LandscapeexpertLee Beel 

explainspolarising filters 

Do you have a polarising filter checklist? 

“You need to think about what angle the 

sun is coming from. Polarising filters are 

most effective when the sun is at 90° (or 

right-angles) to the subject. When the sun 

is at 180° to the subject – behind you – 

or when the sky is overcast, a polariser will 

have little or no effect.” 

What are the biggest mistakes you see? 

“Don’t use a polariser with a wide-angle 

lens as the effect of the filter won’t be 

even across the scene. A tell-tale sign of 

this is when part of a blue sky is darker 

than the rest. Polarisers are usually quite 

thick too, which can cause darkening, 

or vignetting, in the corners of the frame 

when using wide-angle lenses.” 

Any other quick polarising filter tips? 

“If the tworings grip together,turn them so 

they will screw onto the lens and not off it! 

Also, polarisers limit the amount of light let 

through the lens. This slows shutter speeds, 

so use a tripod to keep everything sharp.” 

Here, Lee’s polarising filter 

removesglarefromthe water 

and saturates the colours 


Pteridology (the study of 

ferns) is arewarding way 

to get great plant shots! 

CREATIVE ZONE 

Fabulous ferns 

Shooting ferns helps you master plant 

photo skills. Ben Brain gets pteridological 

You don’t have to be a botanist 

to enjoythe splendour of ferns. 

The ancient plants are strikingly 

beautiful and awonder to photograph. 

From Anna Atkins’ beautiful 19th-century 

photograms and Karl Blossfeldt’s botanical 

studies, to contemporary digital images 

by modern shooters such as CliveNichols, 

many photographers have been seduced 

by the alluring magnificence of ferns. 

The beautiful spirals and patterns of a 

newly unfolding fern can also be found in 

other areas of the natural world, such as 

the spiral of a nautilus shell. These spiral 

patterns are also reflected in the golden 

mean – and these in turn are referenced 

in the basic principles of composition that 

we all use in our everydayphotography. 

Good fern specimens can be found just 

about anywhere, but by far the best place 

to start looking for them is in shady, moist 

woodland areas. As with all good plant 

portraiture, you will need to get to know 

your subject well and look for angles and 

compositions that reveal its true 

character. Here, we’ll show you some 

great techniques that will help you capture 

a striking fern portrait for yourself.

Here,weused ashallowdepth of field 

and ahome-made reflector.The 

shotwas takenwith a60mm macro 

lens (1/80 sec at f/2.8, ISO100) 

The shape of these 

ferns is lost against the 

messy background 

How to… LEARN THE RIGHT WAY TO SHOOT A FERN 

Banish shake, control the light and fine-tune the shots you take 

Get it right in-camera 

Use a tripod and cable release to avoid 

camera shake. A macro lens will enable you 

to get up close and it’ll be easier to focus in 

Manual mode. Select a wide aperture (f/2.8) 

to blur the background, and shoot in RAW. 

Control the light 

To take our images, we used a homemade 

reflector (a piece of white card 

covered in foil) to bounce what light there 

was onto the subject. An off-camera flash 

connected via a cable can also be effective. 

01 02 03 


Using a piece of card, 

we created a clean, 

white background 

In the digital darkroom 

We shot in RAW to maximise the image 

quality. We worked hard to create a good file, 

so there wasn’t too much post-processing. 

Using Adobe Camera Raw, we fine-tuned the 

white balance and boosted the contrast. 


57

58 


PHOTO ANATOMY 

AMOMENTOF 

REFLECTION 

What arethe ingredients for 

a truly great shot? We dissect 

Alisdair Miller’s striking image 

of a stranded lifeboat in Dubai 

Well composed 

Who says the rule of thirds 

is a cliché? Used creatively, it 

makes this shot. The horizon 

runs bang through the middle 

of the frame, but the boat’s 

well located on the first third. 


Good choice of kit 

Alisdair hasn’t skimped on 

kit. This image was taken on 

a Canon EOS-1Ds Mark II with 

a Canon EF 16-35mm f/2.8L 

lens. The stunning results 

speak for themselves.

Taken slow 

Alisdair took this image with a 

slow exposure (20 secs at f/6.3). 

A tripod was essential to keep 

everything sharp while capturing 

pleasing movement in both the 

clouds and water. 

Minimal colour palette 

Alisdair’s been clever with 

the colour balance. The shot’s 

muted colour palette is 

restricted by the scene, but it’s 

further enhanced by his skilful 

white balance selection. 


Superb lighting 

Rather than risking an ‘unreal’ 

flash effect, Alisdair chose to 

use ambient lighting instead. 

He wisely kept his SLR’s ISO 

(light sensitivity) set to 100, 

which ensured minimum noise. 

EXPERT TIP 

“To get a similar effect in 

your own shots, set your 

camera to Evaluative 

metering, then use a 

NeutralDensity 0.6 

graduatedfilter to drop 

thesky exposure by 

twostops.Thiswilldraw 

out the cloud detail and 

increase theintensity 

of colours in the sky.” 

Ali Jennings, digital editor 


59

60 


Double exposures used to 

be an occupational hazard 

in the days of film, but pro 

photographers soon saw 

their artistic potential 

JARGON BUSTING 

What the hell is… 

DOUBLE 

EXPOSURE? 

Turn two images into one for a 

really eye-catching effect! Don’t 

miss ourplain-English guideand 

step-by-step video on the disc 


So what exactly is 

a double exposure? 

Asimple photographic 

effect whereone pictureis 

superimposed over another. 

It sounds likeamistake 

from the days of film… 

Double exposures used to be 

an occupational hazardwhen 

using film cameras. Adodgy 

loading system or a careless 

photographer would often lead 

to twoexposures accidentally 

being made on the same piece 

of film. But the artistic benefits 

of combining images were soon 

discoveredbyphotographers 

such as Sarah Moon. 

How do you recreate the effect? 

Some digital cameras provide 

aspecial multiple exposure 

function. This is often found 

in the menu options, or in the 

drive mode settings, and allows 

you to shoot one image, then 

record a second over the top. 

Don’t all cameras provide 

this feature then? 

No.Not one of Canon’sEOS 

digital SLR range, for example, 

offersit. But you’ll find it on a 

number of compacts and SLRs. 

Manycameras evenhelp you 

with the process,showing youa 

ghostimageofthe first exposure 

as youline up the second – 

enabling you to preview your 

result before you fire the shutter 

for the second time. 

What makes a good 

double exposure? 

Forartistic montages,try 

pairing atexture with astrong 

graphic shape. A close-up of

PHOTO SCIENCE 

It’s all about the layers 

It’s the layers in the Layers 

palette that allow you 

such a great deal of control 

when combining different 

shots in Photoshop to create 

a double exposure. Think 

of each layer as a sheet of 

acetate – each adding its own 

image or effect to the whole. 

Layers can be either 

completely transparent 

(revealing the layer below) or 

opaque (obscuring the layer 

below). They can also mix 

together in interesting, and 

oftenseemingly illogical, ways, 

due to the range of Blending 

Modes that Photoshop offers. 

See page 85 for more info... 

This portrait can be livened up with a quirky background This mushroom close-up is the perfect ‘second’ image 

Many cameras help with the process, 

showing you a ghost image of the first 

exposure as you line up the second, 

enabling you to preview the result 

a wall or a piece of curtain 

becomesabackground, which 

then becomesasurfacefor your 

main subject. The second image 

stands out best in the dark 

areasofthe first.You mayneed 

to use your camera’sexposure 

compensation control to make 

one image brighter or darker. 

What if my cameradoesn’t 

offer this feature? 

Fear not. Nowadays it’sprobably 

best not to createmultiple 

exposures in- camera anyway. 

Youget much morecreative 

control if youcombine your 

images in Photoshop (oranother 

image-editing program). 

Whydoes an image-editing 

program offer more control? 

Thereisnoneed to shoot both 

pictures at the same time.In 

fact, youcan combine pictures 

takenyears agowith more 

recent work.Ifyou getthe 

double exposurebug,it’seven 

worth building up afolder 

of textured and darkimages 

thatwill work well as multiple 

exposures.You candownload 

100 free textures from our 

website at www.photoradar.com. 

Is it a complicated process? 

Not really. Youopen up one 

image, copy all the images (in 

the same way as copying all the 

text from a Word document), 

then pastethese ontothe second 

picture. Youthen have awide 

rangeoftools for blending the 

twoimages together to getthe 

exact effect you want. 

Some digital cameras allow you to 

create double exposures in the field… 


Top tips… 

LEARNING 

THE LINGO 

Double exposure 

Two images superimposed 

onto each other. Some 

cameras enable you to expose 

two pictures into one image file. 

However, it’s often easier if the 

images are combined during 

the editing process. 

Exposure 

compensation 

Facility to override the 

camera’s built-in exposure 

metering system, so as to make 

the image lighter or darker. 

Layer 

Feature of many image-editing 

programs thatlets youlay 

different versions of an image 

on top of each other. Layers 

can be opaque, transparent or 

merged with the layers below 

in different ways. 

Opacity 

A Photoshop adjustment 

that enables you to vary the 

transparency or effect of a 

layer – from the default 100% 

down to an ‘off’ position of 0%. 

Blending Mode 

The Blending Mode affects the 

way a Photoshop layer merges 

with the layer below it. The 

default setting is Normal, but 

even Photoshop Elements has 

over 20 Blending Modes, each 

of which produces aslightly 

different ‘sandwich’ based on 

the colours and brightness of 

the pixels in the two layers. 

…and there’s no need to stop at two. 

Some allow multiple overlaps 


61

62 


If you get the double 

exposure bug, it’s worth 

building up a folder of 

textured anddarkimages 

01 

04 

1. Open your images 

Open two images in Photoshop 

Elements: both appear in the Project Bin. 

Click on the close-up of the mushroom. 

Select All (Ctrl+A). Go to File>Copy(Ctrl+C) 

to copy this image to the pasteboard. 

4. Change the layer opacity 

The mushroom image nowcompletely 

obscures the portrait. Click on Normal at 

the top of the Layers palette. See what each 

Mode does in turn, then choose Soft Light 

and reduce Opacity to around 60-70%. 


What tools are these? 

Each of your images is stored 

in your Photoshop document 

on aseparatelayer.Byvarying 

the transparency, or Opacity, 

of alayer,you cansee moreof 

the layerunderneath–varying 

the montageeffect. Youcan 

also adjustthe Blending Mode 

of alayer,making the contents 

combine with the layer below 

in different ways. Multiply, 

Soft Light, HardMix and 

Exclusion arejustfour of the 

manyBlending Modesworth 

experimenting with –each 

giving very different results with 

suitable pictures.You canalso 

create masks so that key features 

2. Paste one into the other 

Select the Portrait image from the 

Project Bin. Go to File>Paste (Ctrl+V). The 

mushroom image appears as a new layer 

in the Layers palette, and appears in the 

middle of the portrait in the main window. 

5. Reveal background pattern 

Click on the Background layer in the 

layers palette, then on the Create A New 

Layericon. Click Ctrl+Del so this layerfills 

with black. Change the Blending Mode from 

Normal to Hard Light. Set Opacity to 60%. 

of a layer underneath can be 

selectively made more visible. 

Do double exposures have any 

serious, non-artistic uses? 

Yes. Manyofthe best 

underwaterphotographs are 

double exposures;aclose-up of 

a sea creature is shot with flash, 

and because of the depth the 

background appears black. By 

combining this with ashot taken 

in shallowwater,the imagethen 

looks more natural. In the studio, 

multiple shotsare often taken 

to allow several flash bursts 

to be used. This means thata 

narrower aperturecan be set to 

give more depth of field. 

How to… CREATE DOUBLE EXPOSURES IN PHOTOSHOP 

Use layers and Blending Modes in Photoshop Elements to take full control of multiple exposures 

02 

05 

03 

06 

3. Stretch with Free Transform 

The mushroom image is smaller than 

the portrait,soneeds to be stretched. Go to 

Image>Transform>FreeTransform (Ctrl+T). 

Grab each corner handle in turn and stretch 

the image until it fills the window. 

6. Uncover more of the face 

Select the PaintBrush tool. Set it to 

white with a soft-edged width of around 

400 pixels and an Opacity of 50%. In small 

strokes, paint over the black middle layer 

to reveal more of the facial features.

PHOTO RESCUE 

“Help, I’ve blown it!” 

Use our foolproof exposure advice to ensure 

you never over-expose a white wedding dress 

BEFORE 

AFTER 

01 

02 

03 

Brett Harkness 


GETTING THE 

SHOT RIGHT 

Banish blown highlights 

with these SLR skills 

Choose the right 

metering mode 

With harsh light falling on a white 

wedding dress, even the most 

sophisticatedmeteringsystems 

can struggle to get exposureright. 

ShootinEvaluativemode, so 

that the camera takes a reading 

from the scene as a whole. 

Use your histogram 

for perfect exposures 

Take your shot, view it on your 

camera’s LCD screen, then call 

up the histogram. This shows the 

tonal range of your image. If it’s 

over-exposed, the body of the 

histogram will be stacked heavily 

to the far right of the graph. 

Fine-tune the shotwith 

Exposure Compensation 

If your shot is over-exposed then 

reshoot, bracketing your images 

with exposures either side of the 

metering system’s reading. Use 

the Exposure Compensation 

button to select howmuch to 

under or over-expose a scene. 


63

64 


D-SLR DISCOVERIES 

Getcreative 

with flash effects 

Create attractivelight trails and 

freeze the action at gigs and parties 

Firing your flash directly 

towardsasubject can 

result in unflattering 

images and hugebackground 

shadows. Bouncing the flash off 

a nearby wall or ceiling can help, 

but what if the ceiling is toohigh 

or the walls too far away? Here, 

direct flash is the only option. 

Fear not, though – this 

needn’tresult in amissed photo 

opportunity. Tryaniftylittle 

technique called rear-curtain 

sync (sometimesknown as 

second-curtain sync). 

Normallyaccessible through 

your camera’sflash settings 

(found in the menu system), 

rear-curtain sync is a process in 

which you expose a frame and 

How to… CREATE A COOL BLURRED EFFECT 

Follow this quickguide to mastering creativeflash 

Change your flash mode 

Useyourcamera’smenusystem to 

findtheflashoptions (some,suchasthe 

NikonD3000,have adedicatedFlashMode 

button).Select rear-curtain(orsecondcurtain)sync 

fromthelist of flashmodes. 


the camerafiresthe flash at the 

end of the exposure, rather than 

the beginning. So,ifyou use a 

slow shutter speed, such as 1 sec, 

the single flash burst will freeze 

what washappening at the 

moment beforethe shutter 

closed, and the rest of the shot 

will appear blurred. 

This is a great technique to 

use indoorswhen shooting gigs 

or parties, as it enablesyou to 

move in close to freeze the 

action while blurring distracting 

backgrounds. Tryexperimenting 

with different shutterspeeds at 

anightclub or wedding reception 

– or try shooting a fairground, 

which is perfect for getting 

impressive light trails. 

This great technique enables you to 

move in closetofreezethe action while 

blurring distracting backgrounds 

Slow things down 

To allowyou time to move the camera 

andcreate noticeable motion blur during 

the exposure, you’ll need a shutter speed 

of around 1 sec (and an aperture of about 

f/8).It’s best to shoot in Manual mode. 

01 02 

03 

Rear-curtain sync and a slow shutter speed nicely blur ugly disco lights 

Master creativeflash techniques and get greateffects at anyparty or event 

Experiment with exposures 

Next, check the results onscreen.Ifthe 

amountofartificial lightisblurred toomuch, 

try setting a slightlyfaster shutterspeed 

and shooting the image again.Repeatthis 

process untilyouget theresultyouwant. 

Ben Brain Ed Godden

Landscape shooter Geoff Simpson 

picks his all-time favourite ‘falls… 

 

 

 

A pro picks their favourite… 

Waterfalls 

Scaleber Force, near 

Settle, YorkshireDales 

National Park 

OS Grid Ref: SD841625 

“Nestled in awooded valley, 

Scaleber Force is a multitiered 

waterfall. Use your 

wide-angle to capturethe 

entire waterfall or close in with 

ashortzoom using alow ISO 

of 50/100 and apolarising 

filter. It’s best to shoot moving 

wateronovercast days to 

avoid burning out highlights.” 

 

Aber Falls, Nr.Abergwyngregyn, 

Gwynedd, Wales 

OS Grid Ref: SH6670 

“Aber Falls is aspectacular 100ftcascade 

thatcan only be reached on foot.While 

a wide-angle lens would be the obvious 

choice here, youcan also shootasyou 

approach the falls with a zoom in the 

70-200mm range.” 

High Force, Teesdale, 

County Durham 

OS Grid Ref: NY8828 

“Witness the force of nature as water 

thunders through England’s largest 

unbroken fall! Arange of lenses can be 

used to capture this scene, though to 

give the waterfall context you may end 

up using a panoramic format.” 

Black Clough, Peak District 

National Park 

OS Grid Ref: SK1199 

“The region’s largest waterfall is 

reached by a steep-sided path 

from the confluence of Middle and 

Near Black Cloughs. Forastrong 

composition, frame one-third 

water and two-thirds rock.” 

 

 

 

 

 


EXPERT TIP 

“Use a polarising filter with or without a 

combinationofgraduated ND filters to 

render the flowing water silky smooth.” 

GeoffSimpson,pronaturephotographer 

5 

EasanFhir Mhoir, 

Glen Etive, Scotland 

OS Grid Ref: NN173511 

“A waterfall wherethe River 

Etivepasses overgranitewith 

grey and redpink hues. You’ll 

definitely hear the roaring 

waterfall before yousee it. 

To capture the scene you 

will need a wide-angle lens – 

from experience, a17mm is 

best suited. And don’t forget 

that slow shutter speeds will 

demand a sturdy tripod.” 


65

66 


BIGBEN’S KITHACKS 

Need a quick and cheap SLR support for low shots? 

Press pro Ben Birchall gets creative with lentils 

Getting down to your subject’s 

eye level, whether it’s a squirrel or 

a bird, can create a really intimate 

and natural portrait. But just laying down 

and relying on your elbows as a camera 

support isn’t very comfy, or solid enough 

to ensure proper, sharp pictures. So, if you 

Get the right shape 

First, get an unwanted pair of jeans with 

a sturdy zip. Then mark a line across the 

mid-waist and legs. You want to create a 

‘V’-shaped groove for maximum stability. 

01 02 

Stitch up the seams 

A sewing machine makes short work of 

the seams and around the zip area. Turn the 

beanbag the right way out by passing the 

material back through the zipper hole. 

03 04 

Stabilise the situation 

05 

Field-test time! Rest your lens in the 

beanbag’s ‘V’ shape for instant stability. 

You can also hang that same ‘V’ shape over 

a car door for a stable shooting platform. 


need to go really low to get the best shots, 

the simple remedy is to rest your lens on 

a beanbag. Some posh beanbags can cost 

over a tenner, but save it for the pub; I’m 

going to show you how to get a great SLR 

supportfor the price of abag of lentils 

and a dodgy old pair of old jeans! 

Cut out your pattern 

Cut the jeans to size, leaving a 

decent-sized hem. Ensure the zip is 

undone as you do this. Turn the jeans 

inside out before you start stitching. 

Bean there, done that! 

I prefer to use ordinary lentils as a filling 

because they feel fluid yet supportive inside 

the beanbag. Poke a funnel through the zip, 

fill it up and close the zipper to seal. 

See the difference… 

06 

You’ll be able to see the results instantly, 

because such a stable and comfy platform 

means you can stay in position longer – and 

eliminate elbow-induced camera shake. 

BEN’S 

TOP TIP 

Don’t throw away the legs 

of the jeans when you’re 

finished, because they 

can also be stitched up at 

each end and filled to 

make a handy smaller 

beanbag!

PLUS! Two more great FREE gifts 

1 

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TravelPhotography book 

Don’tmissthe second of your special 

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Issue 102onsaleTuesday27July 

All contents subject to change 

2 

PhotoshopVideo Disc 

OurTeach Yourself Photoshop 

series continues with parttwo:an 

explanation of everythingyou need to 

know about editing your RAW files in the 

powerful Adobe Camera Raw editor. 

Next Issue 

Your team 

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Photographiccontributors (where not creditedinside) 

Future Network Photo Studio 

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67

68 

thePhotoFixer 

reader Jason is in a right-old flap about bird photography. 

Can our eagle-eyed ed Godden help him earn his wings? 

Photography: Jesse Wild 

READER SOS: 

WILDLIFE 

pROBLEMS 

Q I’makeenwildlife 

photographer 

andwill happilyspend 

hourstrying to bag 

theperfect shot with 

my d-sLr. However, 

I find that my images 

sometimes lack the 

depthand sharpness 

Isee in professional 

wildlife photography, 

whichisfrustrating. 

Please canyou show 

me where I might be 

going wrongand help 

me to improve my 

success rate? 

Jason Chalk, Poole 

Digital Camera July 2010

thephotoFixer 

We ansWer a reader sOs 

What’s theproblem, prey? 

Reader Jason is struggling to getsoaraway 

birdshots; his best effortsare not so 

much screaming eagle,morearthritic 

budgie.Yet he’sanenthusiastic photographer 

who’s keen to turn pro, and he owns enough 

pukka SLR equipment to open a camera shop. 

So what’s stopping Jason’s shots getting off 

the ground? Is it a case of all the gear and no 

idea, or is dodgycameratechnique ruffling his 

feathers? To do a full diagnosis, we took Jason 

to The Hawk Conservancy Trust near Andover. 

THE DiAGNOSiS 

Getting great shotsofbirds of prey requires 

split-second reactions, solid camera skills and 

bags of patience. The beautyofshooting at 

places likethe Hawk ConservancyTrustisthat 

it givesyou the opportunitytophotograph the 

birds in a controlled, but still spontaneous, 

environment. You can obviously capture birds 

of prey at the many displays that take place, 

and youcan also getclose for some fantastic 

headshots. Read on, as The Photo Fixer helps 

Jason’s photography to take flight! 

Background information 

A quick once-over of Jason’s images on the laptop quickly 

reveals some poor habits that are really clipping his wings 

Jason’s SLR gear is worthmorethan the editor’s Skoda, so 

it’s clearly not a kit issue – more about how to use it properly 

Jason's shots prove thathoweversharp your 

bird, adistracting background will ruin aphoto. 

Get panning and bust open that aperture! 

The Photo Fixer’s advice 

Acouple of minutes spent with Jason 

revealed a pretty big howler: he kept 

shooting at his favourite aperture, f/8. 

Shooting at a medium aperture like 

this limits your creative possibilities, 

especially on Jason’s pro-spec EOS 

SLRs. It’s like buying a performance car, 

pootling along in thirdall the time and 

then wondering why Nissan Micras 

overtakeyou. By picking awider 

aperture, such as f/2.8, he was able to 

take advantage of faster shutter speeds 

–essential for photographing birds 

of prey, as these things are no slouches. 

Even better, he could get a shallow 

depth of field, thus nicely blurring 

backgrounds while keeping the bird 

sharper than a sparrow hawk’s claws. 


69

70 thephotoFixer 


PHOTOFix #1 

sLrsecrets 

Jason is carrying around tons of 

qualitycamerakit,but he needs 

to spend moretime learning how 

to get the most from it.Hereare 

some essential tips to help you 

master your camera and lenses. 

1Switch on iS 

If you have Is (image stabilisation), 

either on your lens or built into your 

camera, switch it on. You’ll be able 

to shoot handheld at slower shutter 

speeds (1/200 sec rather than 1/400 

sec, for example) without having to 

mount your sLrona tripod. 

2Use Aperture Priority 

as well as enabling faster shutter 

speeds, awideaperture(such as 

f/4 and below) will create a narrow 

depth of field. This will help to isolate 

your subject from a messy and 

confusing background,whichisa 

core wildlifephotography skill. 

3Go for the eyes 

When using wide apertures, your 

focusing must be 100% accurate. 

Ideally youwantthe eyesofyour 

subjecttoberazor-sharp. Useyour 

aF points and switch to tracking 

mode so you can follow the bird, 

keeping it focused while it’s in flight. 

Digital Camera July 2010 

Heavy lifting 

Weighty sLrs and 

zoom lenses can 

makeyour arms 

ache on long shoots, 

so if necessary use a 

tripod or monopod 

to keep everything 

steady and increase 

your chances of 

getting sharp shots 

PHOTOFix #2 

Creating depth 

By religiously sticking to f/8, 

Jason wasn’table to take 

advantageofthose shallow 

depth-of-field effects so beloved of 

birdphotographers. So we started off 

with a simple portrait of an eagle on 

its perch. Opening his aperture to 

f/5.6, the widest setting available at 

400mm atf/5.6 150mmatf/8 

Blurring the flowers in the background helps 

to give this shot a nice sense of context 

400mm, Jason managed to throw the 

grass in the background completely 

out of focus while bringing the bird 

intosharp focus. Experimenting with 

anicelycomposed shot of abarn owl 

tucking into a chick, Jason zoomed 

in slightly to produce a more tightly 

cropped shot with bags of impact. 

At Jason's favouritef/8 setting,hecan still 

blur the backdrop with a long focal length

PHOTOFix#3 

Five tips for 

sharper shots 

1Focus on the bird’s eyes. shooting at 

an aperture of around f/4 you can still 

keep the eyes and the rest of the bird’s 

head in focus. 

2If a bird keeps flying past the same 

spot, switch to manual focus (MF) 

and pre-focus on that area. This is a 

great way of panning – where the bird is 

sharp butthe background is blurred. 

3atripod with a good rotating head 

will definitely help bird photography. 

4Watch the light and increase the 

IsO if necessary to ensure your 

shutter speeds are fast enough. 

5don’tover-sharpen feathers in 

Photoshop: it looks really obvious. 

PHOTOFix #4 

Master metering 

Don’t just rely on your camera’s default metering mode when 

photographing birds: you need to take creative control yourself 

Using the Evaluative metering 

mode,Jason shot intothe 

bright whitesky to capture 

this bald eagle (top right). 

After afew framesitwas clear 

thatthe bright skywas leaving him 

with under-exposed shots–showing 

only a silhouette of the bird in flight. 

Now, this is nice if you’re making 

thephotoFixer 


NoEV 

With Sympathy cards, but the 

image is not much use otherwise. 

However, by using exposure 

compensation (EV) to add +3 stops 

of compensation, Jason was able to 

correct the exposure, balance the 

bright background and producea 

much more attractive picture. Well 

worth a try with unsatisfactory skies. 

Takenearly in the day, this under-exposed 

shot left only a silhouette of the bird in flight 

+3EV 

Pumping up the exposurecompensation to 

balance the bright sky gives a winning shot 

didwefix 

Jason’s pics? 

Turn overto 

see the 

results... 

Owl be back! 

Birdsanctuaries 

giveeasy access to 

these shy creatures 


71

72 thephotoFixer 


PHOTO 

FixED! 

No more winging it! Compare Jason's original shot (right) with his final photo of the day and you can see 

thattime spentwith The Photo Fixerhas given him the skills to take dynamic shots thatreally stand out. 

The image above was taken at 400mm – 1/1000 sec at f/5.6 

THE VERDiCT 

It’s all a matter of speed 

ThePhoto 

Fixersays 

“Jason has 

discoveredthat 

using afastshutter 

speed is vital 

for freezing a bird in flight, 

and that using a wide (fast) 

aperturealso plays ahuge 

part in capturing apin-sharp 

image that really stands out 

against its background. 

It’sreallyimportant that 

Jason experimentswith 

different aperturesettings 

rather than religiously 

sticking to one setting 

(apparently he picked up this 

With thanks to The Hawk Conservancy Trust. Visit www.hawkconservancy.org to find out more. 

Digital Camera July 2010 

habit from aphotography 

magazine,but needless 

to say it wasn’t Digital 

Camera!). Another crucial 

consideration is exposure 

and metering. If Jason just 

relies on the camera to work 

it out (Evaluative metering), 

he runs the risk of getting 

under-exposed shots. 

This canbefixedin 

Photoshop,but it’sbetter 

to get it right in-camera by 

adding +3 stops of exposure 

compensation. Switching 

to tracking autofocus mode 

will also reallyhelp when 

shooting fast-moving birds.” 

Jasonsays 

“I rarely strayed 

from Manual 

mode, but 

The PhotoFixer 

introduced me to Aperture 

Priority, which gave me the 

freedom to concentrateon 

atight composition without 

the worryofmatching and 

juggling the shutterspeed 

with the aperture. I thought 

this would limit depth of 

field, but it turned out this 

is actuallyabenefit with 

birds. The dayhas gotme 

evercloser to my dreamof 

turning professional.” 

do you 

need help? 

Howyou can contactThe 

PhotoFixer forassistance 

Couldyour photography 

benefit from the help of an 

experienced expert? Is there 

an area of photographyyou'd 

like to know more about? 

If youthinkyour technique 

could benefitfromaday 

out with the Digital Camera 

experts, send us an email at 

digitalcamera@futurenet. 

com. Make sure you put 

‘Photo Fixer’ in the subject 

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presents… 

Photoshop 

School 

THISMONTH… 

76 Photoshop Basics 

Discoverhow to unlock the 

ultimate in image quality 

with Adjustment layers 

80 Get the Look 

Giveyour shots amodern 

makeoverbyapplying a 

bleach bypass effect 

82 Advanced Skills 

Turn your photosintoart 

with this guide to adding 

creative texture effects 

Theonly Adobe ® Photoshop ® guideyouneed 

76 80 82 

® 


75

Ben Brain (Future) 

AFTER 

BEFORE

ON YOUR 

DISC 

STEP BY STEP 

Getbetterquality with 

Adjustment Layers 

Mostphotos benefit from alittle 

editing at the processing stage to help 

improve colour and tone. Our start 

image, for example,isunder-exposed 

and the colour temperatureisatad 

toowarm, leading to orange-looking skin. The 

contrast is a bit flat and the hair has lost its shine. 

To create a more striking looking portrait we can 

increase the contrast to produce darker shadows 

and brighter highlights, and cool down the colour 

cast to produce more natural looking skin tones. 

Photoshop’smain menu is full of commands 

thatyou canuse to improve ashot’scoloursand 

tones. However, these commands onlylet youedit 

the shot in alinear,step-by-step fashion. If you 

use main menu commands to cool the colour and 

then increase the contrast, you’ll have to undo the 

contrastchangebeforeyou canstepback through 

the editing history to tweak the colour, and then 

re-do the contrast change from scratch. 

NON-DESTRUCTIVE EDITING 

But there is an easier way. Adjustment Layers let 

you edit colour and tone in a non-linear fashion. 

You can tweak a colour Adjustment Layer without 

altering a tone-changing one (and vice versa). 

Unlike Photoshop’s standard menu commands, 

Adjustment Layers arenon-destructive.You can 

turn them on and off to see abefore-and-after 

version of the shot, and re-edit their settingsat 

any time to fine-tune your photo’s look. Read on 

to find out how it’s done… 

PhotoshopSchool 

ADJUSTMENT LAYERS EXPLAINED 

Edit colour and tone in a non-destructive way, so you can 

fine-tune your shots with ease. George Cairns is your guide… 

HOW TO… Edit shots the professional way 

Create an Adjustment Layer 

1Open AdjustmentLayers_before.jpg from your CD. 

Open the Layers palette (Window>Layers), then 

click on the Create New Adjustment Layer icon at the 

bottom of the palette and choose Levels from the 

menu. This shot is slightly under-exposed, but you 

can boost its weak highlights to make them stronger. 

Brighten the highlights 

2Drag the white Highlights slider left so that it rests 

below the histogram’s graph at a level of 232. This 

takes the weak highlights and gives them a brighter 

value. A photo’s brightest highlights should have a 

value of 255. The shot’s highlights only reached 232, 

but you’ve now remapped them to a brighter 255. 

WHAT YOU’LL NEED 

Photoshop Elements 6or 

Photoshop CS, or above 

WHATYOU’LL LEARN 

Howtoimprove ashot’s colour 

and tone using Adjustment Layers 

IT ONLY TAKES 15 minutes 


77

78 PhotoshopSchool 

PHOTOSHOP BASICS 

EXPERT TIP 

“Press theXkey 

to toggle between 

thewhite andblack 

foreground colours 

andchangewhich 

areasare being altered 

by the brush strokes 

on the Adjustment 

Layer’smask.” 

George Cairns, technique writer 

Learn the lingo 

Non-linear 

N ormally, we make 

adjustments one 

after another, in a linear 

order. Adjustment Layers 

can be stacked in any order, 

turned on and off, and 

re-edited at any point. This 

gives you much greater 

freedom to tweak any 

adjustment at any time – 

without altering the other 

adjustments you’ve made. 


Before and after 

3To see a before-and-after version of the photo, 

click on the little eye icon next to the Levels 

Adjustment Layer in the Layers palette. This turns 

the Adjustment Layer on and off, giving you a better 

idea of how it’s changing the tones. You can tweak the 

settings at any time to fine-tune it. 

Disable the Adjustment Layer 

5Each Adjustment Layer has a mask. By default 

the mask is white, which means the Adjustment 

Layer will alter the entire photo. Click on the 

Brightness/Contrast Adjustment Layer’s white mask. 

Press Ctrl+I to invert the white mask and turn it black. 

The Adjustment Layer has now been disabled. 

Create shinier hair 

7Spray the white brush tip over the girl’s hair. The 

white strokes will allow the Brightness/Contrast 

adjustments to brighten the painted area, adding a 

healthier looking shine to her hair. Don’t worry about 

lightening the shoulder-length strands of hair, as we 

want to preserve their rich dark brown colour. 

Adjust brightness and contrast 

4The hair can be enhanced to bring out texture 

and detail lost in the shadows. Create a new 

Brightness/Contrast Adjustment Layer. Set Brightness 

to 31 and Contrast to -10. This enhances the hair 

texture, but blows out detail on the arms. Luckily, we 

can restrict the Adjustment Layer to just the hair. 

Set up a brush 

6Grab the Brush tool from the Tools palette. 

Pick a soft round brush, 300 pixels in diameter, 

from the Brush preset picker in the top options bar. 

Click on the black mask. Set the foreground colour 

to white. You’re going to paint white on the mask to 

make a selective adjustment. 

View the mask 

8To get a better idea of how the mask works, 

Alt-click on its thumbnail. You can now see 

the greyscale version of the mask in more detail. 

The white areas let the Adjustment Layer alter the 

corresponding parts of the photo. The black areas 

preserve the shot’s original colours and tones.

Fine-tune adjustments 

9The beauty of Adjustment Layers lies in their 

ability to be fine-tuned. Click back on the Levels1 

layer. To enhance the rich browns of our subject’s 

shadows, drag the black Shadows slider to 5. Slide the 

grey Midtones slider to 1.16 to lighten the midtones 

and reveal more hair detail. 

Cool down skin tones 

11 

You can create more natural (less orange) looking 

skin tones by adding a Photo Filter Adjustment 

Layer to the mix. Choose a Cooling Filter (80) from 

the Photo Filter Adjustment Layer’s drop-down 

menu. A gentle Density of 29% should do the trick, 

because we don’t want to make her look too cold. 

Highlights 

1The shot was under-exposed, 

and suffered from having 

too little contrast. To improve 

the image, we began by using 

a Levels Adjustment Layer to 

boost the weak highlights. 

Contrast 

2Our next step was to use 

a Brightness/Contrast 

Adjustment Layer in order to 

increase the spread of shadows, 

midtones and highlights, creating 

a more striking looking portrait 

in the process. 

Selective 

adjustments 

Restore skin detail 

10 

We’ve boosted the shot’s highlights, but now 

the subject’s lower arms are a little blown-out. 

To fix this, grab the Brush tool and click on the white 

Levels1 mask. Set the foreground colour to black. Set 

the Opacity to 50%, then spray grey strokes over the 

arm highlights to darken them a little. 

Save it! 

12 

3By applying white brush 

strokes to a Brightness/ 

Contrast Adjustment Layer’s 

mask, we were able to 

emphasise the hair’s shine, while 

preserving its rich brown colour. 

Go to File>SaveAs. If you save a photo as a 

JPEG, the Adjustment Layers will be applied 

and flattened into a single un-editable layer. However, 

save the file as a layered Photoshop document (.PSD) 

and you’ll be able to re-open the photo at any time 

and continue tweaking the Adjustment Layers. 

Howweadjustedour shotinPhotoshop 

Skin tones 

4The original shot’s tones 

were too warm and orange. 

A Photo Filter Adjustment Layer 

helped us cool things down and 

create a more natural look for 

the subject’s skin. 

2 

1 

4 


ADJUSTMENT LAYERS EXPLAINED 

3 

Learn the lingo 

Non-destructive 

By painting on an 

Adjustment Layer’s 

mask you can apply or 

remove adjustments from 

any part of your photo. 

Painting black on a mask 

protects the corresponding 

parts from being adjusted. 

If you apply grey strokes 

then you’ll reduce the 

strength of the adjustment 

in those areas by 50%. 

Did you know? 

Working with masks 

When developing 

prints in a traditional 

darkroom, photographers 

could make selective tonal 

adjustments by holding bits 

of card over parts of their 

shot. This was a hit or miss 

technique, but thanks to 

Photoshop’s Adjustment 

Layers you can fine-tune 

selective adjustments until 

they’re 100% perfect. 


79

80 


GET THE LOOK 

BEFORE 





Howtouse AdjustmentLayers 

and the Shadows/Highlights tool 

to give portraits a modern finish 


ON YOUR 

DISC 


AFTER 

STEP BY STEP 

Give portraitsa 

modern makeover 

Ben Brain shows you how to skew contrast, 

subdue colours and enhance detail to cool effect 

Photographic styles and digital darkroom 

effects certainly aren’t immune to the 

whims of fashion and changing tastes. 

Whether it’s trendy cross-processing, 

HDR (High Dynamic Range) tweaks or 

shooting contre-jour (intothe light), flick through 

the editorial and ad pages of any glossy magazine 

and you’ll see what’s currently in vogue. 

The muted colours, exaggerated contrastand 

super-detailed characteristics of what is known 

as the bleach bypass effect areverypopular at the 

moment. Not only can we see the treatment in 

manyoftoday’smagazines–think grumpy, gnarly 

chefs – it’s also been used in big-budget, blockbusting 

films such as Saving Private Ryan. 

The effect originatesfromatraditional darkroom 

process but, likemanycool phototreatments, it’s 

now much easier and less messy to replicate using 

image-editing software such as Photoshop 

Elements or Photoshop CS. You simply use a 

combination of Adjustment Layers,layer Blending 

Modes and the Shadows/Highlights tool. 

Here, we’ll showyou howeasyitistoget the 

look, so you can transform portraits of your own. 

Ben Brain (Future)

Be bold with the crop 

1Open the image named portrait_before.jpg in 

Photoshop. For a cool, contemporary crop, select 

the Crop tool from the Tools palette and choose No 

Restriction from the drop-down menu. Be bold and 

confident with your crop and don’t be afraid to make 

a radical cut into your subject’s head. 

Remove thecolour 

3Create another Adjustment Layer, but this time 

choose Hue/Saturation from the list of options. 

Reduce the Saturation slider to -100 to make the 

image black and white. Now change the Blending 

Mode to Soft Light. This will increase the contrast 

further and some of the colour will also return. 

Enhancethe detail 

5Make a flattened version of the image as a new 

layer at the top of the layer stack by pressing 

Ctrl+Alt+Shift and the letter E simultaneously. Now 

go to Enhance>EnhanceLighting>Shadows/Highlights 

and set Lighten Shadows to 10%, Darken Highlights to 

15% and Midtone Contrast to 15%. 

Boost the contrast 

2Go to Layer>NewAdjustmentLayer>Levels and 

increase the contrast by moving the left and right 

sliders a little towards the middle of the histogram 

and the middle slider a little to the left. Press the Ctrl 

key while you’re doing this to avoid losing detail by 

clipping the highlights or shadows. 

Alterthe opacity 

4To remove even more colour, create a second 

Hue/Saturation Adjustment Layer and again set 

the Saturation slider to -100. This time, keep the 

Blending Mode set to Normal and then set the 

Opacity slider to 60%. This will introduce more subtle 

hues into your black and white image. 

Finishingtouches 

6To finish your image, select the Dodge and Burn 

tools from the Tools palette and use each tool 

in turn to selectively darken and lighten specific parts 

of the final image. By subtly burning areas at the four 

corners and edges of the image with a large brush 

you can draw the viewer’s eye into the frame. 


CREATE DYNAMICPORTRAITS 

EXPERT TIP 

“Thisisagreat 

techniquethat’ssure 

to give your portraits 

a cool, modern look. 

However, it’s worth 

considering your 

subjectmatterbefore 

youstart –it’snot a 

flattering effect.While 

it hasacertain grizzled 

charm anddraws out 

thecharacterofa 

RamsayorAlanSugar, 

it might not go down 

quitesowellwithyour 

partner or kids!” 

Ben Brain, deputy editor 

Did you know? 

Darkroom effects 

The bleach bypass 

technique originates 

from the traditional film 

darkroom. During the 

processing of colour film the 

bleaching step was skipped. 

Put simply, this would result 

in a black-and-white image 

over the colour one. The 

resulting prints would have 

muted colours, increased 

contrast and film grain. 


81

82 


ADVANCEDSKILLS 


Ben Brain (Future)

ON YOUR 

DISC 

STEP BY STEP 

Applystylish texture 

effects to your photos 

There’smoretocreating an artistic image 

than simply shooting an accurately 

exposed imagethat’sbeen well focused 

and composed. To give a photograph 

real feeling, you’ll need to try and evoke 

asense of mood. Combining or ‘layering’ several 

images together is an excellent way to achieve this. 

It isn’texactly anew idea–photographershave 

been doing it for years–but it’sagreat way to add 

another dimension to your work. 

The layering process used to involvecomplicated 

in-cameramultiple exposures or evenmore 

difficult-to-master darkroom skills. But these 

days, the digital darkroom makes things simple. 

In this tutorial we’ll showyou justhow easy it is 

to get amazing results with minimum hassle. We’ll 

show you step by step how to create an image 

using multiple layers from several different shots, 

including our main imageofanude model, a 

textured abstract imageand afilm effect border 

– all of which are available on this issue’s disc. 

We’ll then explain howtouse Photoshop’s 

layers,Blending Modes, Adjustment Layers and 

Layer Masks to get the finished effect. 

NEW HEIGHTS 

Daunted by working with Photoshop layers? 

Don’t panic, it’s not nearly as complicated as it 

sounds. And onceyou’ve masteredthese skills 

you’ll find thatyour repertoireofpost-processing 

techniqueswill give youthe confidencetotake 

your photography to new creative heights. 


APPLY TEXTURES TO YOUR PHOTOS 

Ben Brain shows you how to get creative with layers, Layer Masks, 

Blending Modes and Adjustment Layers (and an old roasting tin!) 

HOW TO… Use layers to create texture and depth 





Howtouse Photoshop’s layers, 

Blending Modes and masks to give 

your portraits a creative makeover 


Photographing your subject 

1This technique will work well with a variety 

of subjects, from flowers and nudes to urban 

abstracts and still lifes. However, we decided to use a 

model for an artistic ‘implied’ nude. If you don’t have 

access to a willing model, try joining online groups 

such as Model Mayhem (www.modelmayhem.com) 

or One Model Place (www.onemodelplace.com). 

To light our model, we used a basic home 

studio set-up (see image, left) with one flash light, 

a large soft box and a plain black background. The 

results were simple but effective. 

Our texture is actually a photo of the base of an 

old roasting tin. It’s always good to keep an eye open 

for interesting textures and build an archive for later 

use. Failing that, go to our website, www.photoradar. 

com, and download some of the free high-resolution 

textures currently on offer. We created the border 

from scratch in Photoshop, but there’s also a 

selection available for free from our site. 


83

84 PhotoshopSchool 

ADVANCEDSKILLS 

EXPERT TIP 

“Working on layers 

means youwon’t 

directly affect the 

integrityofthe original 

layer(your original 

image).Not only will 

this preserve your 

original for future use, 

it’llalso allowyou to 

go back at alater date 

andre-edit your image 

should you decide 

that youwanttomake 

further tweaks to 

exposure or colour.” 


Did you know? 

JPEG, PSD or TIFF 

S hould you save your 

final image as a PSD 

(Photoshop Document) 

or TIFF, the layers will 

remain intact. However, if 

you save the file as a JPEG 

the image and its layers will 

be flattened and you won’t 

be able to re-edit it. Save a 

master copy with the layers 

intact, then Save As a JPEG 

to share your shot online. 


Open your images 

2Open the files on your disc called advanced_ 

before.dng and advanced_texture.jpg. Go to the 

former and press Ctrl+A to select all of the image 

and Ctrl+C to copy it. Next, return to your main image 

and press Ctrl+V to paste the texture into it. This will 

automatically create a new layer in the Layers palette. 

Hide some texture 

4Create a Layer Mask by clicking on the Add Layer 

Mask icon at the bottom of the Layers palette. 

Next, select a medium-sized soft brush from the 

Tools palette and ensure your foreground colour is 

set to black. Use the brush to gently paint over the 

model’s face and hide a little of the texture. 

Create a border 

6Go to Image>CanvasSize, check the Relative 

box and enter a Width and Height of 9cm in the 

boxes provided to create a thick white border. Now 

open the image called advanced_border.jpg from 

your disc, select the Grab tool from the Tools palette 

and drag and drop the border into the main image. 

Change the Blending Mode 

3Select Hard Light from the Blending Mode 

menu at the top of the Layers palette. Different 

Blending Modes will affect how the textured 

layer behaves with the main image, so it’s worth 

experimenting. Change the Opacity of the layer to 

70%. See page 85 for more on Blending Modes. 

Reduce the saturation 

5Create a Hue/Saturation Adjustment Layer and 

reduce the Saturation to about -60%. This will 

remove most of the colour from the layers. The 

effect of this step is subjective, so if you want your 

image to be more or less colourful, just change the 

slider and its effect to suit your tastes. 

Changethe shape 

7Use the Free Transform tool (Edit>FreeTransform) 

to reshape the border so that it fits around the 

edges of the main image. This time, change the 

Blending Mode of the layertoDarken. Save acopy 

of the image as a PSD so you can re-edit it at a later 

date, and as a JPEG you can upload and share online.

Ourfavourite 

Blending Modes 

There are over 20 different 

Blending ModesinPhotoshop CS 

and Photoshop Elements. Here are 

theten that we usemostoften… 

Lighten 

3Thismodewillonlyblend tones 

andcolourswheretheoriginal 

layerislighter. 

Difference 

7Thismodeshouldbeused to 

establish exactregistrationof 

twosimilarimages. 

Multiply 

4Thisblendbehaves like an 

in-cameramultipleexposure; 

theresultsareoftendarker. 

Luminosity 

8 Thecolourandsaturation 

oftheoriginallayerremain 

unchanged.Greatfor dodging. 

How we created our image 

The shoot 

1We shot an artistic ‘implied’ 

nude in a home studio using 

a simple one-light set up, lit with 

one flash light, a large soft box 

and a black background. We also 

used a textured shot of the base 

of an old roasting tin and a film 

effect border, which we created 

from scratch in Photoshop. 

Combining images 

2We combined the main 

image of our nude with the 

textured image of the roasting 

tin and used the Hard Light 

Blending Mode to mix the two 

layers together. We used a Layer 

Mask and the Opacity slider to 

refine the blending. 

Finishing touches 

3Using a Hue/Saturation 

Adjustment Layer we 

reduced the saturation to 

remove most of the colour from 

the layer. We then added our 

border, changing the Blending 

Mode to Darken. We completed 

our image by using the Free 

Transform tool to pull the border 

into the right shape. 

Darken 

1Only blendstones and colours 

where the original layer is darker. 

We used thisfor the border. 

Screen 

5This mode mixes the layers 

in a way that’s more or less 

oppositeto Multiply (left). 

Hue 

9The brightness and saturation 

of the original layer stay intact; 

the hue istakenfrom thetop layer. 

3 

1 


APPLY TEXTURES TO YOUR PHOTOS 

2 

Soft Light 

2 Dependingonthecolourofthe 

original layer, thiswilllightenor 

darken the coloursofthe toplayer. 

Overlay 

6The top layerissuperimposed 

in a way thatmaintainsthelight 

and dark areas oftheoriginallayer. 

Hard Light 

10 

Themodeweusedfor thetexture.Itcombinesthe 

Multiply and Screenmodes. 


85

86 

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87

photo Advisor 

Where the experts help you perfect your photography 

Gotaphotographic problem? send the details to digitalcamera@futurenet.com and let our experts provide the solution 

tHE PHOtO 

AdvISOR tEAM 

Geoff Harris, editor 

A decade testing cameras 

has taughtGeoff whatcan 

go wrong – and how to fix it 


RPS associate and former 

portrait pro Ben is an oracle 

of creative advice 

ed Godden, technique ed 

Ed cut his teeth as a press 

shooter, so is full of practical 

tips and techniques 

ali Jennings, digital editor 

Ali’s an expertoneverything 

to do with Photoshop and 

photo editing 

CaMera SKILLS 

LiVeNupyour 

LANdscApes 

Qi’ve just upgraded from acompact to 

ad-sLr,but my initial landscapeshots 

look pale andwashed-out. iwould like to 

sort out the problem before going away on 

holiday. can you help? Chris Lye, via email 

aed says:over-exposure 

is the prime suspect for 

this. evaluative metering 

modes, used by default on most 

cameras, areusuallyaccurate 

because theytakethe whole 

scene intoaccount, but they’re 

easily fooled. Some D-SLRs, 

including all Canon models, lock 

the exposuresetting after alight 

press on the shutter release 

button, at the same time that 

autofocus is achieved. this 

means that if you focus on a 

Scenic shots over-exposed? Review 

your images on screen, apply some 

exposure compensation and try again 

relatively darkforeground 

or mid-rangeobject, then 

recompose the shot to take in a 

lot more sky, the image is likely 

to be severely over-exposed. 

the moststraightforward 

solution is to select an individual 

autofocus point thatmost 

closelymatchesthe target you 

want to focus on, so any 

subsequent swivelling of the 

camerafor recomposition is 

minimal. Alternatively,position 

the camerafor the actual shot 

and press the Ae Lock (Auto 

exposureLock) buttontolock 

the exposuresetting,then move 

it to captureautofocus before 

returning to take your shot. 

Reviewyour images and, if they 

look toobright, applynegative 

exposurecompensation as 

required and reshoot. 


89

90 

PhotoAdvisor 

your photos critiqued 

CaMera SKILLS 

hoWtoAVoid 

cAMerAshAKe 

Qsome of my shots look a little blurry. 

i’ve beentoldthe problemiscamera 

shakeand that ishoulduse something 

called the‘reciprocal rule’for shutter 

speeds. What’s that? Damien farrell, via email 

aGeoff says: As a rule of 

thumb,the reciprocal 

lawdictates thatwhen 

handholding acamerainstead of 

using amonopod or tripod, you 

should aim for ashutterspeed 

that’satleast as fast as the 

reciprocal of the lens’sfocal 

length. however, this is slightly 

complicated by mostD-SLRs 

because you have to take the 

crop factor into account. 

In anutshell, an 18-55mm kit 

lens on mostD-SLRs will have 

What are they? A Neutral density 

graduated filter is a filter that’s grey 

at one end, graduating to clear at the 

other with a gentle transition between 

dark and clear in the central region. 

How do they work? Because they’re 

‘neutral’ rather than coloured, Nd grads 


an effective focal length of 

about 28-90mm, so using the 

reciprocal law, you’dneed 

shutterspeeds of at least1/28 

sec at the wide-angle end (1/30 

sec in real terms), and 1/90 sec 

at the telephotoend of the zoom 

range. For shooting in low light, 

the latest generations of image 

stabilisation (IS) or vibration 

reduction (VR) can typically give 

youanextrathree or four stops 

to playwith beforecamerashake 

becomes a real problem. 

A LAyMAn'S GuIDe to… 

Nd GrAds 

Nd grads come 

in either squareor 

rectangular shapes 

have no effect on colouration, but 

simply reduce the amount of light 

entering the lens towards the top or 

bottom half of the scene. various 

strengths are available. 

Who makes them? the most popular 

maker of these and other squarefilters 

is Cokin (www.cokin.co.uk). the main 

alternative is Lee Filters, but Cokin 

offers much better value for money, a 

wider range and immediate availability. 

When should I use them? their main 

use is in landscape photography, 

particularly when the sky is much 

brighter than the land, because they 

help to balance out overall exposure. 

How do I attach them? Unlikecircular, 

screw-in filters, which attach direct 

to the lens, square filters require both 

a lens adaptor ring and a filter holder, 

which cost around £12 each. You could 

also buy Nd grads as a filter kit (see our 

Round-up on page 125). 

KEEPING UP tO SPEEd... 

Lens aPS-Csensor full-frame sensor 

50mm 1/80sec 1/50sec 

100mm 1/160 sec 1/100 sec 

200mm 1/320 sec 1/300 sec 

500mm 1/750sec 1/500sec 

Without an ND grad, the light sky looks really washed out 

Here, a Cokin P121M ND grad gives a nicely darkened sky

CaMera SKILLS 

WhydoMy 

BuiLdiNGsLeAN? 

Q i’ve 

oftennoticed that when itake 

photographs of buildings, thesides or 

theroofappeartobow outwards,and high 

towers appear to lean inwards towards the 

top. i’m finding it really frustrating. Just what 

am i doing wrong? JimPayne, via email 

Run the filter 1 Open your image in Photoshop Elements and 

make any exposure, colour and sharpening 

corrections. Head to the Filter pull-down menu 

and select the Correct Camera distortion option. 

after 

Keep your distance and 

levelyour camera, using a 

vantage point that’s higher 

than ground level if possible 

aBen says:this is most 

likelycaused by shooting 

the building from too 

close a distance. this means 

you’ll need to zoom out to a 

wide-angle focal length, which 

canresult in noticeable barrel 

distortion, making the top, 

bottomand sidesofthe building 

appear to bowoutwards. you’ll 

also need to point the camera 

upwards, which accentuates 

perspective and makes the sides 

appear to lean in towardseach 

other towards the top. 

How to… CORRECt dIStORtION POSt-SHOOt 

Get a better perspective on life in general, and on buildings in particular 

2 Remove distortion 

tick the ShowGrid checkboxtomakeiteasier 

to line up horizontals and verticals, then adjust the 

Angle control to levelthe horizon. Use the Remove 

distortion slider to cancel out any barrel distortion. 

PhotoAdvisor 


EXPERt tIP 

“For toparchitectural 

shooting,mostpros 

usecanon tilt &shift 

or Nikon perspective 

controllenses.” 


BefOre 

You’ll suffer barrel distortion 

and perspective errors if you 

shoot upwards from close in 

the solution is to keep your 

distancesoyou canuse a 

moderate zoom setting of around 

35mm (50mm on afull-frame 

camera). Forphotographing tall 

buildings, it’sideal if youcan 

find a vantage point that’s higher 

than ground level–another 

building,for example.you could 

apply perspective correction 

when editing –using photoshop 

elements, for example –but 

you’ll lose part of the frame, 

so leaveplentyofspace around 

the building when shooting. 

Perspective control 3 Now correct perspective errors using the 

vertical PerspectiveorHorizontalPerspective 

slider. don’t use the Edge Extension option, but 

crop the image afterwards as necessary. 


91

92 

PhotoAdvisor 


SpeeDy 

SoLutIonS 

RAW POWER 

Q Ialways 

use my camera’s 

high-quality JpeG setting, 

but often read thatit’sbestto 

shoot in RAW mode. Why? 

tracey Stevens, Cambridge 

aGeoff says: it’s usually 

preferable to shoot in rAW 

because this gives much more 

latitude when editing. you can 

adjust imaging parameters such 

as exposure compensation and 

white balance, as well as selecting 

different colour modes like 

standard, Vivid or Landscape. this 

puts less pressure on you getting 

the perfect shot. 

PICK A NUMBER 

Q I’ve 

noticed thatmycamera 

has different options, 

including Continuous and Auto 

Reset, for its file numbering 

method. Arethereany particular 

benefits of using either option? 

Mark Kitson, via email 

aAli says: We tend to stick 

with the continuous file 

numbering option because, even 

after removing a memory card, 

copying the files and then 

formatting it, the numbering 

system will carry on from where 

it left off. this is also true when 

swapping memory cards. the 

advantage is that, even over long 

periods, all of your camera’s image 

files will have unique file names. 


RAte My photo 

Approach to helvellyn 

By Gareth hughes 

Nikon D80/ Nikkor af-S 18-70mm f/3.5-4.5 G If-eD DX lens/ 1/160 sec at f/11, ISO200 

BefOre 

A pretty good landscape, 

but the eye is instantly 

drawn to that post. Luckily 

it can be easily removed 

What you told us our experts say 

Gareth says: this 

photo was taken at 

the pointwheretwo 

ascentpaths met, 

and it seemed an ideal point to 

survey the landscape. there 

was also some good foreground 

to provide some added interest. 

the image was taken with 

settings that I hoped would 

preserve a wide range of tones, 

and I used the histogram for 

feedback. I used Photoshop 7 to 

lightenthe image (using Levels) 

and boost the colour.However, 

my monitor isn’t calibrated and 

the prints were too dark and the 

greens over-saturated. 

Ben says: I’d 

recommend updating 

your software. 

Photoshop 7 is eight 

years old – five generations later 

youwill find farsuperior tools 

to help boost your colours. 

Photoshop Elements 8 is great 

if you’re on a budget. While the 

colours could do with aboost, 

it’s the awkward composition 

that lets your image down. 

verdict 

excellent location, with 

good foreground interest 

Watchcomposition, oftena 

step back will get you the shot 

ali says: this is 

certainly agreat view, 

but I’m not sure about 

the composition. 

the wall is a good foreground 

feature, but having the post so 

prominent has unbalanced the 

framing. taking a couple of steps 

back can dramatically alter the 

dynamics, so cropping won’t 

makeagreat deal of difference, 

but cloning out the post will. 

You'vecaptured detail in 

both the sky and foreground 

Slightcolour cast that’s easily 

corrected with Levels

Get 

critiqued! 

Email photosto 

digitalcamera@ 

futurenet.com with 

the subject 'Rate 

My Photo' 

How to… IMPROvEMIdtONES ANd REMOvE dIStRACtIONS 

Lightening andincreasing midtonecontrast will quicklyadd impact to your shots 

Correct the colour 1 Open Levels (Ctrl+L) and select the Grey Point 

pipette.Use this to click onto agreyareaofthe 

rocks in the wall. Youmay need to click around a 

fewtimes. Nowmove the twoend sliders to meet 

the outside edges of the black histogram graph. 

Lighten the midtones 2 In Curves, set twopoints (as above). Move the 

lowerpointto95/100 and the upper to 160/155 to 

create an s-curvethatboosts midtone contrast. 

In Elements, go to Enhance>AdjustColour>Colour 

Curves and select Increase Midtones. 

PhotoAdvisor 


after 

Lightening the midtones 

and removing the post 

will drastically alter the 

impact of this shot 

Clone out the post 3 Select the Clone tool and a soft-edged brush 

with a Radius of 100px. Hold down Alt and select 

asource area just to the left of the post.Left-click 

and carefully paintoverthe post.Reduce the size 

of the brush and re-sample where needed. 


93

94 

PhotoAdvisor 


EXPERt tIP 

“you’llincreaseyour 

chancesofgreat shots 

if you shoot when 

themoonishighinthe 

skyand thestars are 

emitting aconstant 

light. twinkling stars 

mightsuggest 

atmospheric 

disturbance that will 

affect theoverall 

clarity of your images.” 

Ali Jennings, digital editor 

CaMera SettINGS 

AutoFocus 

Modes 


CaMera SKILLS 

Qi’mdeterminedtomake moreofmyd-sLr,but 

some of theoptions seem 

abit baffling.one thing i’m 

particularly confused about 

is when to usedifferent AF 

modes.can youexplain? 

JennyNichol, via email 

aAli says: the twobasic autofocus (AF) 

modes are Single and Continuous, often 

also referred to as One-shotand Servo. 

In most cases, the Single mode works best 

because autofocus locks onto its target when 

you apply a light press to the shutter release 

button and remains fixed while you maintain the 

light press, until fully pressing the button to take 

your shot. Continuous autofocus mode is better 

for moving targets, such as kids running around, 

becausefocus continually tracks subjects. 

shoot 

theMooN 

Qi recently tried to get some 

good shotsofthe full moon 

on aclear nightusing my sigma 

150-500mmoslens, butall the 

pictures lacked sharpness and 

clarity. do you have any tips? 

Dan Young, via email 

aed says: Location is important, so get out 

of town where there’s less air pollution, 

which can cloud the issue. Because of the 

very long focal length needed, it’s vital to keep 

your camera perfectly still, so use asturdytripod 

with a remote shutter release or the Self-timer 

drive mode and, to avoid mirror-bounce, select 

the Mirror Lock-up or exposure-delay function. 

For the sharpest results, use a low ISo setting, 

switch to Manual exposure mode and select an 

aperture of around f/8 to f/11, trying a range of 

shutter speeds. With f/11 at ISo100, ashutter 

speed of 1/60 sec is a good starting point. 

Portrait perfection 1 Forportraits, use the Single or One-shot 

AF mode and switch to asingle AF point, which 

you should line up with a subject’s eye. 

Sporting action 3 Continuous AF mightnot keep up with 

speedy targets,soswitch to Single AF and 

pre-focus on a place the target is moving to. 

Low ISO and a sturdy tripod 

arecrucial elements of 

successful lunar shooting 

Moving targets 2 In Continuous or Servomodes, autofocus 

will keep tracking moving targets,evenwhile 

the mirror is flipping up, until the shutter opens. 

AF points 4 Single-pointAFusually gives greatest 

precision, but multi-point AF (dynamic area) 

is good for tracking erratically moving targets.

With minimal depth of 

field, accurate focusing is 

critical –manual works 

better than autofocus 

CaMera SKILLS 

reAdyFor 

your cLose-up? 

Q i’ve 

bought amacro lens formyd-sLr 

and have been trying to shoot closeups 

of insectsand bugs in thegarden. But 

most of my pictures areblurred andlook 

quite gloomy. how can i get better results? 

PeterHutchinson, Basingstoke 

aBen says:Amacro lens 

enables extreme closeups, 

but places great 

demands on the photographer. 

the first challenge isdepth 

of field, or rather the lack of it. 

At its closest focus distance of 

around 30cm (measured from 

the camera sensor rather than 

the front end of the lens), the 

depth of field of a100mm f/2.8 

macro lens can beaslittle as 

half a millimetre, when used at 

Fit a diffusion dome to your flashgun 

to eliminate specular highlights 

its largest aperture. Reduce 

the aperture to f/11 and you’ll 

still only get adepth of field 

of about 2.5mm, so highly 

accurate focusing is critical. 

Macro shots are also 

notoriously prone to blurring 

caused by even tiny movements 

of the camera or the object 

being photographed, so small 

lens apertures can mean 

unworkably slow shutter speeds. 

the most cost-effective 

solution is to use a flashgun, 

preferably fitted with adiffusion 

dome like a Sto-Fen omni- 

Bounce. Switch to Manual 

exposure mode and use a small 

aperture of around f/16 with a 

shutter speed of about 1/125 sec. 

ttL (through the lens) flash 

metering should apply sufficient 

flash for a correct exposure, 

while the shortness of the flash 

duration will counteract camera 

shake or motion blur. 

PhotoAdvisor 


oN A seA oF GoLd 

By ian carter (iancaus2001) 

Nikon D200/ Nikkor af 75-300mm 

f/4.5-5.6D lens/ 1/250 sec at f/8, ISO100 

Ian says: I had gone to this Xiapu cliff-side in China to 

captureasunrise. Inearly wetmypants when Isaw this 

picture evolve in my viewfinder. Yes, it’s a great shot, but a 

force greater than me put all the elements there for me to capture. 

PHOtORAdAR USERS SAY: 

Photoradarsays: the first and possiblyonlyshot of aseaweed 

farm on photoRadar.And what alovely shot it is, too. Golden 

light, great lines and tight framing. 

aBerSsays:Astriking imagethatmustrank as one of the best 

photos of the Day this year. the detail when viewed full frame 

is quite amazing. 

aritsossays:parallel lines, likethe parallel life of those two 

friends. A harmonic photograph with a beautiful colour balance 

and symmetry. An inspirational view. Iwould liketosee more 

photographs from Ian. 

aliJenningssays: the amazing golden water and the symmetry 

created by the structure of the farm instantly caught my eye. 

A great image that's been well framed and captured. 

n-hattonsays: Awesome! I love the simplicity, the colour and the 

repetition of the posts.Ithas awonderful painted feel to it. this 

is one of the best photos of the Day in ages. 

Want one of your pictures to be featured 

here? We scour the PhotoRadar galleries for 

amazing shots, so upload your photos today! 

PHOtO 

feeDBaCK 

from our online 

community 


95

96 

PhotoAdvisor 


SpeeDy 

SoLutIonS 

dECISIONS dECISIONS 

Q Iwant 

to replacemyold 

digital SLR, but I’m torn 

between buying afull-frame 

camera or one with a smallersized 

sensor. 

Malcolm Peterson, via email 

aGeoff says: For portraiture, 

a full-frame camera offers 

the advantage of a narrower depth 

of field. For wildlife, sports and 

action, the crop factor of a d-sLr 

with a smaller, Aps-c sized sensor 

means youcan use relatively 

compact, lightweight lenses, and 

you’ll often get faster burst rates 

in continuous shooting mode. 

MEMORYCARdS 

Q Ineed 

to buysome extra 

memory cards, thanks to 

the RAW files generated by my 

newCanon 550D being nearly 

30Mb each. Should Ispend extra 

on faster cards or will cheaper, 

slower ones do the job? 

Kevin roberts, via email 

aAli says: you only really need 

super-fast memory cards if 

you shoot long sequences of rAW 

or top-quality JpeG images in 

continuous mode. on the 550d, 

however, you’ll definitely need fast 

sdhc cards of class 6 or above 

if youwanttouse the top-quality 

video setting of 1080p at 30 

frames per second. 


RAte My photo Pro 

Leaning Flower 

By Jeff harwell 

Canon eOS 450D/ tokina af 100mm f/2.8 at-X Pro D lens/ 0.7 secs at f/4, ISO100 

Jeff says: Itook this 

picture in my kitchen, 

with just available 

light. I attached some 

purple poster board to a box 

behind the flower because the 

walls are a yellowish-orange, 

then set a large aperture of f/4. 

there was a white spot on 

the right of the flower where a 

waterdrophad blown-out,so 

I cloned that out. I also added 

a vignette and cropped the 

flower to get rid of some of the 

dead space, then increased the 

contrast in Apple’s Aperture 

and boosted the vibrancy. 

rayCoxsays:this 

is a fairly typical 

but nicely executed 

close-up of a flower 

using a100mm macrolens. 

Rather than place the subject 

on a horizontal plane to shoot it 

“thisisafairly 

typicalbut nicely 

executed close-up 

of aflower” 

straight on,Jeffhas chosento 

lean the flower at an angle and 

it fills more of the frame. this 

effect has been taken further 

by cropping on screen to 

remove needless background. 

A shallow depth of field 

resulting from the use of the 

macrolens and close proximity 

to the subject has been 

deliberately exaggerated by 

Jeff’s choice of a wide aperture 

(f/4). decidingwhere to focus 

verdict 

ray's done well to angle the 

subject and the crop is strong 

the shallowdepth of field 

works and the focus is spot on 

Get 

critiqued! 

Email photosto 

digitalcamera@ 

futurenet.com with 

the subject 'Rate 

My Photo Pro' 

when photographing plant 

portraits is not always easy, 

but Jeffhas got it about right. 

the choice of background 

colour is largely a matter of 

taste and it works OK, although 

I’mnot sure aboutthe image’s 

reddish-yellowcolour cast. 

Jeffsays he used "available 

light", but this cast might have 

resulted from using tungsten 

(electric) rather than natural 

window lighting. Changing the 

colour balance in Photoshop 

by increasing the greens and/or 

blues would improve what is 

a not particularly original but 

otherwise good effortat a 

plantportrait. 

the choice of lighting has 

resulted in a slight colour cast 

the shot is not overly original, so 

Jeff should keep experimenting

98 

PhotoAdvisor 


Kit Advisor 

tHe D-SLr NeWBIe tHe SCeNIC SHOOter tHe MaCrO eNtHUSIaSt 

Name: Alex Howe 

age: 42 

Location: London 

Budget: £1,300 

Wants: to upgrade her 

Panasonic dMC-FZ18 to 

an entry-level d-SLR she can use to take 

better shots of her family and friends. 

WE RECOMMENd: WE RECOMMENd: WE RECOMMENd: 

NIKON D90, £649 

this issue's Group 

test winner, the 

d90 has a good 

mix of features, 

including hd video 

and full manual control. colour and detail 

is reproduced well, so it's ideal for portraits. 

www.nikon.co.uk 

MetZ 36 af 4, 

£86.84 

this is great for 

beginners on a 

budget. it has twice 

the power of your 

camera’s built-in flash, and will make an 

instant difference. 

www.intro2020.com 

NIKON af-S DX Vr 

18-200MM f/3.5- 

5.6G If-eD, £545 

With a large focal 

range this lens is 

ideal for capturing 

large family groups or zooming in to capture 

creative portraits or quick-fire action shots. 

www.nikon.co.uk 

PHOtOSHOP 

eLeMeNtS 8, £60 

Get the most from 

every shot with this 

powerful but simple 

editing software. 

its straightforward interface and clever tools 

make light work of improving your shots. 

www.adobe.com/uk 

YOUR vERdICt: YOUR vERdICt: YOUR vERdICt: 


alex says: i needed a complete 

sLr set-up, and the Nikon kit 

certainly seems to suit my needs. 

Better shots here i come! 

Name: Simon Hills 

age: 25 

Location: dunstable 

Budget: £750 

Wants: A replacement 

for his 400d’s broken 

18-55mm kit lens thathecan use to 

improve his landscapes and portraits. 

CaNON ef-S 

18-135MM 

f/3.5-5.6 IS, £350 

Whether you want 

to capture the 

beauty of the whole 

scene or zoom in to capture a single detail, 

the 18-135mm is a perfect ‘walkaround’ lens. 

www.canon.co.uk 

CaNON ef-S 

10-22MM f/3.5-4.5 

USM, £640 

Light and compact, 

this wide-angle 

lens is perfect for 

landscapes, allowing you to squeeze the 

maximum amount into your frame. 

www.canon.co.uk 

COKIN H250a ND 

GraDUaL fILter 

KIt, £50 

A top scorer in our 

round-up on page 

125, this well-priced 

package will ensure the perfect balance 

between sky and foreground in scenic shots. 

www.cokin.co.uk 

LaStOLIte 

trIGrIP 30, £60 

Give your portraits 

an instant lift with 

this easy-to-use 

reflector. includes 

two surfaces –silver and sunfire–toquickly 

balance light or add warmth to your shots. 

www.lastolite.com 

Simon says: i'd blow my budget 

for the right lens, so it looks like 

i could actually stretch to buying 

a lens plus accessories – bonus! 

Get equipped with our 

photooutfitting service! 

Need some buying advice? email your wish-list and budget 

to digitalcamera@futurenet.com with 'Kit Advisor' as the subject 

Name: Beth Russon 

age: 36 

Location: Haywards Heath 

Budget: £800 

Wants: to improve her 

close-up photography, 

so would like a suitable macro lens to use 

with her Nikon d90. 

SIGMa 105MM 

f/2.8eXDG 

MaCrO, £380 

A great close-up 

lens. the wide f/2.8 

aperture will help 

create depth of field effects and allow you to 

shoot in low light without increasing the iso. 

www.sigma-imaging-uk.com 

KeNKOaUtO 

eXteNSION 

tUBeS (NIKON 

fIt), £149 

these tubes enable 

you to shoot macro 

whatever lens you use. the kit includes three 

lengths – 12mm, 20mm and 36mm. 

www.intro2020.com 

MaNfrOttO 

190XPrOB, 

£139.95 

this model is tough, 

sturdy and great 

value. you can 

remove and invert the central column, 

making it perfect for shooting at ground level. 

www.manfrottodistribution.com 

JeSSOPS ttL 

Off-CaMera 

fLaSH COrD, £35 

this simple cord 

allows you the 

flexibility to move 

and direct your flash, which is especially 

useful for macro shots. 

www.jessops.com 

Beth says: i'm surprised i can 

buy all this kit for less than £800, 

and can't wait to get started with 

macro shots this summer.

100 The DigitalCamera inTerview 

All images: Clive Mason (Getty Images) 

profile 

* CliveMason is aleading 

sports photographer for 

the Getty images agency, 

which he joined in 1994. 

* He’s worked in many 

different sports, but has 

a particular reputation for 

football, cricket and f1. 

* Mason’s awards include 

Sports photographer of the 

Year in 2002 and the 2008 

Sports picture award. 

Clive 

Mason 

From surviving on Sugar Puffs to shooting the world Cup, 

Clive Mason knows the highs and lows of sports photography. 

he shares some winning tips with Geoff Harris 


Most sports fans who are 

intophotographywill 

have looked enviously 

at the proshootersata 

major event, hunkered 

down in choicespots 

with their monopods and massive lenses. 

But what’s it actually like? how does a keen 

amateur getstarted and turn it intoaliving? 

with the worldCup well underway,we 

grabbed the chance to speak to Clive Mason, 

top-gun sports photographer at Getty images. 

Sincejoining Allsport/Getty images 

in 1993, Clive has photographed just about 

every major sport, including cricket, rugby, 

the Americas Cup,both winter and Summer 

Olympic games and, since 1999, has been 

following Formula One. As with many top 

pros, Mason’sinitial interestinphotography 

was encouraged by his father. 

“i made my first print at the age of six, 

of a 100-year-old tortoise that is still living 

to this day,” he says.“My father was in the 

Foreign Office and we were posted to the

Canadian Grand Prix 

Christian Klien of Austria and 

Jaguar takesoff afterhis car 

made contact with David 

Coulthard’s Mclaren in 2004. 

f1 remains Mason’s passion, 

even though he’s skilled at 

shooting all major sports 


101


Diego vs Lampard 

(top) 

brazilian player Diego evades 

england’s frank lampardin 

a friendly. The wide aperture 

isolates the conflict beautifully 

Winter Olympics 

(above) 

A masterful shot of a Czech skier 

competing in the 2006 Turin 

Winter olympics. Mason’s skill 

with manual exposure delivers 

great backlighting effects 

in THe bAG 

Mason is a 

nikon user, 

and carries 

three D3s Slr bodies, 

one nikon D3 body for 

remote work and lenses 

ranging from 14-24mm 

to 600mm. Mason also 

packs a couple of Sb 

900 flashguns, a 1.4x 

and 1.7x teleconverter, 

a Manfrotto monopod 

for shooting with the 

long lenses, a mini tripod 

for remotes behind the 

goals and two pocket 

Wizard remote triggers. 


125cc Grand Prix 

Arider tumbles at the british 

125cc Gp at Donington park. 

Mason’s anikon man 

nowadays, but took this shot 

on a Canon eoS-1D Mark ii 

South Atlantic – although i don’t think that 

picture had any bearing on my future career!” 

So howdid Mason getstarted as asports 

photographer?“it wassomething thati 

discoveredasaby-product of working for 

aregional newspaper,” he admits.“it rapidly 

became clear to me,and them, thationly 

really enjoyed sports. i moved to London and 

tried to sell myself to anyone whowould 

have me.After alittleperseverance, in 1994 

Getty images (formerly Allsport) offered me 

a job, and i haven’t looked back since.” 

Mason makes it sounds relatively easy, 

but he recounts some of the sacrifices he had 

to makeinthe earlydays.“idrove averyold 

Alfaipaid £150 for,and atenothing but 

Sugar Puffs for a year. except every Friday, 

when i would walk over to the kingsland 

road and get a Chinese takeaway as a treat!” 

perSeVeranCe anD VarietY 

it sounds like Withnail And I without the 

booze, but somehow Mason survived and 

slowly begantobuild up areputation. So 

what advicedoeshehavefor anyreaders 

hoping to carve out a career as a pro sports 

photographer? what are the biggest lessons 

he has learned along the way? 

“Persevere.it’snot easy but the rewards 

areunlimited. if youlove sport and love 

photography, this is it! Look at pictures all 

the time,learn howthe cameraworks,learn 

about the relationship between shutter speed 

and apertures, and the effects that varying 

them then creates. we get many people 

approaching us all the time and asking how 

we got into sports photography. Many of 

them are using their cameras on Program 

mode,which mayproduceagood shot, but 

won’t ever produce the shot.” 

Mason has photographed manydifferent 

types of sports, from cricket to yacht racing, 

but reckons F1 is his favourite.“it’s fast, 

it’s colourful, it’s challenging and just makes 

great pictures,” he says.Sailing and cricket 

areother passions, and Mason believesit’s 

good for sports photographers to have more 

than one string to their bow. 

“Persevere.it’snot easy butthe rewardsare unlimited. 

if youlovesport andlovephotography,thisisit! Look 

at pictures allthe time,learn howthe cameraworks, 

learn about shutter speed and aperture…”

CliveMason 

Benoit Assou-Ekotto, 

Tottenham Hotspur 

Another fantastic use of bokeh 

(background blur) to isolate the 

subject,while still conveying the 

tension of the game. This wasshot 

on a Canon eoS-1D Mark iii with a 

400mm lens at f/2.8 


103

2006 WorldCup 

(below, top left) 

AlessandroDel pierosurges past 

two france players. A classic 

sideways pan that creates a great 

sense of fast forward movement 

2006 WorldCup 

(below, bottom left) 

french legend Zinedine Zidane 

hurdles over two Spanish players. 

following (and predicting)the 

action is acrucial skill forpros 

FA Cup Final 

(below main) 

Chelsea’s finest celebrate this 

year’s cup final win 

“in our industry, it’s very easy to become 

alittlebit pigeonholed and stick with one 

or twosportsall the time.The morefamiliar 

you are with something, naturally the better 

youare at shooting it, so in turn, youget 

betterpictures and the comfort zone canbe 

quite appealing. That said, the people who 

inspired me as a young photographer all 

shot a wide variety of sports, and they were 

who i hoped to one day become.” 

The world Cup is now well underway, 

and Mason is obviouslytherecovering the 

action. So what does he thinks makes a great 

football shot? “Football is one of the hardest 

sports to shoot well. Lots of people do it to a 

reasonable standard but few people are really 

good at it. The problem now is that what was 

a really good soccer picture 20 years ago is 

now quite easy to get. This is down to the 

camera’sautofocus, while when istarted it 

was all about your skill in focusing manually. 

“The moment we all want is apeakof 

the action, ball in the frame and players going 

hell for leather for possession, all with lovely 

“restrictionsatfootballgrounds only get 

worse, neverbetter. if iget achoice, itendto 

sit where the combination of the background 

and the light is at its best” 

light, a clean dark background, and nice and 

full in the frame. That said, i definitely won’t 

be complaining toomuch if iget apictureof 

the worldCup winning goal with ayellow 

steward’s jacket in the background!” 

BuilDing a reputation 

while Mason doesn’t believe you need 

to be an obsessive football fan to be able 

to shoot it, being able to read the game is 

an obvious advantage –“soyou have an 

idea where the player in possession of the 

ball is likely tosend it, and therefore where 

the next challenge on a player might be, 

potentially creating a good picture.” 

But isn’tgreat football photographyall 

about access too? “it’sall about working with 

what you’regiven,”hesays.“restrictions at 

grounds onlyget worse, neverbetter. if iget 

achoice, itend to sit wherethe combination 

of the background and the light is at its best. 

The bigger the match, the more you have to 

be sureyou cancapturethe key moments; 

your ideals have to take a backseat!” 

howeverhardtheyworkontheir camera 

technique, keen amateurs obviously can’t get 

in the photo area at a massive football match. 

So how can they hope to take good photos? 

“Theycan’t,”Mason shrugs.“Big games 

areheavilyrestricted, and we all have a 

licence to allow us to take pictures inside the 

stadiums and a whole world of restrictions 

CliveMason 


105


beHinD THe iMAGe 

“SkierSdOn’T 

knOw hOwweLL 

They’vedOne 

when They CrOSS 

The Line, SO yOu 

hAve TO TAke A 

GAMBLe.wiTh 

ThiS ShOT The 

GAMBLe PAid OFF” 

Clive Mason 

“I took this shot of US skier 

Lindsey Vonn celebrating after 

competing during the Alpine 

Skiing Ladies Downhill on day 

six of the Vancouver 2010 

Winter Olympics.” 

Composition 

“I was in a fixed position by 

the finishing line and the skiers 

don’t know how well they’ve 

done when they cross, so it’s a 

gamble how they’ll react. Here 

the gamble paid off, as she 

senses she’s won. The tight 

crop on her really helps, as 

does the effect of the snow.” 

Lighting 

“This was shot in natural light, 

and I kept the ISO low to avoid 

noise. I worried that the 

backlight wouldn’t be enough 

to illuminate her, particularly 

with all the light coming off the 

snow, but it worked. The shot 

came out a bit under-exposed, 

but it’s always better to be a 

bit under than blown out.” 

Panning 

“I was shooting handheld 

with a Nikon D3 D-SLR and 

a 500mm lens. So I did a fast 

pan to capture her movement, 

and had to change shutter 

speeds several times to keep 

her sharp in the frame.” 



MASon’STipS 

1learn how your 

cameraactually 

works, rather than just 

relying on the Auto or 

program mode. 

2learn about 

the sport you’re 

shooting – what certain 

players are likely to do 

when they celebrate, 

which leg they lead with 

over the hurdles, whose 

backhand shotworks 

in a picture and whose 

doesn’t,and so on. 

3learn to work 

with your lens. for 

example, if youwantto 

shoot football and you 

only have a 135mm lens 

to hand, don’t stack it full 

of teleconverters and 

crop the hell out of it if 

you’re trying to shoot 

midfield action. Simply 

sit behind the goal and 

shoot good goalmouth 

action instead. 

4look at the work 

of people who you 

regard as good at what 

they do and try to see if 

you can work out how 

theyshottheir pictures, 

whatshutter speed they 

used and so on. This is 

where the knowledge of 

howthe cameraworks is 

absolutely essential. 

5Take pictures – lots 

of them. Use and 

abuse the fact that you 

can instantly learn from 

your mistakes. Don’t 

keep anything other 

than your best. Get a set 

of 15-20 shots together, 

showing a variety of 

techniques and ideas, 

show it to whoever will 

look at it and learn from 

the criticism. 


2010 Winter 

Olympics 

Skier pascal bodmer of 

Germanyinaqualification 

round at this year’s Winter 

olympics in Whistler, Canada. 

Another expertpanning shot, 

this time taken on a nikon D3s 

as to what we can and can’t do with the 

images.iwould suggestsportsfans with 

an interest in photography begin where i did 

and that’sgrass-rootsfootball. Befriend a 

non-league club and trade pictures for access 

to their matches. Learn what worksand what 

doesn’t, and above all, enjoy it!” 

Capturing the moment 

Mason talked earlier about the difference 

modern cameras have made to sports 

photography. Forhim, the crucial advantage 

thatdigital cameras give him is to do with 

timing.“when shooting tennis, for example, 

getting the ball on the racket, or eveninthe 

frame,isahardthing to learn. digital 

cameras give you an image review so you 

can adjust your timing instantly.in the past, 

it could be toolate–the matchwas over 

before the films were processed and you saw 

that you were hundredths of a second out.” 

despitethe claims of some cynics(and 

luddites) that modern sports photos are 

doctored in Photoshop, Mason affirms that 

“Begin whereidid, andthat’satgrass-roots 

football.There aresomanyopportunities 

at non-league games, andunlimited access... 

Learn what works and what doesn’t” 

Getty photographers are heavily restricted 

when it comes to post-production.“we 

aren’t able to change an image in any way, 

except to remove sensor dustand tweak 

brightness and contrast.” 

Photographymagazinesare always on 

about shooting rAw, but for Mason, JPeG is 

the preferred format for speedy processing. 

“Getty decided thatthe advantages of rAw 

over JPeGin the editorial department were 

fairly limited. But there’snodoubt thatrAw 

is amuch betterscenario should therebeany 

exposure error; in JPeG we have to rely on 

our ability to produce a perfect exposure.” 

Mason’s career stretches back over 20 

years, so he’s seen lots of changes and 

learned lots of lessons. For any sports 

photographer,one of the biggestchallenges 

is making their work stand out.“you just 

have to rely on your abilitytocapturethe 

moment,” he believes.“it’s hard at an event 

likethe worldCup to produceanything 

different, because you’reflanked by other 

photographerswith the same viewpoint as 

you. F1 is different, as you can wander off 

on your own. you’remuch moreincontrol 

of your owndestiny. Football is about gritty 

action shots–it’snot ‘twinky’,for want of 

a better word, it is what it is! 

View Clive’s portfolio at globalassignment. 

gettyimages.com/Clive-Mason.

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kitzone 

OUR tests explained 

The 

UK’s most 

in-depth 

reviews 

putting equipment through its paces in the field is at the heart of the Digital Camera testing process 

TrustedTests 

Rigorous Accurate Independent Fair 

Digital Camera is 

brought to you 

by the UK’s most 

experienced team 

of photography 

journalists, which means you can 

trust everything you read on our 

pages and can buy your next piece 

of photography equipment with 

total confidence. in case you need 

anyfurther convincing,here’s why 

our tests are the best: 

depth 

at Digital Camera we take great 

pride in the rigorous nature of our 

testing process. every product and 

service is tested in appropriate 

circumstances and a combination 

of real world and objective tests 

are performed to ensure all 

products and services arecredibly 


graded. take a look at the opposite 

page for more details. 

passion 

We believe the best way to test 

a product is to use it as it was 

intended, so our real world testing 

involves taking equipment on a 

proper shoot – whether outdoors 

or in the studio – and testing it 

exactly as you would use it in real 

life to let you know whether it’s fit 

for purpose or not. 

Objectivity 

although scientific data won’t tell 

you everything about a product, 

it’s a great way to draw direct 

comparisons and sense check our 

real world conclusions, so we’ve 

devised a series of controlled tests 

for cameras and lenses that 

supplement our real world testing 

with benchmarks. 

independence 

Digital Camera is 100% 

independent and never swayed 

by the influence of advertisers 

or pR firms. the tests you read 

in the magazine are our genuine 

unbiased opinions and Future 

publishing, the company behind 

Digital Camera, has a strict code 

of conduct on testing. 

transparency 

the RaW files of every test image 

we shoot can be downloaded 

from our website, photoRadar 

(www.photoradar.com/testing). 

this means you can check the 

quality for yourself and even run 

your own tests if you wish. 

How we test 

Digital Camera’s test policy is 

the most strict and rigorous of 

any photography magazine. We 

believe the only way to bring you 

a genuine and reliable verdict on 

a product is to test it in both the 

field and in the lab, so we use two 

sets of criteria to test slRs and 

lenses – real world testing and 

objective testing. 

Real worldtesting 

the first and most important pillar 

of our process is real world testing. 

We firmly believe that the best 

measure of a product is how it 

performs in the field (or studio) 

doing the job for which it was 

intended. the majority of our 

testing time is therefore spent 

using products in this way, so we 

can report back on how they cope 

under a number of different 

lighting scenarios and conditions. 

the first part of our real world 

testing involves telling you how 

a product handles and our 

impressions of its performance; 

the second is about examining the 

image quality produced, so we 

take a number of photographs 

under different conditions with 

every camera and lens we test 

so you can see the results our 

experts managed to achieve in the 

field for yourself. 

Benchmarking 

the second pillar of our testing 

policy involves testing the image 

output of cameras and lenses 

ourscores 

and awards 

explained 

two philosophies underpin 

our scoring system: 

transparency and flexibility. 

transparency involves keeping 

our scoring accurate and 

explaining whywereach averdict. 

Flexibility enables us to change 

our scoring criteria to ensure that 

each product and service is 

scored on appropriate criteria – 

a tripod, for instance, needs to be 

judged on different qualities than 

adigital slr. each of our tests

our controlled test environment enables us to benchmark cameras and lenses 

under controlled conditions. We 

conduct four separate tests for 

cameras and three for lenses, all 

of which involve shooting a test 

chart in a specially configured 

room. Full details about the tests 

we perform can be found in the 

panel on the right of this page. 

to minimise the variables 

when testing slRs, we use sigma’s 

50mm f/1.4 ex dG HsM prime 

lens, which is available forevery 

camera system. 

next, we perform an analysis 

of the test images using imatest’s 

imatest Master software (www. 

imatest.com) and generate a 

benchmark figure for each test, 

which is then plotted on a graph 

against rival products to enable 

you to make a direct comparison 

scores out of five in one or 

more sub-categories and 

then applies an overall mark 

out of five, enabling youto 

tell the wheatfromthe chaff. 

Five scores, five meanings: 

Forget it 

Below average 

Good for the money 

Very good in all areas 

a truly exceptional, 

best-in-class product 

of which product performs better 

under different criteria. 

RaW files of all our test results 

are available to download from 

our website, photoRadar, at 

www.photoradar.com/testing. 

Benchmarks should not be 

seen as a replacement for (or 

even a better version of) real 

world testing – they won’t tell you 

which camera handles best in 

the field or is easiest to use, for 

example. But they do enable us to 

sense-check our real world image 

test results and you to make an 

accurate comparison of a 

product’s capabilities. 

no other magazine goes this 

far to deliver test results you 

can really trust. 

awarded to 

anyproduct 

thatcomes top 

in a group test 

awarded to any 

product that 

receives five 

stars in a test 

awarded to 

products that 

offerexceptional 

value for money 

innovative or 

breakthrough 

products receive 

this special award 

tHe 

appliance 

oF science 

Digital Camera runs a series of 

objective tests under controlled 

conditions on both camera 

bodies and lenses. we run three 

tests in total for lenses and four 

tests for cameras. each test 

uses imatest’s imatest Master 

software to analyse shots of 

test cards – here’s how each 

test works… 

lens tests 

distortion 

1this test measures the 

distortion caused by the lens 

and we shoot the simple lined 

distortion chart pictured above 

and then output an accuracy 

percentage in imatest,with 0% 

being the most accurate. 

cHroMatic aBerration 

2this test measures the 

appearance of chromatic 

aberration and we shoot the 

chart pictured. the results 

are analysed by imatest and 

expressed in pixels, with lower 

numbers being better. 

sHarpness 

3Here we measure sharpness 

at different apertures from 

the centre to the outer edge. 

We shoot the chart pictured and 

imatest outputs a figure based 

on line width divided by picture 

height – high numbers are better. 

kitzone 

OUR tests explained 

camera tests 

exposure accuracY 

1this measures how accurate 

a camera’s exposure system 

is and involves shooting the 

greyscale step chart pictured. 

We focus and spot meter for 

grey block M and measure the 

deviation from 0 eV in imatest. 

dYnaMic ranGe 

2this measures the ability of 

a camera to capture detail in 

the highlights and shadows and 

we shoot three images (at -3 

f-stops, 0 and +3 f-stops) of the 

greyscale step chart pictured. 

imatest measures results in eV. 

colour accuracY 

3this measures colour 

reproduction and we shoot 

the x-Rite ColorChecker chart 

pictured above and output an 

accuracy percentage from 

imatest, with 100% being the 

most accurate result possible. 

noise 

4this measures colour and 

luminance noise and we 

shoot the greyscale step chart 

pictured, focusing and spot 

metering on grey block M. We 

then measure the deviation from 

0% in imatest. 


113

114 kitzone 

hYbrid review 

> tALe of tHe tApe The Specs 

Sensor 12.1Mp, 17.3x 13mm 

(in 4:3 aspect ratio) 

focal length 

conversion 2x 

memory sd/sdhc/sdXc 

Viewfinder electronic 

Video resolution 1280x720 pixels 

iSo range 100 to 6400 (expanded) 

Autofocus points 23 

focusmodes Face detection, aF 

tracking, 23-area focusing, 

touch focusing 

Self timer 2 sec, 10 sec, 10 sec/3 shots 

LCD screen size 3 inches 

Shutterspeed 1/4000sec to 60sec, bulb 

exposure modes Program ae, aperture 

Priority ae, shutter Priority 

ae, Manual 

Aspect ratio 4:3,3:2, 16:9, 1:1 

image quality raw, raw+Fine, 

raw+standard, 

Fine, standard 

Lens mount Micro Four thirds mount 

flash sync 1/160 sec 

Burstspeed 3.2fps (2.6fps in live view) 

Connections usb 2.0, minihdMi 

Weight 380g (body only) 

Software Photofunstudio 5.0 

hdedition / silkypix® 

developer studio 3.1 se/ 

QuicktimetM / usb driver 

ack in 2008, the 

B 

Panasonic G1 rewrote 

the digital camera 

rulebook. Before then, 

serious cameras were 

large and clunky, and kept faith with 

an age-old optical design that had 

scarcely changed in 70 years. Fun 

pocket cameras, on the other hand, 

often disappointed more creative 

userswith their fixed lenses,small 

sensors and lack of user control. 

The G1 and itsMicroFour Thirds 

system brokethe mould, and found 

ahappyground in the middle of the 

twocamps. It enabled youtochange 

lensestosuit your subject, and 

offered good old-fashioned controls 

overfocusing and exposure, but 

managed to do this in amuch smaller 

shell than any SLR. And this 

beautifullydesigned newbreed of 

camera was full of fun – not least 

because it was made in a choice of 

three colours. Now, it’s time for its 

successor – the G2 – to take centre 

stage, and to carryonthe good work 

of converting casual point-and-shoot 

userstomoreserious, interchangeable 

lens photography. 

Again, the new model is available 

in blue,red or black –and in truth it’s 

the similarities between the G1 and 

the G2 that are the key attractions. 

However, with the G2, Panasonic has 


miCRo fouR tHiRDS HyBRiD Panasonic Lumix G2 > £599 > www.panasonic.co.uk 

Atouchof 

greatness? 

take the best-selling G1, fit a touchscreen 

and you get the panasonicLumix g2. 

chris George puts it through its paces 

transformed an enticing-if-expensive 

cameraintosomething thathas real 

mass-market appeal. 

The first significant improvement 

is the addition of video shooting 

– offering High-Definition moviemaking 

with a fair amount of creative 

control. It shootsat720-line 30fps 

(framesper second) HDTV resolution 

–not quitethe 1080-line 

performance of some D-SLRs (or its 

older brother,the top-of-the-range 

Panasonic GH1) but, with the 

provision for an external microphone 

and aperturecontrol, it still has appeal 

to the serious film student. 

The next advance is in the screen. 

Again it’s a three-inch fold-out affair, 

which canbeturned through 180° and 

rotatedthrough 270° for adventurous 

cameraangles, but the innovation 

is touch control –this is the first 

time this has ever been seen on an 

interchangeable lens camera. 

Atouchscreen interfacemay 

seem like a gimmick, but it’s not.

ReAL-WoRLD peRfoRmAnCe 

Our best shOt 

Your guidetowhat we 

like most about the images 

from the Panasonic G2 

Skin tones 

Whitebalance is reliable, and 

the G2 delivers accurate skin 

tones out of the box. There’s a 

wide range of My Color special 

effects and in-camera editing 

tweaks if you want to give your 

portraits a makeover 

noise 

We kept the ISO low here (ISO 

200), but youcan push it up 

without noise becoming too 

much of a problem. The 

smaller sensor does mean 

that noise is more noticeable 

than on the Canon EOS 550D, 

but it’s a good performance 

Af and face detection 

Setting the AF points via 

touchscreen makes it really 

easy to focus on the eyes. 

The G2 also has face detection 

widgets. The 14-42mm lens 

does agood job heretoo,with 

minimal distortion 

Stick or twist? upgrade advice 

The big decision forthose 

considering the G2 is whether 

to save around £150 and buy 

the evencheaper Panasonic 

G10.The G10 features the same 

great image sensor, but lacks the 

twisting LCD and the innovative 

touchscreen interface. However, 

its biggest downfall is that it 

has a much lower resolution 

eye-level viewfinder, making it 

sensible to cough up the extra 

cash if you want the best control 

overyour shots. 

AVCHD explained 

AVCHD (or Advanced Video Coding High 

Definition) is an H.264-based video 

format, and waspioneered by Panasonic 

and Sony. The AVCHD Lite variant is 

used on the G2, which is whyitshoots 

HD at 720p rather than the full 1080p 

resolution available on some D-SLRs. 


116 kitzone 

hYbrid review 

Innovative270° 

rotating screen with 

touchscreen AF 

IntelligentAutoisbetter 

forbeginners than your 

typical Auto mode 

feeLing CHeAteD 


feeLing tReAteD 

The 14-42mm kit lens is 

good, but the choice of 

extra lenses is limited 

It’s a real shame you 

can’t recordHDatfull 

1080p resolution 

For starters, the touch control comes 

in addition to the excellent (even 

exhaustive)rangeofknobs and dials 

thatthe cameraprovidesfor youto 

access key functions. However, in 

some situations, simply pressing, say, 

the current ISOvalue on the LCDin 

order to change it can actually be even 

quicker – and is certainly an intuitive 

way of working for those familiar with 

modern mobile phones. 

Borrowing the flick and pinch 

manoeuvres made popular by devices 

such as the Apple iPhone, you can use 

the touch interface to scroll through 

your pictures and zoom in on detail, 

which is very cool. Moreuseful to the 

serious photographer is the abilityto 

control which of the 23 focus points 

the cameraisusing by actually 

pushing and stretching the active 

meet the 

rivals… 

See how 

the G2 fares 

against the 

competition 

zooming in on the… g2 

a quick tour of the camera’s key features 

The viewfinder 

is of greatquality 

and there’s lots of 

information about 

camera settings 

The articulated 

rear screen 

flips out and 

angles through 

270°. It’s great 

forshooting 

awkward 

angles and 

activating the 

touchscreen AF 

Pushing the rear dial instantly accesses 

handy adjustments in Program mode 

panasonic g10 

AG2without the 

moving touchscreen 

panasonic gH1 

Luxury model offering 

1080i HD video 

The touch controls can quickly change 

the exposure compensation 

focus zone around the screen using 

your finger – neat. 

BuiLD AnD HAnDLing 

Manyofthe controls of the G1 have 

been movedaround –but, as we’ve 

said, the manual switchesfor focus 

mode,AFpoint selection, drive mode 

and exposure mode are very welcome. 

Anew buttonhas been added to 

provide one-touch movie recording 

and there’s another new addition that 

enables you to access the camera’s 

iA Intelligent Auto setting. 

One unwelcome change is that 

the input dial has movedfromthe 

front of the camera to the rear, making 

it marginally harder to operate. A nice 

feature of this, however, is that it 

offersdual operation. In Aperture 

Priority, say, youcan use the dial to 

Canon eoS 550D 

Conventional SLR with 

superb full HD video 

The interaction 

between the 

Q.Menu and 

main Menu/Set 

button can be 

confusing at 

first,but you 

soon get used 

to the layout 

Despite being 

plastic and 

lightweight, the 

camera’s shell 

and 14-42mm 

kit lens feel 

quite sturdy 

Push the film button for fast access to 

colour modes and full manual control 

alter the aperture, then press the 

dial inwards and turn it to alter 

exposure compensation. It’s a very 

well thought-out execution, with 

excellent feedback in the eye-level 

LCD viewfinder to help you use such 

controls without the need to take 

your eye off the subject. 

While the fixed nature of screens 

on most D-SLRs leaves them exposed 

and vulnerable to scratches, the 

articulating screen on the G2 will fold 

in on itself, so it stays protected when 

being carried around. 

ContRoLS AnD feAtuReS 

This camera doesn’t skimp on 

features – if anything, its menus 

offer toomanyoptions for the newbie 

photographer to feel at home – but 

the fundamentals areall there. The 

topdrive setting,for instance, offers 

continuous shooting at 3.2fps –and 

can continue shooting at this rate 

until the memorycardisfull if you 

use the JPEGfile format(up to seven 

frames if you use RAW). 

The number of pictures youcan 

fit on a card will partly depend on 

the aspect ratio youchoose; as well 

as the native 4:3 ratio,you canopt for

Youcan controlwhich of the23focus points 

thecameraisusing by actually pushingand 

stretching theactivefocus zone around the 

screen using your finger 

acropped 3:2 ratio (as used by most 

modern D-SLRs) or you can choose 

to sacrifice more pixels with 1:1 or 

16:9 crops. In the UK, maximum 

continuous video shooting is limited 

to asecond under 30 minutes (a 

cost-cutting measure, because this 

reduces import duty),but it can 

record for this long eveninthe 

highest-quality AVCHD format. 

One featurethatremains 

unchanged is the number of total 

pixels available – the same 12.1megapixel 

sensor is used on the G1, 

G2, GH1, the rangefinder-style GF1 

and the soon-to-be-launched G10. 

We’re a little surprised that Panasonic 

has resistedthe temptation to pack in 

more pixels – even though they aren’t 

needed, and would have probably 

made high ISO performance worse. 

A big advantage of the electronic 

viewfinder is thatitenablesyou to 

focus manually with great accuracy. 

Youessentiallyhavefull-time Live 

View operation, so youcan check 

exposure and colour as you go, and 

superimpose useful aids onto the 

eye-level finder, such as histogram 

or grid patterns (handyfor avoiding 

wonky horizons). Turn the manual 

focus ring,however, and the LCD 

zooms in – enabling you to adjust the 

focus with supreme accuracy. This is 

agreat boon for close-ups and when 

using telephoto lenses. 

imAge quALity 

Like the G1, the G2 delivers excellent 

pictures.The metering and exposure 

are efficient and reliable – and the 

amount of feedback thatyou’regiven 

means it’seasytooverride the 

settingswhen youneed to.Auto 

white balance, as expected, gave a 

good performance in a wide variety of 

Above left 

The auto-zooming 

eye-level viewfinder 

makes it easy to 

focus manually with 

utmost precision – 

great for close-ups 

kitzone 

d-slrreview 

MicrOFOur 

thirds benchMarks 

see how the G2 fares against its rivals 

ExPOSuRE ERROR Lowscoresarebetter 

Panasonic G2 

Panasonic GF1 

Olympus e-P2 

COLOuR ACCuRACy Lowscoresarebetter 

Panasonic G2 

Panasonic GF1 

Olympus e-P2 

0.0 0.1 0.2 0.3 

0 

2 4 6 8 

DynAMIC RAnGE Highscoresarebetter 

Panasonic G2 

Panasonic GF1 

Olympus e-P2 

5 5.5 6 6.5 7 

nOISE Lowscoresarebetter 

Panasonic G2 

Panasonic GF1 

Olympus e-P2 

0 0.2 0.4 0.6 0.8 1 

MICROFOuRTHIRDSbEnCHMARkVERDICT 

To benchmark the G2’s image quality against other 

MicroFour Thirds cameras aseries of controlled tests 

were conducted in the Digital Camera test suite. 

Compared to the Olympus E-P2 and the 

Panasonic GF1 there were really no surprises, with 

the results between cameras being phenomenally 

close. The G2’s colour accuracy was marginally more 

natural than the other cameras, and the remaining 

results showed that the G2’s performance 

was consistently good. 

It’s difficult to choose between the three 

on image quality, so it really comes down to 

features and price. 

WHAt'S 

tHiS? 

Find out how 

we test on 

page 112 

lighting,but needed ahelping hand in 

low colour temperatures. Fortunately, 

unlikethe majorityofcompacts, the 

cameracan record in RAW–making 

it easy to perform subtle changes to 

exposure and colour casts afterwards. 

The RAW software provided with the 

cameraisfor Mac and PC, but is no 

real substitute for a better-designed 

program, such as Photoshop Elements. 

10 


117

118 

kitzone 

d-slrreview 

tech briefing 

Micro Four thirds 

microFour Thirds is morethan just a 

new lens mount. Pioneered by both 

Olympus and Panasonic, it’s as much 

adesign ethos as alens system. It’s an 

evolution from the Four Thirds system 

–using the same 18x13.5mm sensor, 

with its 4:3 ratio and 2x crop factor. 

The Micro version creates a smaller 

camera, with a different lens mount, by 

getting rid of the mirror mechanism that 

sits between the lens and sensor in a 

traditional D-SLR body. Instead of an 

optical eye-levelviewfinder,most Micro 

Four Thirds cameras use an electronic 

viewfinder,which is essentially a 

miniature LCD monitor. 

Panasonic has so far launched 

five Micro Four Thirds cameras, and 

Olympus three. Less than adozen 

MicroFour Thirds lenses have been 

announced – but most SLR lenses can 

be fitted using an adapter, albeit with 

manual focus operation only. 

To help producethis cameraatan 

appealing price, one of the noticeable 

cutbacksPanasonic has made is to 

the bundled kit lens. This now has 

marginallyless reach, with asimple 

3x zoom 14-42mm range(equivalent 

to a28-85mm on afull-frame or film 


Above 

The thumbwheel 

allows you to adjust 

the exposure 

compensation 

simply by pressing 

and turning – useful 

in high-contrast light 

Left 

Despitethe handy 

touchscreen, there 

arealso loads of 

dials and buttons – 

although some have 

moved around 

SLR). Worryingly, the image 

stabilisation switch has also gone 

–but fortunately the functionality 

still remains; to switch the camerashake 

defeating mechanism on or off, 

youneed to delve intothe camera’s 

main menu. We’d recommend leaving 

it on because it performs efficiently, 

providing at leastatwo-stop 

advantage in low-light situations. 

ouR ConCLuSion 

The G2 is an outstanding buyand will 

undoubtedlyhelp to consolidate the 

popularity of the fledgling Micro Four 

Thirds system. However, costing 

around £600 with its kit lens, it’s the 

High-Definition video capabilitythat 

makes the latest version of this 

camerasuch an appealing financial 

proposition. It’s priced keenly for a 

so-called HD-SLR, but refusesto 

skimp in other areas. The overall 

design is excellent and the rotating, 

touch-control LCD is a luxury feature 

other manufacturerswould do well to 

look at closely if they’re to compete. 

The sticking point with the G2 is 

the camerasystem. Lensesfor Micro 

Four Thirds mounts are still thin 

on the ground, so this isn’t a camera 

we would recommend for, say, the 

wildlife or sportsenthusiast. Youcan 

fit other lensesusing adaptersmade 

by Panasonic, Olympus and Novoflex, 

but this expensive HeathRobinson 

routeisless than ideal. The G2 is a 

camera that you can so easily fall in 

love with, but before you do, it pays 

to know its shortcomings. 

FEATuRES 

PERFORMAnCE 

buILD QuALITy 

VALuE 

Overall 

WE SAy… 

Forunder £700 you’re 

getting alot of camera 

– the innovative G2 is 

well worth considering 

forits touchscreen AF, 

excellent electronic 

viewfinder, HD video 

and wealth of easyto-use 

features.

120 

Vanguardhas 

reinvented the 

traditional shoulder 

bag with morespace 

and new features 

W ho 

said the tried-and-tested 

shoulder bag had gone out of 

fashion? The UP-rise 38’s design 

is based on this classic style, and 

while backpacks mayseem moreconvenient, 

Vanguard is hoping to lure photographers 

back with smart new features, ample space 

and extra comfort. 

The exterior is made from tough modern 

fabric thathelps to hold the bag’s shape, 

protect against showers and pad the camera. 

The topflap is agreat newfeature, 


FieldTested 

new photo gear reviewed and rated 

VANGUARD UP-RISE 38 

Areinvention of the shoulder bag, withmodern 

styling and a zipped flip lid for fast access to your kit 

CaMera Bag Vanguard UP-rise 38 > £89.99 > www.vanguardworld.com 

incorporating a new weatherproofed zip 

across the top that gives quick access to your 

kit without the need to battle the flap. Under 

the flap are pockets for memory cards and 

accessories, but they’re quiteshallow, so 

don’t expect to squeeze in anything too large. 

Bags of space 

There’s tons of room inside, and in our test 

the Vanguard easily held a Canon 50D SLR 

with kit lens, plus a 70-200mm, 20mm and 

50mm lens. The inner divides use Velcroto 

hold them in place and these can be quickly 

moved and adjusted to suit. 

The divides work well, but they’re a bit 

flimsy and could do with being more rigid 

– they tend to fold under the weight of the 

camera. The topflap is secured in place by 

twoVelcrostrips and alightweightbuckle, 

which we found rather fiddly. 

Despite this, and the rather insubstantial 

inner divides, the Vanguard is a good choice if 

you want something different from a 

conventional camera rucksack.

Flashgun Metz 36 AF 4 > £86.84 > www.intro2020.com 

Metz36AF 4 

This budget hotshoe 

flash still does the job 

Y 

our sLr’s built-in flash mightbeoK 

for a bit of fill-in flash, but it’s pretty 

limited. agood budget solution is the 

Metz 36 aF 4, a dedicated hotshoe flashgun 

that’s available for most camera makes. 

It’s built down to a price; power control is 

handled through e-ttL metering, so there’s no 

room for adjustment. and while the head has 

vertical tilt and a zoom, there’s no horizontal 

rotation. however, with a guide number of 30 

it has over twice the power of your camera’s 

flash, so it’ll do the job if you need more output. 

Clothing Paramo Velez Adventure Smock > £194 > www.paramo.co.uk 

Paramo is reaching out to photographers with this lightweight coat 

reFleCtor Lastolite TriGrip 30 > £60 > www.lastolite.com 

LastoliteTriGrip 

30-inchreflector 

Get pro effects with this onehanded 

directional reflector 

t 

his handy pack-away reflector is 

relatively inexpensive and easy to use. 

When released from its small pouch, it 

pops open in a similar way to a quick-assemble 

tent (and requires the same skill and patience 

to pack away). the triangular design and size 

make this an extremely versatile reflector that 

is easy to control with one hand. the two 

reflective surfaces – silver and sunfire – allow 

you to easily balance light or add warmth. 

The Metz 36 AF 4 provides a budget solution to lack of flash power 

Paramo Velez 

AdventureSmock 

Afuture-tech jacket that’s 

neat, but pretty pricey 

t 

he adventure smock uses 

lightweight material with 

waterproof nikwax technology, 

providing a protective layer against rain. 

the material isn’t as rugged as that used for 

normal outdoor wear, and probably isn’t 

as hard wearing. But being so lightweight it 

packs down small, so it’s a useful – if rather 

pricey – waterproof top to carry in your bag. 

Easy to use, the TriGrip will instantly improve your portrait shots 

kitzone 

Photo gear on test 

Hoya PL-Cir 

Polariser 58mm 

this lens-mounted circular 

polariser enables you to rotate 

the front element quickly and 

adjust the direction of the 

polarising effect to suit your 

scene. agood budget option. 

£44.96, www.intro2020.com 

Manfrotto 055XB 

You can’t go wrong with this 

workhorse of a tripod. Build 

quality is excellent, weight is 

kept to a minimum with the 

lightweight and rigid design, 

and the head is great. another 

solid budget choice. 

£95, manfrottodistribution.com 

Seculine Twin-1R3 

UT Universal 

If your camera accepts an 

infrared remote, setting up 

this remote shutter release is 

easy: just select the remoterelease 

function on the camera. 

effective from up to 50 metres. 



121

122 kitzone 

Photo gear on test 

Sanyo eneloop 

charger + 2 AAs 

at full capacity, these batteries 

recharged the flash quickly 

and the performance was 

noticeably better than standard 

rechargables as the power 

drained. Pretty good for 25 quid. 


Seculine Action 

Level Cross 

slot the seculine into your 

sLr’s hotshoe and three lines 

of coloured LeDs show the tilt of 

the camera and turn green when 

level. It works, but suffers from 

high price and poor build quality. 


Seculine 

TwinLink T2D 

these wireless flash triggers 

are easy to set up: just slide the 

transmitter into your camera’s 

hotshoe and the receiver onto 

the flash, then select a wireless 

channel. at this price it’s a steal. 



lighting Gemini 200/200 Kit > £479 > www.bowens.co.uk 

gemini gM 200/200 Kit 

All-in-one starterpack for studio photonewbies 

Get started in the studio with this comprehensive entry-level kit 

oDDs 

&soDs 

kitbagessentials 

VanguardAlta 

Pro 283CT tripod 

This sturdy camerasupport 

is surprisingly light 

B 

uilt from lightweight carbonfibre and 

die-cast magnesium alloy, this tripod 

strikes the right balance between 

lightness and build quality. at full height it 

stands at 170cm and can be packed down to 

a reasonable 64cm. the three-section legs are 

adjusted through a twist-lock mechanism, but 

you need to check that they’re fully tightened 

to avoid slip. It’s surprisingly agile and easy to 

manipulate into the positions you need. 

ColorChecker 

Passport 

The Passportuses 

industry-standard 

X-Ritecharts as a 

handy reference, but is 

off-puttingly expensive. 

£79.99, www.colour 

confidence.com 

triPoD Vanguard Alta Pro 283CT > £249 > www.vanguardworld.com 

J 

ust a couple of years ago, a decent 

set of studio lights wouldn’t have 

given you much change from a grand. 

thankfully, the growing popularity of studio 

photography means most of the big-name 

makers are now bringing out budget kit. 

take this studio kit, which comes in at 

just under £500. It’s pretty comprehensive, 

consisting of two gemini 200w heads, two 

90cm silver white umbrellas with lighting 

stands, two 120° wide-angled umbrella 

reflectors, cables and a handy hold-all case. 

as a starter pack, it’s hard to fault. although 

rated at a mere 200w, the flash heads produce 

a good even light with a recharge rate of 0.7 

seconds and a guide number of 54. If you 

want to expand the set at a later date, further 

reflectors or diffusers can be added using 

Bowens’ standard-fit accessories. 

When it comes to adjustment, the power 

rating is adjustable by five stops, and each 

head is fitted with a handy 250w-modelling 

bulb. this is a good entry-level package. 

Eye-FiPro 

X28GB 

Claimed to be the most 

powerful memory card 

ever, this wirelessly 

transfers images from 

your cameratoyour PC. 

£119.99, 

http://uk.eye.fi 

For a tripod of this size, the Alta Pro 283CT is pleasingly flexible

1 

KIT 

ZONE 

MINI-TEST 

1 Cokin H250A 

ND Gradual Filter Kit 

Price: £50 Web: www.cokin.co.uk 

4 

5 

2 

Essential filter kits 

No self-respecting photographer should be without adecent pack 

of lens filters. Matthew Richards rounds up the finest filter kits 

Graduated Neutral Density filters even out 

exposure differences in landscapes and 

these squarefilters areparticularly useful. 

The kit comes with P121L (one-stop), P121M 

(two-stop) and P121S (three-stop) filters. 

4 Hoya Pro1 Digital 

Twin Filter Kit (58mm) 

Price: £75 Web: www.intro2020.co.uk 

These filters are super-slim to cut the risk of 

vignetting and have advanced multi-coated 

surfaces to reduce ghosting and flare. This kit 

combines a clear lens protection filter and a 

circular polariser to add drama to landscapes. 

2 Cokin H200A Portrait 1 Filter Kit 


This kit’s P027 81B warm-up filter will give you 

warm skin tones. The P840 Diffuser 2 gives a 

soft-focus look and aflattering finish. Finally, 

a P071 Centre Spot Warm Incolour 2 filter 

keeps the central area of the frame sharp 

while throwing everything else out of focus. 

5 Hoya Pro1 Digital ND4 

and ND8 (58mm) 

Price: £90 Web: www.intro2020.co.uk 

On sunny days, ND filters enable you to use 

large apertures to minimise depth of field. 

These screw-in, non-graduated filters offer 

a two- or three-stop reduction respectively, 

or you can use both for a five-stop reduction. 

3 

6 

KITZONE 

MINI-TEST 

3 Cokin H117 Creative Filter Kit 


Cokin’s P-Series kits typically include a filter 

holder that can accommodate up to three 

square filters and three filters. You get the 

P056 Star 8 filter for turning lights into stars, a 

P123 Gradual Blue to turn grey skies blue and 

a P830 Diffuser 1 for a soft-focus effect. 

6 Kood Close-Up Set (58mm) 

Price: £35 Web: www.kood-international.com 

A cut-price alternative to a macro lens, this kit 

comprises three different filters of +1, +2 and 

+3 dioptres, which you can use individually or 

together – attaching all three for a +7 dioptre 

magnification. Sharpness and contrast are 

compromised, but it’s a good budget solution. 


125

Photography: Joby Sessions 

126 

4 


1 

THEBATTINGORDER 

1 Canon EOS 50D, £689 

The 50D builds wide-ranging,instant-access 

controls around a 15.1Mp sensor 

2 Canon EOS 550D, £634 

Bristling with technology, the 550D wraps classleading 

video capture around an 18Mp sensor 

3 Nikon D90, £649 

Powerful and versatile, the 12.3Mp Nikon packs 

a punch with extensive advanced features 

4 Olympus E-30, £739 

With serious semi-pro aspirations, this is a 

12.3Mp Four Thirds camera with real clout 

5 Pentax K-7, £725 

Smartsophistication in aneatbody,the 14.6Mp 

Pentax offers advanced shooting options 

6 Sony Alpha A500,£479 

Despitearestrained featurelist,the 12.3Mp 

Sony is cheaply priced with good battery life 

3

2 

The days when any 

camera body would do 

and lens quality was 

the all-important 

factor died out with 

film. It’s different with 

digital. Instead of just acting as an 

interface between lens and film, 

modern SLRs are practically digital 

darkrooms, not only capturing the 

image but adjusting all sorts of picture 

parameters in the process, altering 

sharpness and contrast and tweaking 

colour rendition and saturation forany 

subject, from vivid scenics to silky 

smooth portraits. 

Most new SLRs go further still, with 

auto-dynamic range corrections for 

KITzONE 

Sub-£750 SlrS teSteD 

boosting detail in shadowy areas while 

also avoiding blown highlights, where 

very bright areas wash out to white. 

Sure, there’s a case for saying that the 

RAWorevenJPEGfiles produced by 

the camera are best regarded as 

‘digital negatives’, but the latest SLRs 

go a whole lot further. 

Picking out the ideal SLR is trickier 

than ever because, nowadays, the 

feature sets vary enormously from 

one model to the next.Agood place to 

start is to decide whether or not you 

want to shoot video as well as stills. If 

you do, you can cross the Canon EOS 

50D, Olympus E-30 and Sony A500 

cameras offyour list,asthese have no 

video capture shooting modes 

Big 

Hitters 

5 

6 

KIT 

ZONE 

GROUP 

TEST 

Don’t get caught out when it comes to choosing 

your next camera! MatthewRichards reveals which 

D-SLR under £ knocks the competition for six 


127

128 

KITzONE 

Slr grouP teSt 

whatsoever. On the other hand, if 

you’re ofthe opinion that video 

shooting is best left to camcorders, 

the wide range of advanced, photofriendly 

controls provided on the 

50D and E-30 make them appealing. 

Firmly ensconced in the opposite 

camp, the Canon 550D brings 

powerful, High-Definition video 

features to the party –features 

unseen as yet in this price range. 

. 

SIzE IS EVERYTHING 

For most high-tech gadgets, including 

digital compacts, smaller is sexier,and 

you’ll often pay a premium for ‘tiny’. 

There’ssomething to be said for 

lightweight, compact SLRs in this 

pricerange, especiallyifyou’reinto 

travel or outdoor pursuits. However, 

there’s a real compromise in terms of 

handling –abigger build givesSLRs a 

more natural feel, making them easier 

to use and guarding against camera 

shake at slower shutter speeds. 

Manyofthe latest SLRs go 

the extra mile to give you shake-free 

shots, utilising various forms of 

How we test SLRs advice you can trust 

There are two strands to our SLR 

test process. The first involves 

testing each camera under real world 

conditions, where they are put 

through their paces in everyday 

scenarios ranging from dull interiors, 

through to gloomy overcast days and 

bright sunshine. All features and 

functions are tested as the camera 

would be used on a day-to-day basis. 

The second strand of our test 

process involves testing each SLR 

within Digital Camera’s ownspecially 

constructed controlled testing 

environment. Each camera is fitted 


Below Introducing 

newfeatures such 

as hD video has led 

to aslightincrease 

in the weightof 

mid-range SLR 

camera bodies 

with aSigma 50mm f/1.4prime lens 

and industry-standardcolour (x-Rite) 

and greyscale (Q-14) step charts are 

shot under daylight bulbs, with the 

same white balance, ISO and aperture 

settings used on each SLR. 

The RAW files from each SLR are 

then processed with Imatest software 

and aseries of benchmarks fornoise, 

colour accuracy,exposureaccuracy 

and dynamic range are generated. 

youcan see the benchmarks forthis 

test on page 139. 

See Trusted Tests on page 112 

for more information on this process. 

Shop smart Camera systems 

A vital 

anti-shake technology. Canon and 

Nikon favour ‘optical’ stabilisation 

built intothe lens, with their IS 

(ImageStabilizer)and VR (Vibration 

Reduction) systems. These work in 

essentiallythe same ways,using an 

extra micro-processor-controlled, 

motion sensitive group of elements. 

The Olympus, Pentax and Sony 

cameras in this group feature sensorshift 

stabilisation, which is built into 

the camera body so that the sensor 

itself is shifted to compensate for any 

movement in the camera. It’s a system 

that became popular in camcorders, 

but has made the transition to SLRs 

(and compacts) extremely well. 

Sensor-shift stabilisation is generally 

not quiteascompetent as lens-based 

optical stabilisation, but it’sstill 

worth having,and the fact thatit 

factor when choosing any ‘system’ camera, like 

an SLR, is that you’re buying into the depth, breadth 

and quality of a complete system rather than just the 

camera itself. For example, buy a Canon or Nikon and 

you get access to an almost endless list of available 

lenses, flashguns and other own-brand or third-party 

accessories. The diversity for some other makes can be 

a little more limited or come at a higher price. For 

example, buy aqualitystandardzoom lens and you’ll pay 

£800 for the Canon EF-S 17-55mm IS uSM, as opposed 

to a monstrous £2,000 for the Olympus 14-35mm f/2 

SWD. It pays to understand what you’re committing to. 

works with any lens you decide to use 

is another point in its favour. 

The control system is avital area of 

camerahandling and, here, the main 

choiceisbetween acomplexarray 

of dedicated buttons for quick access 

to araft of essential settings, or a 

simplified, less clutteredlayout. More 

buttons canmakefor moreconfusion 

at first,but having fewerbuttons runs 

the risk of burying important 

parameters in relatively inaccessible 

menus, making them hardtoget at 

and adjust when you’re in a hurry. 

PAYING FOR THE VIEw 

At the higher end of the price bracket, 

youcan expect to getabetterquality 

pentaprism viewfinder,instead of the 

cheaper pentamirror viewfinders 

usuallyfitted to cheaper SLRs. This is 

For most high-tech gadgets, smaller is sexier. 

Butwhile youoften payapremium for‘tiny’, 

it comes at the expense of handling – a bigger 

build definitely gives SLRs a more natural feel 

Digital editor Ali Jennings shoots acolour step chartfor this test 

in the Digital Camera controlled testing environment

EQUIPMENTKNOw-HOw 

miD-rangeSlrS exPlaineD 

Know exactly what to look for when you're buying 

Top plate 

Manykey controls, such as the 

shutter button, drivemode 

and metering buttons, are 

locatedhere. Most SLRs also 

have a second LCD screen 

showing camerasettingsinuse 

and remaining battery power. 

Command dial 

Most SLRs featureonly one 

command dial foradjusting 

the aperture in Aperture 

Priorityorshutter speed in 

Shutter Priority. Two command 

dials givededicatedaccess to 

both – useful in Manual mode. 

an important factor not onlyfor 

accurateframing and composition but 

also, with a bigger, brighter viewfinder 

image you can make manual focusing 

adjustments with greater precision. 

The alternative is Live View,featured 

on all the SLRs on test here, which 

givesyou alivepreviewonthe LCD 

screen for composing shots, as with a 

digital compact camera. It’saneat 

thing to have,especiallyasyou can 

generallymagnify small areasofthe 

scene dramatically for razor-sharp 

manual focusing (great for macro). 

Akey area of recent advancement 

in D-SLRs is sensitivity. Not so long 

ago, you’dget grainyimages if you 

strayed too far from a base ISO setting 

Mode dial 

Get quick access to the main 

shooting mode options, such 

as Program, AperturePriority, 

Shutter Priority and Manual, as 

well as specialist modes, such 

as Portrait or Sports. Full Auto 

is only suitable for beginners. 

Casing 

Cheaper casings tend to be 

made from plastic or glass 

fibre-reinforced resin, whereas 

morepro-orientedbodies are 

better built to take the knocks 

and based on magnesium or 

aluminium alloy shells. 

but, nowadays,mostSLRs offer 

excellent performance at amazingly 

fast ISO ratings of 1600 to 3200, 

completewith advanced, in-camera 

processing trickery to reduce digital 

noise for smoother, grain-free images, 

while keeping as much fine detail as 

possible. Some go faster still with 

expanded settingsofuptoISO12800 

and, while the qualitycan suffer quite 

alarmingly at very high ratings, it’s 

still much better than not being able 

to get any shots in very low light. 

There’s a good turn of speed in burst 

mode too, with most cameras here 

capable of capturing between four 

and six frames per second. So they’re 

fast bowlers as well as big hitters. 

Hotshoe 

This contains a central contact 

for triggering flashguns, as well 

as contacts thatenable zoom 

range and focus information 

to be transmitted between the 

camera and dedicated addons, 

plus TTL flash metering. 

LCD screen 

high-resolution LCDs are 

preferable for magnified 

viewing when making manual 

focus adjustments in LiveView 

mode and forchecking the 

sharpness of images in 

playback mode. 

KITzONE 


Viewfinder 

Pentamirror viewfinders are 

lightinweightand cheap to 

manufacturecompared with 

moreconventional pentaprism 

viewfinders, but the image 

they produce tends to be 

rather less bright. 

Navigation selector 

Menu navigation is usually 

based around four-way pads 

offering time-honoured up, 

down, left,rightmovement 

options. Some models are 

supplemented by joypad-like 

stalks or scroll wheels. 

Under the hood 

D-Slr technology explained 

Atthe heartofevery D-SLR is the image sensor, 

which captures light from the lens and converts it 

into electronic values that equate to varying amounts of 

red, green and blue light present for each pixel, thereby 

defining its overall brightness and colour. CMOS 

(Complementary Metal Oxide Semiconductor) sensors 

are preferred to CCD (Charge Coupled Device) for this 

level of camera. If the sensor is the camera’s eyes, then 

the image-processing chip is its brain. This is where 

image parameters such as brightness, contrast and 

colour rendition are treated to give the most pleasing 

results – flattering skin tones in a portrait or adding 

vibrancy to landscapes, as well as aiming to keep image 

noise to a minimum without degrading sharpness. 


129

1 

CanoneoS 50D 

Big and burly, but a little past its prime 

D eserving 

of itshigh rating 

when we first reviewedit 

overayearago,the D 

is nowshowing itsage 

and adropinstreet pricebringsit 

into our test band. 

Although manyofits features 

and specifications areoutclassed by 

Canon’snew 550D,it’sstill agood 

‘photographer’s’ camera, bypassing 

any video capabilities in favour of a 

morephoto-friendlyset of advanced 

controls, which offer dedicated dials 

Around the back… CANON EOS 50D 

Power, as they say, is nothing without control 

Viewfinder 

The pentaprism 

viewfinder offers 

0.95x magnification 

and 95% coverage 

LCD screen 

The fairly standard 

920k-pixel threeinch 

LCD is good as 

opposed to great 


and buttons for quick access to 

almost every shooting parameter. 

The chunky, solid body feels more 

prosumer than consumer, based on a 

magnesium alloyshell thatshould be 

as tough as old boots. There are also 

some smart up-marketfeatures 

“The ability to fine-tune 

autofocus for individual lenses 

is a major bonus of the 50D” 

Multi-controller 

This gives speedy 

access to AF points, 

whitebalance and 

menu adjustments 

Quick control dial 

Enables youtoeasily 

adjust exposure 

compensation and 

aperturesettings 

Second LCD The top plate LCD is flanked by 

four dual-purpose shooting option buttons 

Custom settings The Mode dial gives access 

to two user-customised shooting set-ups 

tucked away in Canon’stypically 

intuitive menu system, including the 

ability to fine-tune autofocus for 

individual lenses, which is amajor 

bonus if some of the lensesinyour 

collection have slight front or rear 

focusing inaccuracies. 

Like the newer 550D, the heart 

of the 50D’s imaging system is based 

on the latest generation of DIGIC 4 

processor, which makes good use of 

the 15.1Mp CMOS sensor. Even so, 

there’sstill afair bit of swapping 

required between the various picture 

styles,such as Standard, Landscape 

and Portrait, to get the best results. 

Sadly, the 50D lacks Canon’s new 

iFCL metering system, as featured 

in the Canon 550D and 7D,and 

we found the 50D a little prone to 

over-exposureinhigh-contrast 

scenes. Unlikethe Nikon and Pentax 

cameras on test, the 50D has no 

facility for automatically correcting 

chromatic aberration (colour fringing), 

which putsgreater demands on the 

quality of lenses you use with the 

camera. Overall, the 50D is a highquality 

camera, but is past its prime 

and starting to show its age. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE

2 

CanoneoS 550D 

Small, simple yet highly sophisticated 

O nthe 

surface, the D 

looksapoor relation to 

the D,foregoing afull 

metal jacket in favour of 

apolycarbonate resin and glassfibre 

build. There'salsoapentamirror 

viewfinder in place of the D’s 

up-market pentaprism design. 

Under the bonnet, however, it’s a 

completely different story. 

For starters, the 550D has a higher 

resolution, class-leading 18Mp CMOS 

sensor and Canon’snewer,more 

“The 550D offersthe best video 

captureofany camerainthistest 

and is fully broadcast compatible” 

Around the back… CANON EOS 550D 

this camera might look basic, but it’s very effective 

Viewfinder 

The pentamirror 

viewfinder delivers 


with 95% coverage 

LCD screen 

At 1,040k the 

highest resolution 

here and offers a 3:2 

aspect ratio 

accurateiFCLmetering system, as 

featured on the up-market EOS 7D, 

which analyses focus settingsand 

colour information as well as 

luminance(brightness)inits 63-zone 

matrix. The LCD is also rather better 

and, in addition to boasting a high 

Quick controls 

These put shooting 

parameters on the 

LCDscreen as a 

quick-access menu 

Cross keys 

Giveinstantaccess 

to whitebalance, 

autofocus, picture 

styles and more 

KITzONE 


Mode dial Shooting modes are divided into 

Basic Zone and Creative Zone settings 

External connections The 550D has an 

hDMI interface and external mic socket 

1,040k pixel count, finally has a 3:2 

aspect ratio to match the camera’s 

photographic output. 

Moving on, the 550D has a higher 

standardmaximum sensitivityrating 

of ISO6400, without resorting to 

expanded ISOsettingsand, on topof 

that, youget the best video capture 

facilities of any camera in the group, 

with full 1080p at 24, 25 or 30 frames 

per second (fps). This makes the 

550D fully broadcast compatible, 

with HD video options thatare a 

major step forward from the relatively 

hamstrung 500D thatthis model 

replaces, as well as featuring an 

external microphone socket that no 

serious videographer would want to 

be without. 

Whatyou don’tget with the 550D 

arethe extrabells and whistles,or 

rather knobs and dials, of the 50D 

thatgiveinstant access to advanced 

shooting settings. In practical terms, 

this is less of aproblem than you 

might think, as the Quick Control 

system makes everything surprisingly 

easy to get at and it’s arguably more 

intuitive than using the multiple dials 

of the 50D. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE 


131

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3 

nikonD90 

Power, precision and a full-on feature list 

C ompared 

with the Canons 

tested here, the .Mp 

resolution of the Nikon 

may look underpowered, 

but Mp is still considered 

perfectly sufficient by professionals. 

As a wallet-friendly consumer 

camera, the D90 feels reassuringly 

rugged thankstoits aluminium alloy 

shell and handles brilliantly. The size, 

weight and ergonomic shape make it 

enormously natural and comfortable 

in big or small hands alike, while the 

Around the back… NIKON D90 

Simple, intuitive yet wide-ranging controls 

LCD screen 

Avery accurate 

920k-pixel LCDis 

ideal forchecking 

exposure settings 

Shooting buttons 

Gives direct access 

to whitebalance, 

ISO,qualitysettings 

and other options 

button layout gives instant access 

to important settingswithout being 

confusing or counter-intuitive,even 

for absolute beginners. 

Dual command dials enable 

dedicated access to both aperture and 

shutterspeed settingswhile,around 

“Thankstoits aluminiumalloy 

shell, the D90 feels reassuringly 

rugged and handles brilliantly” 

Viewfinder 


viewfinder gives 


and 96% coverage 

Info button 

LikeCanon's Quick 

Control system, this 

gives access to info 

and key settings 

KITzONE 


Top plate The handy secondary LCD enables 

you to easily check shooting settings 

Control dial This enables aperturecontrol 

and is great for shooting in Manual mode 

the back, the three-inch, 920k-pixel 

LCD is wonderfully clear and accurate. 

Similarly, the pentaprism viewfinder’s 

image is refreshingly big and bright, 

making for easy composition and 

focus adjustments, while Active 

D-Lighting bringsout the best of even 

the trickiest lighting conditions, 

reining in highlights and boosting 

shadow detail to great effect. 

The D90 flatterslenseswith its 

autochromatic aberration correction 

facility – as fitted to more up-market 

cameras likethe D300s –which 

effectively rules out colour fringing. 

Other highlights include an excellent 

11-point autofocus system with 

plenty of selectable options, including 

afancy3D-tracking AF mode that 

tracks erratically moving targets 

particularly well, and Nikon’s3D 

Colour Matrix II light metering 

system, which is amazingly accurate. 

Switching to video capture, the 

maximum HD movie resolution is 

only720p,which is no matchfor the 

Canon 550D, but quality is pretty 

good nonetheless.Video isn’tthe 

D90’sstrong suit but, for stills, it’s 

simply spectacular. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE 


133

4 

olympuse-30 

A Four Thirds SLR with semi-pro aspirations 

T he 

E-3isbased on the 

Olympus Four Thirds 

system, introduced for 

the ‘digital age’.Itseems 

alittleodd to stick with the : 

aspect ratio nowthe worldhas gone 

widescreen, but at least the E-3 

can also shoot stills in the more 

conventional : aspect ratio,as 

well as in : widescreen. Another 

downside is thatlenses have a.x 

focal length conversion factor, so 

depth of field isn’t as tight as with 


most SLRs. This is bad news for 

portraiturebut canbeabonus when 

shooting landscapes. 

The build quality feels reassuringly 

weightyand rugged, despitebeing 

based on aglassfibre-reinforced 

plastic shell, and enablescomfortable 

“Olympus claims a five-stop 

advantagefor itsSensorShift 

image stabilisation system” 

Around the back… OLYMPUS E-30 

not a great button layout, but some nice features 

Viewfinder 


design offers a huge 


with 98% coverage 

LCD screen 

The tilt and pivot 

function is handy 

forLiveView, but it 

only has 230k pixels 

Control buttons 

They're not laid out 

well, but do provide 

quick access to key 

camera settings 

IS button 

The three-mode 

image stabiliser has 

to be manually 

switched here 

Second LCD The top plate LCD is flanked by 

four dual-purpose shooting option buttons 

Mode dial A wide selection of effects and 

scene modes are available on the Mode dial 

handling. The big,bright pentaprism 

viewfinder is particularly easy on the 

eye,offeringaclass-leading 1.02x 

magnification and a secondary LCD 

on the topplate makes it quick and 

easy to keep tabs on camera settings. 

Around the back, the main LCD 

includesapivoting system, which is 

handy for Live View shooting. 

Other headline features include 

Olympus’sprovenTruePic III+ image 

processing system and afast11-point 

autofocus system with the advantage 

that all focus points are fully biaxial, 

whereasonlythe central AF point is 

bi-directional in mostcameras, the 

other AF pointsonlyworking in 

either the vertical or horizontal plane. 

Other finery includes a built-in 

sensor-shift imagestabilisation 

system, which Olympus claims gives 

a five-stop advantage, although our 

real worldtests suggestedthree stops 

was about the limit and if you feel the 

need for speed, the E-30 has a nippy 

burst rate of 5fps and an impressively 

fast maximum shutterspeed of 

1/8000 sec. Ultimately, however, 

the E-30 feels very pricey without 

the inclusion of HD video. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE

5 

Pentax k-7 

Refreshingly simple, surprisingly complex 

B ristling 

with highend 

features,the K-’s 

headline attractions 

include built-in sensorshift 

imagestabilisation thatgives 

a .-stop advantage with any lens, 

automatic lens corrections for 

chromatic aberration and distortion, 

plus a multiple exposure feature 

completewith HDR shooting 

facilities. Forthis trick, the camera 

captures three exposures with 

different exposuresettingsand 

“Sensor resolution weighs in at 

14.6Mp,which is only topped by 

the two Canons in the test” 

Around the back… PENTAX K-7 

Straightforward yet sophisticated, the k-7 is entirely intuitive 

Viewfinder 

The viewfinder is a 

100% coverage 

pentaprism with a 


LCD screen 

The high 921k 

resolution makes 

this agood quality 

three-inch LCD 

then automatically merges them 

together in-camera. 

HD video resolution goes all the 

way up to 1536x1024 pixels, but in 3:2 

aspect ratio – the best widescreen 

formatisarelatively meagre720p.On 

the plus side,you do getastereomic 

Four-way pad 

This nowdoubles 

up on functions, 

enabling quick 

access to settings 

Menu button 

This unleashes a 

barrage of features, 

functions and 

special effects 

KITzONE 


Mode dial The Mode dial has aneatlocking 

system to prevent accidental switching 

Nice touch The topLCD screen illuminates 

with a half-press of the shutter button 

input socket. This exotic featureset is 

neatly wrapped up in a compact but 

natural-handling and highlydurable 

body, based on astainless steel alloy 

chassis and magnesium alloy shell. 

The pentaprism viewfinder is equally 

impressive, being the onlyone here 

offering a full 100% field of view, 

rather than slightly cropping in on the 

captured image, along with a generous 

0.94xmagnification. Sensor 

resolution weighs in at 14.6Mp, which 

is surpassed only by the two Canon 

cameras in the test,while asecond 

LCDonthe topplate givesadedicated 

display of shooting settings. 

Another nicetouch is the huge 

selection of built-in special effects, 

which rangefromToy Cameraand 

Retro to Star Burst, Water Colour and 

Fisheye. You can use many of these 

directly while shooting, although the 

processing time between shotsis 

greatlyextended. Amajor plus point 

for beginnersisthatthe K-7is 

amazinglyintuitive and delivers 

excellent resultsinfullyautomatic 

modes, while still putting advanced 

settings within easy reach of more 

adventurous photographers. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE 


135

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6 

Sony alphaa500 

Good value but not the best feature set 

T he 

cheapest cameraon 

test still manages to serve 

up some interesting 

high-end features,but 

in other areas it’s a little lacking. 

With its decidedly bulky build, 

there’s plenty of room for a 

secondary LCD on the top panel, 

but this is omittedand all shooting 

information is shuffled around the 

back to atwo-way tilting three-inch 

LCD screen, with a disappointingly 

low resolution of just k pixels. 

“The A500 features a Face 

Detection autofocus mode, which 

is a little gimmicky for an SLR” 

Around the back… SONY ALPHA A500 

Controls are basic in places, but this keeps things simple 

Viewfinder 

The pentamirror 

viewfinder has the 

lowest magnification 

hereofjust 0.80x 

LCDscreen 

The resolution is 

disappointing at just 

230k pixels, but the 

screen does pivot 

The pentamirror viewfinder is 

aletdown, with the lowest 

magnification factor in the test. 

Advanced custom settings are 

few and far between, which will be 

abugbear for serious photographers 

wholiketoset up their cameras to 

Controls 

The exposure 

compensation and 

lock buttons sit 

under your thumb 

Fn button 

Gives quick access 

to drive, flash, 

metering and 

autofocus modes 

KITzONE 


One screen only The topplate has room for 

a second LCD, but only has buttons 

Hotshoe The custom hotshoe prohibits the 

attachment of third-party flash triggers 

work in just the way they like. On 

the plus side,thereare severalfancy 

features,including sensor-shift image 

stabilisation that works with any 

lens. Sony claims a 2.5 to four-stop 

advantage, and an Auto HDR mode, 

which captures twoimages with 

different exposuresettingsand 

merges them automatically into one 

shot. There’salso afairly convincing 

Dynamic Range Optimizer, akin to 

Canon’sAutoLighting Optimizer and 

Nikon’s Active D-Lighting systems. 

Likemanycameras, the A500 

includesaFaceDetection autofocus 

mode,which is alittlegimmickyon 

an SLR, but Sonyhas upped the 

stakes further with an added ‘Smile 

Shutter’ mode, which attempts to 

automatically fire the shutter when 

a portrait subject cracks a smile. 

If you’rewilling to dig alittle 

deeper into your pocket and hand 

over an extra £60 or so, the Sony 

A550 has a higher-resolution 14.2Mp 

sensor, a faster 7fps maximum burst 

rate and asuperior 921k-pixel LCD 

but, in all other respects, the two 

cameras areprettymuch identical 

and suffer from the same flaws. 

FEATuRES 

IMAGE QuALITy 

Overall 

hANDLING 

VALuE 


137

138 

KITzONE 

Slr grouPteSt 

outDoorteSt 

PortraitteSt 

noiSeteSt 

Colour teSt 

image quality in foCuS 

Canon eoS50D Canon eoS550D nikon D90 olymPuS e-30 

Good natural colours, but slightly on 

the warm side. There's great detail 

retention in the clouds and sky. 

Excellent exposure and skin detail. 

Again, the colour is slightly warmer 

than its competitors. 

ISO100 

ISO3200 

Shows large amounts of chromatic 

(colour) noise in the shadowareas 

at high ISO values. 

A slightly warm hue effects the 

overall colour accuracy by reducing 

the subtle colour detail. 

IMAGETESTVERDICT 

The 50D produces extremely 

accurate exposures, but noise 

issues at higher ISO settings 

and an overly warm colour cast 

do let it down somewhat. 


Good vibrant, punchycolours 

with amazing tone and detail in the 

shadow and highlight areas. 

The iFCL metering system gives 

neutral skin tones and colours that 

are ideal for portraiture. 

ISO100 

ISO6400 

Very good noise performance, even 

at high ISOs. Produces usable images 

beyond the capabilities of most SLRs. 

Vibrantcolour and fine tone rendition 

contribute to an image that is both 

accurate and pleasing. 


The 550D's vibrant colours, 

bang-on exposures and 

impressivenoise performance 

at high ISO settings makeita 

great allrounder. 

There's slightover-exposureinthis 

scene, but the colours arenatural and 

there's greatdetailinthe shadows. 

The ActiveDlighting helps to balance 

exposures for portraits in tricky 

lighting conditions. 

ISO200 

ISO3200 

Very lowcolour noise at the highest 

ISO makes it ideal forgetting great 

results in lowlightconditions. 

Vibrancy and tones are reproduced 

in a natural and accurate fashion and 

there are high levels of colour detail. 


A consistent performance 

across the board for the D90, 

with good levels of detail, 

minimal colour noise and 

accurate colour performance. 

Colours are too vibrant, oversaturated 

and unnatural, but the 

exposure and tonal range are good. 

Although the skin tones arewell 

exposed, the colours are oversaturated 

and warm. 

ISO100 

ISO3200 

Grain is apparentatmid-range ISO 

settings and becomes unbearable as 

you reach higher settings. 

Colour reproduction is better under 

fixed lighting with significant tonal 

detail in subtle and brightcolours. 


The E-30's skin tones are good, 

but colour reproduction is 

inconsistent and noise 

becomes an issue at mid-range 

and high ISO settings.

you can download the raW files of all test shots and the data our benchmarks 

are based on from our website. Visit www.photoradar.com/testing formore 

Pentax k-7 Sony alPha a500 

Good shadowand midtone detail but 

slight burnout in the sky highlights. 

Colour is natural and full of tone. 

Well-balanced exposures lift subtle 

shadowdetail. Skin tone, colour and 

detail aregood but notexceptional. 

ISO100 

ISO3200 

Performs well at lowISO settings, 

but images suffer from colour noise 

problems at higher settings. 

Colour and tone arerendered 

accurately and with apleasing boost 

to the overall vibrancy. 


The k-7 produced wellexposed 

and natural portraits 

and landscapes, although 

noise issues in low light are a 

problem at higher ISO settings. 

Slightly under-exposed, but with good 

detail in the highlights and midtones. 

Colours have a warm cast, however. 

Although skin tone colour accuracy is 

superb,slightunder-exposuredoes 

minimise the detail in darker areas. 

IS0200 

ISO12800 

Minimal noise at ISO3200 gives 

usable images, but at ISO12800 

significant colour noise is apparent. 

Colours areover-saturated, with 

tones in more vibrant colours being 

lost. White showed a slight red hue. 


you may be able to capture an 

image in almost anylevelof 

light with the A500, but that 

doesn’t makeupfor the 

exposure and colour issues. 

KITzONE 


SlrbenChmarkS 

See how each camera fared in our lab tests 

ExPOSuRE ERROR Lowerscoresarebetter 

Canon EOS 50D 

Canon EOS 550D 

Nikon D90 

Olympus E-30 

Pentax k-7 

Sony A500 

Canon EOS 50D 


Nikon D90 

Olympus E-30 

Pentax k-7 

Sony A500 

Canon EOS 50D 


Nikon D90 

Olympus E-30 

Pentax k-7 

Sony A500 

0 0.1 0.2 0.3 

COLOuRACCuRACy Closestscoretozeroisbest 

Canon EOS 50D 


Nikon D90 

Olympus E-30 

Pentax k-7 

Sony A500 

DyNAMIC RANGE higherscoresarebetter 

5 5.5 6 6.5 7 

NOISE Lowerscoresarebetter 

wHAT'S 

THIS? 

Find out how 

we test on 

page 112 

0 5 10 15 20 25 30 

0 0.5 1 1.5 2 

SLR BENChMARk VERDICT 

There were a couple of surprises in our controlled test results, with the 

Canon EOS50D faring best fordynamic range and the Olympus E-30 

delivering abetter scorefor colour accuracy under controlled lighting. 

however, the differences between the models aremarginal and we 

see little to contradict the results of our real world tests on the left. 


139

140 

KITzONE 

SlrgrouP teSt 

hoWthe 

CameraS 

ComPare 

T he 


THE DIGITALCAMERAVERDICT 

nikonProVeStobe 

thebiggeSt hitter 

Every camera in this test packs plenty of punch, 

butthe NikonD90 hits harder than its rivals 

main attraction of anySLR 

is itsversatility, and this is 

where the Nikon D excels. 

Simplyput, it’s agreat 

photographer’scamerathatfeels good in 

the hand, handles beautifully and delivers 

great imagequality. Active D-Lighting 

helpsyou makethe most of eventhe 

trickiest lighting conditions and while HD 

video isn’t its strongest suit, it more than 

holds its own against all bar the EOS D. 

We’velong been fans of the Canon EOS 

50D’s sheer usability, thankstothe extra 

control dials and quick access buttons, but 

despiteapricedrop, it looksverymuch like 

“Simplyput,the D90is 

agreat photographer's 

camera that feels great 

and handles beautifully” 

yesterday’scameraand is alittleoutclassed 

by the newer EOS 550D's dazzling set of 

specifications, which translate intoexcellent 

imagequalityand the best HD video 

performanceontest. Whatletsthe 550D 

down is inferior build quality and handling. 

Pentax’sK-7 delivers good images and 

offers a number of sophisticated features, 

although the priceisonthe high side 

considering the Pentax camera system 

offersanarrower rangeoflensesand 

accessories than its rivals. Ultimately it’s 

a good all-round camera that neither 

disappoints nor excels in any one category. 

Achieving great resultsisalittleharder 

with the Olympus E-30 and Sony A500, 

especially in trickier conditions. Both also 

lack HD video functionality. The former 

is the most expensive camera on test here, 

while the latter is the cheapest and lacks 

both the refinement and image quality of 

the 50D and our winner, the D90. 

I bought one! 

Don't just take our 

word for it… 

i haven'tregretted 

buying my D90. it's 

solid,hasa simple 

learningcurve andyet 

it’s amazingly powerful. 

it doesn't have weather 

sealing,buti'vegot it 

wet,usedit in 41˚C 

temperatureswith 

70%humidityand it's 

still going strong! 

kevin Thornhill, 

PhotoRadar.com member 

Have youboughtaNikon 

D90? Tell us whatyou 

think by visiting the 

thread at http://bit.ly/ 

dsY6Td 

Canon EOS 50D Canon EOS 550D Nikon D90 Olympus E-30 Pentax k-7 Sony Alpha A500 

Contact www.canon.co.uk www.canon.co.uk www.nikon.co.uk www.olympus.co.uk www.pentax.co.uk www.sony.co.uk 

Street price £689 £634 £649 £739 £725 £479 

Sensor 15.1mp CmoS 18mp CmoS 12.3mp CmoS 12.3mp live moS 14.6mp CmoS 12.3mp CmoS 

Focal length conversion 1.5x 1.6x 1.5x 2x 1.5x 1.5x 

Memory Compactflash SD, SDhC, SDxC SD, SDhC Compactflash, xD SD, SDhC memory Stick, SD, SDhC 

Viewfinder 95% coverage 95% coverage 96% coverage 98% coverage 100% coverage 95% coverage 

Video resolution none 1920x1080p 1280x720p none 1536x1024p none 

ISO range (expanded) 100-3200 (100-12800) 100-6400 (100-12800) 200-3200 (100-6400) 100-3200 100-3200 (100-6400) 200-12800 

Autofocus points 9-point af 9-point af 11-point af 11-point af 11-point af 9-point af 

Max burst rate 6.3fps 3.7fps 4fps 5fps 5.2fps 5fps 

LCD screen size 3-inch fixed 3-inch fixed 3-inch fixed 2.7-inch vari-angle 3-inch fixed 3-inch vari-angle 

Shutter speeds 30-1/8000 sec, bulb 30-1/4000 sec, bulb 30-1/4000 sec, bulb 60-1/8000 sec, bulb 30-1/8000 sec, bulb 30-1/4000 sec, bulb 

weight 730g 530g 620g 655g 670g 597g 

FEATURES 

HANDLING 

IMAGE QUALITY 

VALUE 

OVERALL

2nd Canon eoS 550D 

What’s good: a specification list and features 

to die for plus the best hD video here. 

What’s bad: build quality could be better and 

awkward handling gives a 'low-end' feel. 

Our verdict: a technological feast wrapped in 

a diminutive and lightweight body. 

4th Pentax k-7 

What’s good: Some nice advanced features, 

including hD video and good image quality. 

What’s bad: expensive compared with other 

Slrs in the range and camera system is small. 

Our verdict: a reasonably solid all-round 

camera that's well suited to beginners. 

D-SlrteSt 

rankingS 

Your at-a-glance 

guidetohow each 

camera performed 

in our tests 

5tholymPuS e-30 

What’s good: lives up to semi-pro aspirations 

with advanced functions and solid build quality. 

What’s bad: Pricey and quirky, thanks to the 

four thirds system. image quality is so-so. 

Our verdict: the e-30 is quite expensive for 

what it actually delivers. 

KITzONE 


1st: nikon D90 

a stunning camera at this price, the nikon is a 

dream to use and delivers excellent image 

quality, from beautiful skin tones in portraiture 

to punchy landscapes that are full of drama 

and impact. 

What’s good: highly advanced metering and 

autofocus make it hard to take a duff shot. 

What’s bad: the 720p maximum video 

resolution is merely average. 

Our verdict: an absolutely brilliant camera, 

the D90 is a genuine classic. 

3rd Canon eoS 50D 

What’s good: great build quality and handling 

plus consistently good image quality. 

What’s bad: Specifications and features are 

starting to look a bit dated, lacks hD video. 

Our verdict: a serious contender, but it’s 

starting to look past its prime. 

6thSonyalPha a500 

What’s good: better handling than some of 

Sony’s older D-Slrs and good battery life. 

What’s bad: the feature set is rather basic 

and custom functions are few and far between. 

Our verdict: it’s the cheapest in the group but 

quality is unconvincing. 


141

142 

KITZONE 

SLR BUYERS’ GUIDE 

Money 

to burn? 

Tripods 

Got £150 to spend on a 

three-legged friend? What 

should you consider? 

GiottosMTL9271B 

+MH5001head 

Price:£120 

Contact:www.giottos-tripods. 

co.uk,01902864646 

Reviewed:Issue99 

Our verdict:Hasamaxheight 

of 1.92mandismadefrom 

aluminium.Thethree-position 

multi-anglelegscansupport 

10kg,givingsolidperformance 

onanyterrain.Thethree-way 

headisslightlylessimpressive. 

Manfrotto190XPROB 

+496RC2head 

Price:£150 

Contact:www.manfrotto.co. 

uk,01293583300 


Our verdict:Combines 

silky-smoothoperationand 

sturdinesswithsomecunning 

features,likethewayitscentre 

columncanpivot through90°. 

The496RC2ballheadisone 

of thebestonthemarket. 

KenroLargePro HT1730 

Price:£136 


Contact:www.kenro.co.uk, 

01793615836 

Our verdict:ThemightyKenro 

weighs-inatawhopping3.9kg, 

nearly doublethe weight of the 

Manfrotto190XPROB.Butit’s 

amazinglyrigidinuseandthe 

three-wayheadthatcomesas 

partofthiskithasasolidfeel 

andbattleshipbuild quality. 


SLRBuyers’Guide 

Every SLR and interchangeable lens camera on the market reviewed by Digital 

Camera, plus our verdicts. Use it to decide which camera kit is best for you... 

D-SLRS 

Product Price Sensor type Contact Reviewed 

CANON 

Canon EOS 450D £507 APS-C, CMOS, 12.2Mp www.canon.co.uk, 01737 220000 Issue 7 

Our verdict: The 450D’s features and handling areexcellent, but its picturequality is variable. As with other EOS cameras, youneed to shoot RAWfiles forthe best 

definition. It’s quick to blow highlight details, too, so it’s important to keep a close eye on the exposure. 

Canon EOS 500D £520 APS-C, CMOS, 15.1Mp www.canon.co.uk, 01737 220000 Issue 87 

Our verdict: Though the specification (and price) might be a bit excessive for the first-time SLR user, if you want a compact Canon with HD video and ample room 

to grow into, consider the 500D. Advanced beginners who can live without the HD may as well step up to the similarly priced Canon EOS 50D. 

Canon EOS 550D £634 APS-C, CMOS, 18Mp www.canon.co.uk, 01737 220000 Issue 98 

Our verdict: Don’t buy the 550D solely for its resolution, because this doesn’t necessarily translate into extra real-world definition. Canon’s 18-55mm kit lens 

is a little weak too. However, the design and handling, high ISO performance and full HD Movie mode really are exceptional. 

Canon EOS 50D, £689 APS-C, CMOS, 15.1Mp www.canon.co.uk, 01737 220000 Issue 79 

Our verdict: Canon seems to have thrown everything but the kitchen sink at the EOS 50D in abid to re-assertitself in the semi-promarket.Indoing so it’s 

produced a great camera, and while it might not convert existing Nikon and Sony owners, it’s the ideal upgrade for any Canon user. 

Canon EOS 7D £1,225 APS-C, CMOS, 18Mp www.canon.co.uk, 01737 220000 Issue 93 

Our verdict: The 7D is incredible. Picture quality is excellent and the focus is sharp and speedy, although that’s no guarantee that all your action shots will be 

sharp.The technology is great, but formanynon-prousers the package mayoffer toomanychoices and be just abit over-engineered to be an essential buy. 

Canon EOS 5D Mark II £1,690 Full-frame, CMOS, 21.1Mp www.canon.co.uk, 01737 220000 Issue 82 

Our verdict: If looks, build, design and handling werethe only criteria, the EOS 5D Mark II would perhaps be the most desirable full-frame SLR of all. But the 

D700 and the Sony a900 are both so good for picture quality that, despite its 21 million pixels, the Canon has a real fight on its hands. 

Canon EOS-1Ds Mark IV £3,724 APS-H, CMOS, 16.1Mp www.canon.co.uk, 01737 220000 Issue 98 

Our verdict: This is an outstanding camerawith excellentperformance and quality of images. Images shot at impressively high ISOs deliver well, 

and metering and colour rendition is accuraterightout of the box. Unlikely to disappoint. 

Canon EOS-1Ds Mark III £5,249 Full-frame, CMOS, 21.1Mp www.canon.co.uk, 01737 220000 Issue 69 

Our verdict: There’s no doubt about it,Canon’s EOS-1Ds was, at the time of its release, the Rolls-Royceofdigital SLRs. The build quality is beyond reproach and 

the degree of customisation is awesome. 

NIKON 

Nikon D3000 £299 APS-C, CCD, 10.2Mp www.nikon.co.uk, 0800 230 220 Issue 91 

Our verdict: While Nikon’s D3000 is certainly beginner-friendly,it’s by no means perfect in thatrespect.Nonetheless, the cameraiscompetitively priced, 

performs capably and the GUIDE mode works well. 

Nikon D5000 £468 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 87 

Our verdict: The D5000 is awell thought-out SLR with something foreveryone. Its 720p video recording mode is not as versatile as thatofCanon’s 500D, 

but the addition of extra features, like the innovative Scene Recognition System and articulated LCD, are enough to make this a very desirable camera. 

Nikon D90 £649 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 79 

Our verdict: For this kind of moneyyou can get cameras with prolevels of build quality,features and resolution. But while it’s not the best in every respect, 

the D90 blitzes the rest overall, partly because of its huge list of features and partly because it’s so consistently good at everything it does. 

Nikon D300s £1,138 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 92 

Our verdict: Stills performance is outstanding –it’s quitehardtotakeabad picturewith this camera. The cameraisfast,smartand built to last,with impressive 

performance at higher ISOs. It’s a shame the video performance is lagging behind, but if you mainly want to shoot stills, this is a great buy. 

Nikon D700 £1,764 Full-frame, CMOS, 12.1Mp www.nikon.co.uk, 0800 230 220 Issue 77 

Our verdict: The D700 is a superb professional camera, which is capable of producing some amazingly crisp, artefact-free images and has a high-ISO 

performance that continues to amaze. Hardcore full-frame fans might hope for a cheaper entry-point, though. 

Nikon D3s £3,588 Full-frame, CMOS, 12.1Mp www.nikon.co.uk, 0800 230 220 Issue 95 

Our verdict: Nikon’s made some important enhancements to the original D3, making it even better at high ISOs, incorporating a D-Movie mode, adding the 

dust-removal system, in-camera RAW processing and more. It’s a refresh rather than a new camera, though, and it’s been paid for with a major price hike. 

Nikon D3x £4,834 Full-frame, CMOS, 24.5Mp www.nikon.co.uk, 0800 230 220 Issue 83 

Our verdict: This camera is designed for one purpose – high resolution at low ISO settings, and it does its job very well, but the problem with the D3x is that 

all of its systems areinherited fromthe D3.Asuperb camera, no doubt,but one thatisalready ageing. 

OLYMPUS 

Olympus E-450 £373 Four Thirds, Live MOS, 10Mp www.olympus.co.uk, 0800 111 4777 Issue 87 

Our verdict: If you want to only look at pixels, you might decide the E-450 lags behind other 10Mp D-SLRs, but that’s only part of the story. This is a compact, 

well-featured camera with a decent kit lens, which goes well towards off-setting the smaller sensor. 

Olympus E-520 £500* Four Thirds, Live MOS, 10Mp www.olympus.co.uk, 0800 111 4777 Issue 75 

Our verdict: It’s probably not going to attract arush of existing E-510 owners into an upgrade, but the wealth of functions, the greatimage quality and keen 

pricing will surely attract plenty of first-time buyers. This is probably the best mini hatchback of the D-SLR world, producing great colour and vibrant images. 

Olympus E-620 £499 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 86 

Our verdict: It’s tempting to focus on aspecific area when reviewing cameras and overlook the rest.Ifthe E-620 has adisadvantage compared with APS-C 

cameras, it’s a slight one, and outweighed by its handling, controls and flexible viewing system. 


Our verdict: This is agreat upgrade forexisting Olympus E-series users. Those who aremoreinterested in pixel peeping and cheap lenses maynot likeit, but if 

you enjoy creative photography then the Olympus E-30 is a great camera that deserves a closer inspection.

Product Price Sensor type Contact Reviewed 


Our verdict: Olympus did everything theypossibly could to makeacamerathatcould matchthe build quality and imaging performance of the much-loved 

E-1. In this they have succeeded by a good margin. The E-3 is rugged and a delight to shoot with. 

PENTAX 

Pentax K-x £414 APS-C, CMOS, 12.4Mp www.pentax.co.uk, 0870 7368299 Issue 94 

Our verdict: Other makers concentrateonsmooth, slick, electronic finesse beforehands-on photographic tools. Pentax does it the other wayround. 

First impressions can be negative as a result, but the K-x reaffirms Pentax’s forte: making gutsy, old-style SLRs. 

Pentax K-7 £725 APS-C, CMOS, 14.6Mp www.pentax.co.uk, 0870 7368299 Issue 88 

Our verdict: Thereismuch to likeand enjoyonthe Pentax K-7. It’s aquality product with greathandling,plenty of features and it delivers image files thatare 

capable of big prints. Its price could put off the uncommitted, but existing Pentax owners should form a queue. 

SONY 

Sony Alpha a230 £290 APS-C, CCD, 10.2Mp www.sony.co.uk, 08700 104107 Issue 100 

Our verdict: Overall, the a230 is areasonable budget-buy SLR forthose who liketostick to Full Auto or Program shooting modes, but moreadventurous 

photographers will more than likely find the camera a little too restrictive. 

Sony Alpha a380 £439** APS-C, CCD, 14.2Mp www.sony.co.uk, 08700 104107 Issue 90 

Our verdict: Ultimately,this is an entry-levelcamera, and as such, we think it succeeds. Forthe price, the SonyAlpha a380 is agreat bargain, but the omission 

of an HD video recording function is disappointing, especially from Sony. 

SonyAlpha a450 £480*** APS-C, CMOS, 14.2Mp www.sony.co.uk, 08700104107 Issue 100 

Our verdict: Compared with similarly priced SLRs, the a450 fails to givesuch satisfying results and quality is moreinconsistent. Image quality is average and 

metering errors can be a problem – over-exposure is common. 

SonyAlpha a500 £479 APS-C, CMOS, 12.3Mp www.sony.co.uk, 08700104107 Issue 101 

Our verdict: This 12.3Mp Sonyischeaply priced and battery lifeisgood. The cameraoffers better handling than some of Sony’solder D-SLRs, but the feature 

set is disappointingly basic and custom functions are few and far between. 

Sony Alpha a850 £1,839 Full-frame, CMOS, 24.6Mp www.sony.co.uk, 08700 104107 Issue 97 

Our verdict: The a850 is beautifully designed, and in handling terms can teach its rivals athing or two.However, the lack of an ISO readout in the viewfinder,plus 

the absence of Live View, is a serious weakness. The price is attractive though. 

Sony Alpha a900 £1,998 Full-frame, CMOS, 24.6Mp www.sony.co.uk, 08700 104107 Issue 80 

Our verdict: Sony’sdone an extraordinary job in getting such agood full-frame D-SLR to the market.But while its Canon and Nikon rivals ooze class, the a900 still 

has afew rough edges and Sony’syet to prove it can matchNikon and Canon’s prolenses. 

MICRO FOUR THIRDS AND HYBRID CAMERAS 

OLYMPUS 

Olympus E-P1 £485 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 90 

Our verdict: The E-P1 is an unusual camerawith undeniable appeal but rather toomanyflaws. Andifit’s serious about prising open aMicroFour Thirds-sized 

gap in the digital camera market, this seems a pretty odd camera to do it with. 

Olympus E-P2 £744 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 97 

Our verdict: The PEN E-P2 is ahuge improvementonits predecessor,thanks to its excellentelectronic viewfinder.This alone makes it amuch moreviable 

alternative to a conventional D-SLR. The lack of built-in flash, however, is a serious weakness – and one that you can’t correct without then losing the viewfinder. 

PANASONIC 

Panasonic G1 £440*** Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 81 

Our verdict: The G1 impresses with its very good electronic viewfinder,lightning-fast AF,excellentlens and strong,natural colour rendition. But after awhile you 

may find yourself hankering after the simplicity and clarity of an old-fashioned optical viewfinder, and a smaller and simpler set of controls. 

Panasonic G2 £540 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 101 

Our verdict: Priced keenly for a so-called HD-SLR – but refusing to skimp in other areas. The rotating, touch-control screen is a luxury feature. The sticking point is 

the camera system. Lenses for Four Thirds mounts are still thin on the ground, so this is not a camera we’d recommend, say, for the wildlife or sports photographer. 

Panasonic GF1 £439 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 92 

Our verdict: With its sleek design, outstanding lens quality and handy creative modes, the GF1 is a force to be reckoned with. It’s ideal for beginners with its 

simple-to-use functions, and perfect for pros who want a small compact body to fit in their bag as a back-up. 

Panasonic GH1 £899 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 89 

Our verdict: Despite solid all-round picture quality and a wealth of features, the GH1 costs more than double the price of the original G1 package. For the same 

money or less, you can get a ‘full size’ D-SLR like the Canon 500D or Nikon D90, complete with superzoom lens. 

SAMSUNG 

Samsung NX10 £474** APS-C, CMOS, 14.6Mp www.samsungcamera.co.uk, 0845 67267864 Issue 100 

Our verdict: The NX10 is an impressivecamera. Colour quibbles aside, it delivers alevelofimage quality youwouldn’t expect at this price, thanks mostly to its 

first-rate kit lens. However, an articulating LCD would make it even better and, small as it is, the NX10 is still closer in size to an SLR than a compact. 

* Includes 14-42mm kit lens ** includes 18-55mm kit lens *** including 14-45mm kit lens 

All prices body only unless otherwise stated. Prices are street prices, based on prices sourced from a selection of well-known retailers at the time of going to press, and correct at the time of going to press. 

Three of the best D-SLRs for...Sports photography 

CanonEOS 7D 

Price:£1,225 

Contact:www. 

canon.co.uk, 

01737220000 


NikonD300s 

Price:£1,138 

Contact:www. 

nikon.co.uk, 

0800230 220 


PentaxK7 

Price:£725 

Contact:www. 

pentax.co.uk, 

0870 7368299 


KITZONE 

SLR BUYERS’ GUIDE 

Money 

to burn? 

Superzooms 

Gotaround £500 to blow 

on a superzoom? Here are 

our best buys... 

Nikon 18-200mmf/3.5- 

5.6 G AF-SDX EDVRII 

Price:£590 

Contact:www.nikon.co.uk, 

0800230220 


Ourverdict:Everyincha 

qualitylens,withsmoothzoom 

andfocusrings.Combinesfast, 

quiet AF-S(SilentWave) AF 

withfull-timeMFoverrideand 

four-stopVR.Thesharpest 

superzoomwe’ve tested. 

Sigma18-250mm 

f/3.5-6.3DCOSHSM 

Price:£395 

Contact:www.sigma-imaginguk.com,01707 

329999 


Ourverdict:Offersalotforthe 

money, includingfour-stopOS 

(OpticalStabilization),HSM 

(HyperSonicMotor) AFand 

smooth,precisecontrols.It’s 

notquite assharpastheNikon 

butisimpressivenonetheless. 

Tamron18-270mm 

f/3.5-6.3 DiIIVC LDAF 

Price:£430 

Contact:www.intro2020.co.uk, 

01628674411 


Ourverdict:Tamron’sfourstopVC 

systemcomesinto its 

ownatmaximum telephoto 

settings.Thezoomringfeels 

stiffandjerkycomparedwith 

NikonandTamronlenses,but 

opticalqualityisimpressive. 


143

144 

KITZONE 

THEPROS’ FAVOURITEKIT 

CAMERA BAG SPY 

WE TAKE YOU INSIDE A TOP PRO’S KITBAG 

CANON 

EF 500MM F/4L 

IS USM (HOLDING) 

AND CANON EF 600MM 

F/4L IS USM 

Greatfor isolating sections 

of landscape, I also use 

these super telephoto 

lenses forwildlife 

and flowers. 

CANON 

TS-E 24MM 

F/3.5L 

I customised this so 

tilt-and-shift functions 

operateinthe same plane. 

It maximises front-toback 

sharpness and 

preventsvertical 

distortion. 

CANON 

EOS 5D MARK II 

My main landscape 

camera, as it’s gotsuperb 

resolution when used with 

agood lens and is lighter 

and smaller than my 1Ds 

Mark III. Live View mode 

comes in very 

handy too. 


What professional photographers 

lugaround tells youalot about 

how they work. Here,landscape 

pro Guy Edwardes unzips… 

BETTER 

BEAMER FLASH 

EXTENDER 

When shooting birds with 

a long telephoto lens, this 

createsanice catchlight 

in the subject’s eyes, and 

reduces contrast in 

strong sun by filling 

in shadows. 

CANON 

EF 16-35MM 

F/2.8L II USM 

My primary wide-angle 

lens. Some prime lenses 

can provide slightly sharper 

results, but Imuch prefer 

the compositional 

freedom afforded 

by zooms. 

FIVE 

MILLION- 

CANDLE POWER 

TORCH 

I use this to illuminate 

features in the landscape at 

dusk –soIcan work longer, 

and get cool lighting 

effects in overcast 

weather. 

MANFROTTO 

351MVCF 

This tripod copes well 

with the demands of 

shooting seascapes. Ifind 

it’s very stable, lasts longer 

than other makes and 

is less expensive 

to replace!

WIN 

ACANON 

EOS D 

Partners 

The 2010 DigitalCamera Photographerofthe Year 

competition has started! Here’s a quick guide to our 

new and exciting Portfolio category… 

Last year’s Digital Camera Photographer 

of the Year Competition (POTY) 

wasamassive success.Itattracted 

an astounding 100,000 entries from 

every corner of the globe,with the overall 

winner, Iceland’s Bragi J. Ingibergsson, 

pocketing a cool £10,000 cash prize. 

This year’scompetition is going to be 

even better, and to make this happen we’ve 

introduced a new and exciting Portfolio 

category.The winner will receiveaCanon EOS 

D with EF-S -mm lens, along with an 

invitation to submit abodyofworkfreeof 

&18-135mm 

lens worthover 

£2,000 

charge for aLicentiateship assessment 

with The Royal Photographic Society. 

In the Portfolio category we are looking for 

a small body of work (ten images). The theme 

is open and any subject will be considered. 

However, we will be looking for images that 

work with one another to form acoherent 

idea. This category is slightly different to the 

others in the competition – it will give you 

the chance to show off a body of work and get 

yourself noticed, so there’s a small fee to enter. 

Get more details or enter now at 

www.poty.com until August. 

Maciej Dakowicz made astudy 

of nightlife in Cardiff, Wales. His 

choice of style and subject matter 

has created more than just a good 

single shot – the images work 

together well to form a broader 

body of work that tells a story 

Tips from the judges 

Rosemary 

Wilman,Hon 

FRPS,president 

of The Royal 

Photographic Society, will 

be one of the key judges for 

this newcategory. She 

shares her top tips… 

“Set a consistent standard 

for the images, both in 

termsof“seeing”and 

technical quality. It’s best to 

do this in theinitialstagesof 

your project. Consider how 

achange in tone, density 

and colour throughoutthe 

flow of pictures will affect 

theoverall bodyofwork. 

The idea of thetheme or 

storyordesignshould 

come first, whetheryou 

choose to photographthe 

landscape, a sport or a 

story. Thereare endless 

ideas, butapersonal 

interpretation will give you 

the best advantage. 

It’s a great idea to write a 

draft statement before you 

starttaking pictures.Once 

you’ve shot your images it 

canbehelpful to printsmall 

proofimagesand move 

them aroundtofindthe 

best flow and sequence. 

Aweak imagecan letdown 

the whole body of work, so 

be prepared to go back and 

take more shots if needed. 

Choosing asubjectwhere 

youcan easily shoot more 

images will give you an 

advantage as youcan easily 

go backand re-shoot if you 

realise there is one image 

that does not fit.” 

Your idea should come first, 

whatever you decide to shoot 

Enter now at www.poty2010.com until 13 August 

145

FOR THE LATEST UP-T0-DATE PRICE.... 

PLEASE CALL OUR HOTLINE ON: 0845 600 6055 OR VISIT OUR WEBSITE AT WWW.JACOBSDIGITAL.CO.UK 

DIGITAL PHOTO &VIDEO 

THE UK’S LARGEST INDEPENDENT 

PHOTOGRAPHIC RETAILER! 

EOS 1000D 

Body Only £319.99 

Inc. 18-55mm £369.00 

KEY ACCESSORIES 

Canon LP-E5 Battery...................£49.99 

Canon BG-E5 Grip..................£119.99 

Canon 60-E3 Remote Switch..... £29.99 

EOS 7D 

PHOTO 

STUDENTS 

SAVE AN EXTRA 

£75! 

T&C APPLY 

SEE WEB 

CANON EF LENSES (USM -Ultra fast near silent operation. IS -Image Stabiliser to reduce camera shake. L -All weather professional lens with ultimate performance) 

EF 16-35mm f4 LUSM £1199.99 

EF 17-40mm f4 LISUSM £639.00 

EF 24-105mm f2.8 LUSM £939.00 

EF 24-70mm f2.8 LUSM £1021.99 

EF 28-135mm f3.5-5.6 IS USM £371.99 

EF 28-200mm f3.5-5.6 USM £299.99 

EF 28-300mm f3.5-5.6 LISUSM £2259.00 

EF 55-200mm f4.5-5.6 USM II £245.99 

EF 70-200mm f4 LISUSM £919.99 

EF 70-300mm f4-5.6 USM IS £428.99 

EF 70-300mm f4.5-5.6 DO IS USM £1136.99 

EF 75-300mm f4-5.6 USM III £249.00 

EF 100-400mm f4.5-5.6 LISUSM £1269.00 

EF 14mm f2.8 LUSM II £1799.99 

EF 15mm f2.8 Fisheye £619.99 

EF 20mm f2.8 USM £422.99 

EF 24mm f1.4 LUSM IS £1379.99 

EF 24mm f2.8 £382.99 

EF 28mm f1.8 USM £385.00 

270EX Speedlite 

£99.99 

10.1 

MEGAPIXELS 

18.0 

MEGAPIXELS 


Inc. 18-135mm £1474.00 



Canon BG-E7 Grip..................£149.99 

Canon WFT-E5B Transmitter......£449.99 

430EXII Speedlite 

£214.00 

EOS 500D 


Inc. 18-55mmIS £590.00 



Canon BG-E5 Grip..................£119.99 

Canon 60-E3 Remote Switch..... £29.99 

CANON SPEEDLITES 

580EXII Speedlite 

£359.00 

WE ARE CONSTANTLY UPDATING OUR PRICES! 

PLEASE CALL OR VISIT OUR WEBSITE FOR THE LATEST COMPETITIVE PRICE 

EOS 5D MkII 

•21.1 Megapixels 

•1:1 CMOS Sensor 

•Live View 

•HDVideo Mode 

•ISO 25600 

•3.9 fps 

15.1 

MEGAPIXELS 

EF 28mm f2.8 £169.99 

EF 35mm f1.4 LUSM £1179.99 

EF 35mm f2 £229.99 

EF 50mm f1.8 II £94.00 

EF 50mm f1.4 USM £299.00 

EF 50mm f1.2 LUSM £1306.99 

EF 85mm f1.8 USM £319.99 

EF 85mm f1.2 LUSM II £1827.99 

EF 100mm f2 USM £387.99 

EF 135mm f2 LUSM £933.99 

EF 200mm f2 LISUSM £4954.99 

EF 200mm f2.8 LUSM II £652.99 

EF 300mm f2.8L IS USM £3884.00 

EF 300mm f4 LISUSM £1173.99 

EF 400mm f2.8 LISUSM £6665.00 

EF 400mm f4 DO IS USM £5589.00 

EF 400mm f5.6 LUSM £1122.99 

EF 500mm f4 LISUSM £5398.99 

EF 600mm f4 LISUSM £7406.99 

EF 800mm f5.6 LISUSM £10,199. 

MT24EX Macrolite 

£799.00 

EOS 550D 

•18Megapixels 

•C-MOS Sensor 

•Live View 


•ISO 12800 

•3.7 fps 

EOS 550D Body Only £643.00 

EOS 550D inc. 18-55mmIS £699.00 

EOS 550D inc. 18-135mmIS £999.99 



Canon BG-E8 Grip..................£149.99 

Hama 60-E3 Remote Switch.......£20.99 

EOS 5D MkII Body Only £1694.99 

EOS 5D MkII inc. 24-70mm £2598.00 

EOS 5D MkII inc. 24-105mm LISUSM 


£2327.00 

Canon LP-E6 Battery.................£229.99 

Canon BG-E6 Grip....................£49.99 

Canon 80-N3 Remote Switch...£129.99 

EF 55-200mm 

EF 800mm 

MR14EX Macrolite 

£499.00 

EOS Professional 

PHOTO 

STUDENTS 

SAVE AN EXTRA 

£150! 

T&C APPLY 

SEE WEB 

EOS 1D MkIV 

EF-S 15-85mm f3.5-5.6 IS USM £664.99 

EF-S 10-22mm f3.5-4.5 USM £653.99 

EF-S 17-55mm f2.8 IS USM £811.99 

EF-S 17-85mm f4-5.6 IS USM £389.99 

EF-S 18-55mm f3.5-5.6 IS £169.00 

EF-S 18-135mm f3.5-5.6 IS £359.99 

EF-S 18-200mm f3.5-5.6 IS £439.99 

EF-S 55-250mm f4-5.6 IS USM £229.00 

EF-S 60mm f2.8 Macro USM £356.00 

EF 50mm f2.5 Macro £233.99 

MP-E 65mm f2.8 Macro £868.99 

EF 100mm f2.8 LMacro USM £439.99 

EF 100mm f2.8 LMacro IS USM £799.99 

EF 180mm f3.5L Macro USM £1278.00 

TS-E 17mm f4 L £2043.99 

TS-E 24mm f3.5 L £1839.99 

TS-E 45mm f2.8 £1117.99 

TS-E 90mm f2.8 £1139.99 

EF 1.4x II Extender (L lenses) £289.00 

EF 2x II Extender (L lenses) £289.00 

16.1 

MEGAPIXELS 

•HDVideo Mode •Live View 

•ISO 102400 •10fps 




Canon WFT-E2 II Transmitter.....£599.99 

Canon 80-N3 Remote Switch.....£49.99 

EOS 50D 


Inc.17-85mmIS £899.00 

Inc.18-200mmIS £999.00 


Canon BP-511A Battery.............£99.99 

Canon BG-E2N Grip...............£149.99 

Canon 80-N3 Remote Switch...£149.99 

EOS 1Ds MkIII 

•BIRMINGHAM •BRISTOL •CARDIFF •DERBY •EDINBURGH •HULL •LEEDS •LEICESTER •LIVERPOOL •LONDON CHELSEA 

21.1 

MEGAPIXELS 

LP-E6 

Battery BG-E6 Grip 80-N3 

Remote 

Switch 

EF-S 18-135mm 

EF 100mm Macro 

TS-E 17mm 

LP-E8 Battery 

GRIPS FLASH ACCESSORIES 

Canon OC-E3 Off Camera Shoe Cord...................£59.99 

Canon STE-2 Signal Transmitter............................£179.99 

Canon SB-E2 Flash Unit Bracket...........................£229.99 

STOFEN OMNI BOUNCE FLASH DIFFUSER Omni-Bounce 

OM-EW (430EX).............£17.99 

OM-EY (580EX)...............£17.99 

OM-24X (MT24EX)..........£25.99 

MARUMI RING FLASH 

DRF 14C......................£132.99 

NISSIN FLASH 

Di866..£259.99 Di622..£119.99 

DRF14C 

BG-E8 

Grip 

To view the list of products available for hire, please visit: 

www.jacobsdigital.co.uk/hire 

Can’t find what you are looking for? Email us &we’ll trytohelp 

hire@jacobs-photo.co.uk 

JACOBS HIRE SERVICE -TRY BEFORE YOU BUY! 

Rental facilities for • Canon • Nikon • Quantum 

The opportunity to trybefore you buy,orback up &add to your set up. If you decide to buy the item, we’ll 

subtract the hire cost from the purchase price. Further to this, if you are aPro and avital piece of equipment gets 

broken, give us acall and we’ll offer you the product for hire, while yours is being repaired. T&C’sapply. 

18.0 

MEGAPIXELS 

60-E3 Remote Switch 

15.1 

MEGAPIXELS 

21.1 

MEGAPIXELS 

•Full Frame CMOS Sensor 

•ISO 1600 •5fps 




Canon WFT-E2 II Transmitter.....£599.99 

Canon 80-N3 Remote Switch.....£49.99 

EOS 40D/50D 

WFT-E3...................£000.00 CANON ACCESSORIES 

BATTERY GRIPS 

EOS 500D/450D/1000D 

Canon BG-E5..........£119.99 

EOS 50D 

Canon BG-E2N.......£149.99 

EOS 5D MKII 

Canon BG-E6..........£229.99 

BATTERIES 

EOS 500D/450D/1000D 

Canon LP-E5............£49.99 

Energizer LP-E5........£29.99 

Hahnel LP-E5............£29.99 

EOS 7D 

Canon BG-E7..........£149.99 

EOS 550D 

Canon BG-E8..........£149.99 

EOS 550D 

Canon LP-E8............£49.99 

EOS 50D 

Canon BP-511A.......£99.99 

BG-E6 BG-E5 Energizer BP-511.....£29.99 

Hahnel BP-511........£30.99 

EOS 5D MKII/7D 

Canon LP-E6............£79.99 

WIRELESS 

Hahnel LP-E6............£59.99 

EOS 1DMKIV/1DSMKIII 

Canon WFT-E2 II......£599.99 

EOS 50D 

Canon WFT-E3........£799.99 

EOS 1DS MKIII/1DMKIV 

Canon LP-E4.........£129.99 

HAHNEL PRO 

WIRELESS 

EOS 5D MKII 

Hahnel Wireless Remote 

Canon WFT-E4........£749.99 

EOS 7D 

Canon WFT-E5........£449.99 

(EOS).....................£48.99 

WIRED/ IR 

Flex TT5 (EOS) 

..............£229.99 

EOS 1D/1Ds/5DMkII/50D 

Canon Remote Switch 80N3........£49.99 

Hama Remote Switch 80N3.........£35.99 

Canon Remote Switch TC80N3..£149.99 

Mini TT1 (EOS) 

..............£209.99 

EOS 500D/550D/1000D 

Canon Remote Switch 60E3.........£29.99 

Hama Remote Switch 60E3..........£20.99 

Canon Remote Control IR RC5......£19.97 

FreeXWire 

Canon TTL Adapter 

..............£81.99

ORDER HOTLINE 

0845 600 6055 DIGITAL PHOTO &VIDEO 

www.jacobsdigital.co.uk 

D3000 

10.2 

MEGAPIXELS 


Inc. 18-55mmVR £349.00 


Nikon EN-EL9a Battery........... ..£55.99 

Nikon ML-L3 Remote Control... .£19.99 

Nikon EH-5AC Adaptor........ ...£99.99 

D90 

12.3 

MEGAPIXELS 


Inc. 18-105mm £779.00 


Nikon EN-EL3e Battery...............£66.99 

Nikon MB-D80 Grip................£149.99 

Nikon ML-L3 Remote Control......£19.99 

D5000 


•1.5x CMOS Sensor 

•Live View 

•Anti Dust Feature 


•ISO 3200 

•4.0 fps 

D5000 Body Only £469.99 

D5000 inc. 18-55mmVR £479.99 

D5000 inc. 18-55 &55-200mmVR £699.99 

Nikon EN-EL9a Battery...............£55.99 

Nikon MC-DC2 Remote Cord.....£26.99 

Nikon DK-24 Eyecup....................£5.99 



Nikon EN-EL3e Battery...............£66.99 

Nikon MB-D10 Grip................£249.99 

Nikon WT4 Transmitter............£599.99 

EOS 40D/50D 

WFT-E3...................£000.00 NIKON ACCESSORIES 

GRIPS 

D80/ D90 

Nikon MB-D80 ........£149.99 BATTERIES 

Hahnel MB-D80..........£99.99 

D60/ D5000 

D300/D300s/D700 Nikon EN-EL9a........£55.99 

Nikon MB-D10.........£249.99 Energizer EN-EL9.....£34.99 

Hahnel MB-D300.....£159.99 Hahnel EN-EL9........£40.99 

D90/D300/D300s/D700 

Nikon EN-EL3e........£66.99 

Energizer EN-EL3e...£40.99 

MB-D10 

Hahnel EN-EL3e.......£40.99 

D3/D3x 

Nikon EN-EL4a......£119.99 

MB-D80 

WIRELESS 

D300/D700/D3/D3x 

Nikon WT-4...................................£599.99 

HAHNEL PRO WIRELESS 

Hahnel Wireless Remote (NIK)..........£48.99 

WIRED/ IR 

D300/D700/D3 

Nikon Remote Cord MC-30.............£59.99 

Hama Remote Cord MC30..............£40.99 

D90/D5000 

Nikon Remote Cord MC-DC2.........£129.99 

D80/D70s 

Hama Remote Cord MC-DC1...........£20.99 

D40/D60 

Nikon Remote Control ML-L3 IR.........£19.99 

D700 

WT-4 

FreeXWire 

Nikon TTL 

Adapter 

...... £66.99 

Fire flash units & 

cameras up to 

hundreds of feet 

away. 


D3S 


•1:1 CMOS Sensor 

•Live View 



•ISO 102400 

Nikon EN-EL4a Battery...............£119.99 

Nikon EH-6AC Adapter................£99.99 

Nikon WT4 Transmitter...............£599.99 



WE ARE CONSTANTLY UPDATING OUR PRICES! 

PLEASE CALL OR VISIT OUR WEBSITE FOR THE LATEST COMPETITIVE PRICE 

Professional 

12.1 

MEGAPIXELS 

SB400 Speedlite 

£127.99 

EN-EL9a 

Battery 


•1.5x CMOS Sensor 

•Live View 



•ISO 6400 

•7.0 fps 


EN-EL3e Battery 

Nikon EN-EL3e Battery.................£66.99 

Nikon MB-D10 Grip..................£249.99 

Nikon EH-5AC Adapter...............£99.99 

•LONDON WEST END •LONDON CITY •LONDON WESTMINSTER •MANCHESTER •NOTTINGHAM •NEWCASTLE 

12.3 

MEGAPIXELS 

D300S 


D300S Body OnLY £1148.00 

12.1 

MEGAPIXELS 

D3S Body Only £3589.00 Body Only £4798.00 

NIKON SPEEDLITES 


£229.00 

D3X 


Nikon EN-EL4a Battery.............£119.99 

Nikon EH-6AC Adapter..............£99.99 

Nikon WT4 Transmitter.............£599.99 

NIKON LENSES (DX -for Nikon DX SLR’s. VR -Reduces image blur. AF-S -Lightening quick with whisper quiet focusing. ED -Helps reduce chromatic aberration) 

14-24mm f2.8 AF-S GED £1296.99 

18-35mm f3.5-4.5 DIF-ED £505.99 

24-85mm f2.8-4 DIF £520.99 

24-120mm f3.5-5.6 GAF-S VR £541.99 

24-70mm f2.8 GAF-S ED £1219.99 

70-200mm f2.8 GAF-S VR II IF-ED £1647.00 

70-300mm f34.5-5.6 GAF-S VR IF-ED £428.99 

80-400mm f4.5-5.6 DVRED £1169.99 

200-400mm f4 GAF-S VR IF-ED II £6249.99 

14mm f2.8 DED £1199.99 

16mm f23.8 DFisheye £598.99 

20mm f2.8 D £463.99 

24mm f2.8 D £331.99 

28mm f2.8 D £218.99 

35mm f2 D £254.99 

50mm f1.8 D £107.99 


£325.99 

70-200mm 

600mm 

MC-DC2 

Remote Cord 

EN-EL4a 

Battery 

NISSIN SPEEDLITES 

Di622 Speedlite 

£119.99 

Di866 Speedlite 

£259.99 

EH-6AC 

Adapter 

50mm f1.4 D £229.00 

50mm f1.4 GAF-S £299.99 

85mm f1.4 D £887.99 

85mm f1.8 D £305.99 

105mm f2 DDC £806.99 

135mm f2 DDC £959.99 

180mm f2.8 DIF-ED £622.99 

200mm f2 GAF-S VR IF-ED £3114.99 

300mm f2.8 AF-S VR IF-ED II £4299.00 

300mm f4 DAF-S IF-ED £698.99 

400mm f2.8 GAF-S VR ED £6499.00 

500mm f4 GAF-S VR ED £5742.99 

600mm f4 GAF-S VR ED £6927.99 

10.5mm f2.8 DX GED £521.99 

35mm f1.8 DX GAF-S £169.00 

10-24mm f3.5-4.5 DX GAF-S ED £599.99 

WT-4 

18-200mm 

85mm Micro 

PC-E 85mm 

MB-D10 Grip 

FLASH ACCESSORIES 

GRIPS 

Nikon SB Commander Kit R1C1..........................£599.99 

Nikon SB Remote Kit R1......................................£408.99 

Nikon AS19 Stand for Nikon SB800.......................£6.99 

Quantum CKE for Nikon SB28..............................£45.99 

STOFEN OMNI BOUNCE FLASH DIFFUSER 

OM-SB5 (SB800)............................£17.99 

OM-600 (SB600)............................£17.99 

MARUMI RING FLASH 

DRF 14N......................................£132.99 

12.3 

MEGAPIXELS 

24.5 

MEGAPIXELS 

Omni- 

Bounce 

12-24mm f4 DX GIF £812.99 

16-85mm f3.5-5.6 DX GAF-S VR £444.00 

17-55mm f2.8 DX AFS IF-ED £1049.99 

18-105mm f3.5-5.6 DX GVRED £245.99 

18-200mm f3.5-5.6 DXGAF-S VRII IFED £587.00 

55-200mm f4-5.6 DX AF-S VR IF-ED £249.00 

55-200mm f4-5.6 DX AFS ED £182.99 

200-400mm f4G IF ED AF-S VR NEW! £4729.99 

60mm f2.8 GAF-S ED Micro £398.99 

85mm f3.5 GAF-S DX Micro £449.99 

105mm f2.8 GAF-S VR IF-ED Micro £614.99 

200mm f4 IF-ED Micro £1112.99 

PC-E 24mm f3.56 DED £1373.99 

PC-E 45mm f2.8 DED £1430.99 

PC-E 85mm f2.8 DED £1379.99 

TC-14E II Teleconverter £305.99 

TC-17E II AF-S Teleconverter £304.99 

TC-20E III Teleconverter £399.99 


PLEASE CALL OUR HOTLINE ON: 0845 600 6055 OR VISIT OUR WEBSITE AT WWW.JACOBSDIGITAL.CO.UK






16mm f2.8 Fisheye £579.99 

20mm f2.8 £449.99 

28mm f2.8 £189.99 

35mm f1.4G £1099.99 

50mm f1.8 £139.99 

50mm f1.4 £229.99 

50mm f2.8 Macro £429.99 

100mm f2.8 Macro £529.99 

11-18mm f4.5-5.6 DT £499.99 

16-105mm f3.5-5.6 DT £449.99 

18-200mm f3.5-5.6 DT £429.99 

18-250mm f3.5-5.6 DT £449.99 

55-200mm f4-5.6 DT £162.99 

70-200mm f2.8 G £1475.99 

70-300mm f4.5-5.6 SSM G £699.99 

75-300mm £199.99 

28-75mm f2.8 SAM 

£599.99 

70-400mm f4-5.6 

SSM £1299.99 

ACCESSORY PORT 

Olympus Viewfinder -2.......£261.99 

Olympus Viewfinder -1........£102.99 

Olympus Microphone Set 

MZUIKO Digital ED 9-18mm f4-5.6 £499.99 

MZUIKO Digital ED 14-150mm f4-5.6 £244.97 

MZUIKO Digital ED 14-42mm f3.5-5.6 £224.99 

MZUIKO Digital ED 17mm f2.8 Pancake £296.99 

PANASONIC LENSES 

7-14mm f4 Vario GASPH 

*INC. £50 CASHBACK 

14-140mm f4-5.6 Vario GHD 

£949.99* 

*INC. £30 CASHBACK £669.99* 

45-200mm f4-5.6 GASPH £279.99 

20mm f1.7 GASPH 

45mm f2.8 ASPH 

£279.99 

*INC. £30 CASHBACK £614.99* 

PANASONIC FLASH 

Panasonic DMW-FL28......£102.99 

Panasonic DMW-FL220....£148.99 

Panasonic DMW-FL360....£204.99 

Alpha A230 

Inc.18-55mm & 

55-200mm £399.99 


Sony NP FH-50 Battery........£61.99 

Hama Remote Switch...........£25.99 

Sony FAST1AM Adapter... £153.99 

PEN FLASH SYSTEM 

Olympus FL-14 Flash.............£149.99 

Viewfinder 

Lumix G10 


•L-MOS Sensor 

•Live View 


•Dust Reduction 

Leather Body Jackets 

OLYMPUS PEN LENSES PEN ADAPTERS 

MMF-1 Adapter £99.99 

MF-2 Adapter £149.99 

17mm f2.8 

Pancake 

Inc.14-42mm £499.99 


Panasonic DMW-BLB13E Battery........ £64.99 

Panasonic DMW-LVF1 View Finder... £169.99 

Panasonic DMW-FL220 Flashgun..... £148.99 

Alpha A380 

E-PL1 

•12.3 

•2xL-MOS 

•Live View 

•HDVideo 

•ISO 6400 

•Art Filters 

BLB13E 

Battery 

14.2 

MEGAPIXELS 

Inc.18-55mm & 

55-200mm £599.97 


Sony NP FH-50 Battery........£61.99 

Hama Remote Switch...........£25.99 

Sony FAST1AM Adapter... £153.99 

COMPACT SYSTEM CAMERAS Smaller than aDSLR but more powerful &Creative than acompact. 

Inc.16mm £449.00 

Inc.18-55mm £489.00 

Inc.16 &18-55 £579.00 


Sony NP-FW50 Battery 

Sony Case.........................£52.99 

Sony Fisheye Converter.... £124.99 

Claim up to £50 Cashback direct from 

Panasonic. Valid until 31st August 2010. 

ALPHA NEX-3 ALPHA NEX-5 

NEW! 

NEX 3-BLACK, SILVER OR RED 

NEX 5-BLACK, OR SILVER 

•Interchangeable Lenses 

•Sweep Panorama (3D available 

in Firmware upgrade) 


•3”Vari Angle LCD Screen 

•Includes External Flash 

3YEAR 

WARRANTY † 

ENDS 31/8/10 

10.2 

MEGAPIXELS 

SONY ALPHA 

NEX AVAILABLE 

IN STORE ONLY. 

Inc.16mm £549.00 

Inc.18-55mm £589.00 

Inc.18-200mm £999.00 


Sony NP-FW50 Battery 

Sony Case..........................£52.99 

Sony Fisheye Converter..... £124.99 

LVF1 

Viewfinder 

PENTAX LENSES 

10-17mm f3.5-4.5 DA Fisheye £479.99 

12-24mm f4 DA £849.99 

16-50mm f2.8 ED ALIF SDM £749.99 

17-70mm f4 SDM DA749.99 £499.99 

50-200mm f4-5.6 ED DA £229.99 

55-300mm f4-5.8 ED DA £299.99 

14mm f2.8 DA ED IF £599.99 

50mm f2.8 Macro £449.99 

55mm f1.4 SDM £649.99 

100mm f2.8 Macro £499.97 

PENTAX FLASH 

Pentax AF200FG................£179.99 

Pentax AF360FGZ..............£399.99 

Pentax AF540FGZ..............£549.99 

M9 

•18Megapixels 

•1.5x CCD Sensor 

•Rangefinder 

•ISO 2500 

•2fps 

Body Only 

Steel Grey or 

Black £4955.99 


Leica Lithium-ion Battery......... £71.99 

Leica SF24D Flash.............. £264.99 

Leica SF58D Flash.............. £539.99 

Inc.14-42mm &EVF £499.99 


Lumix GF1 

Inc.20mm £629.00 

Inc.14-45mm £549.00 


DMW-BLB13E Battery........ £64.99 

DMW-LVF1 View Finder... £169.99 

DMW-FL220 Flashgun..... £148.99 

Inc.18-55mm £438.00 

Inc.18-55 & 

55-300mm £574.00 


Energizer AA Batteries...........£7.99 

Pentax Remote Control F......£21.99 


12.3 

MEGAPIXELS 

Olympus PS-BLS1 Battery..................................................................£43.99 

Olympus Leather Body Jacket (brown or white leather).......................£69.99 

12.1 

MEGAPIXELS 

3YEAR 

WARRANTY † 

ENDS 31/8/10 

12.1 

MEGAPIXELS 

K-x 

12.4 

MEGAPIXELS 

18.0 

MEGAPIXELS 

LEICA LENSES 

21mm f2.8 Elmarit-M ASPH £2755.99 



35mm f2.0 Summicron-M ASPH £1862.99 

50mm f1.4 Summilux-M ASPH £2254.99 

50mm f2.5 Summarit-M £887.99 

75mm f2.0 Summicron-M ASPH £2105.99 

90mm f2.5 Summarit-M £1095.99 

E-P2 

•HDVideo •Live View 

•Art Filters •ISO 6400 

Inc.14-42mm £840.99 

Inc.17mm £887.99 


Olympus PS-BLS1 Battery.....£43.99 

Olympus Leather Body 

Jacket................................£69.99 

Lumix G2 

To find out more about Jacobs Pro Lounges please visit: 

www.jacobsdigital.co.uk/pro 

JACOBS PRO LOUNGES 

• London New Oxford Street 

• Manchester • Edinburgh 

•Dedicated city centre locations for photographers to relax •Tea/ Coffee 

•FREE Ethernet &wireless connectivity for image transmission 

•Exclusive demo days &launch events •Studio facilities •Rental facilities 

*INC. 

£30 

CASHBACK 

ENDS 

31/8/10 

3YEAR 

WARRANTY † 

ENDS 31/8/10 

†3Year Warranty to be claimed direct from Panasonic. Offer valid on in store purchases only. Valid from 20th May 2010 -31st August 2010. 

12.3 

MEGAPIXELS 

12.1 

MEGAPIXELS 

Inc.14-42mm £599.99* 

Inc.14-42 & 

45-200mm £869.99* 




DMW-FL220 Flashgun..... £148.99 

K-7 

14.6 

MEGAPIXELS 

Inc.18-55mm £829.00 

Inc.18-55 & 

50-200mm £929.00 


Pentax D-LI90 Battery..........£64.99 

Pentax D-BG4 Grip...........£275.99 

Pentax Remote Control F......£21.99 

NX10 

Testedas Entry-level 

hybrid camera 

Rated Good 

86 % 

1 2 3 4 5 6 7 8 9 10 

FEATURES 9/10 

BUILD/HANDLING 9/10 

NOISE/RESOLUTION28/30 

DYNAMICRANGE 8/10 

AWB/COLOUR 9/10 

METERING 8/10 

AUTOFOCUS 7/10 

LCD/VIEWFINDER 8/10 

14.6 

MEGAPIXELS 

Inc.18-55mm £489.99 

Inc.18-55mm & 

50-200mm £599.99 


Samsung BP1310 Battery.....£27.99 

Samsung SEF20A Grip......£105.99 

Samsung SR9NX01 Shutter.....£14.99 

E-P1 

•HDVideo •Live View 

•Art Filters •ISO 6400 

Inc.14-42mm £499.00 

Inc.17mm V/F £649.00 


Lumix GH1 

12.3 

MEGAPIXELS 

Olympus PS-BLS1 Battery.....£43.99 

Olympus Leather Body 

Jacket................................£69.99 

*INC. 

£75 

CASHBACK 

ENDS 

31/8/10 

3YEAR 

WARRANTY † 

ENDS 31/8/10 

12.1 

MEGAPIXELS 

Inc.14-140mm £974.99* 




DMW-FL220 Flashgun..... £148.99

ORDER HOTLINE 



DC Lenses 

4.5mm f2.8 EX HSM DC Circ Fisheye £589.99 

10mm f2.8 EX HSM DC £505.99 

30mm f1.4 EX HSM DG £404.99 

10-20mm f4-5.6 EX DC HSM ASP IF £399.99 

10-20mm f3.5 EX DC HSM ASP IF £459.99 

17-70mm f2.8-4.5 DC ASP IF £336.99 

18-50mm f3.5-5.6 DC ASP £77.99 

18-50mm f2.8-4.5 DC HSM IF OS £183.99 

18-50mm f2.8 EX DC HSM ASP IF £336.99 

18-125mm f3.8-5.6 DC HSM IF OS £267.99 

18-200mm f3.5-6.3 DC ASP IF £228.99 

18-200mm f3.5-6.3 DC ASP IF OS £302.99 

18-250mm f3.5-6.3 DC ASP IF OS £420.99 

50-150mm f2.8 EX DC HSM APO IF II £589.99 

Prime Lenses 

8mm f3.5 EX Circ Fisheye DG £631.99 

15mm f2.8 EX Fisheye DG £505.99 

20mm f1.8 EX DG ASP RF £505.99 

24mm f1.8 EX DG ASP £420.99 

28mm f1.8 EX DG ASP £336.99 

50mm f1.4 EX DG HSM £378.99 

85mm f1.4 EX DG HSM NEW! £699.99 

300mm f2.8 EX DG HSM £2272.99 

500mm f4.5 EX DG HSM APO IF £3956.99 

800mm f5.6 EX DG HSM APO IF £4209.99 

Macro 

50mm f2.8 EX DG Macro £255.99 

70mm f2.8 EX DG Macro £402.99 

105mm f2.8 EX DG Macro £402.99 

150mm f2.8EX DG HSM APO IF Macro £589.99 

Teleconverters 

1.4x Converter EX DG APO £247.99 

2x Converter EX DG APO £301.99 

Zoom Lenses 

12-24mm f4.5-5.6 EX DG HSM ASP IF £715.99 

24-70mm f2.8 EX DG HSM ASP IF £446.99 

70-200mm f2.8 EX DG HSM APO IF Macro II £673.99 

70-200mm f2.8 EX DG OS HSM NEW! £1299.99 

70-300mmm f4-5.6 DG Macro £133.99 

70-300mm f4-5.6 DG OS £314.99 

120-300mm f2.8 EX DG HSM APO IF £1852.99 

120-400mm f4.5-5.6 DG HSM APO RF OS £631.99 

150-500mm f5-6.3 DG HSM APO RF OS £699.99 

200-500mm f2.8 EX DG HSM APO IF £20,203. 

300-800mm f5.6 EX DG HSM APO IF £5892.99 

METZ FLASHGUNS 

20 C-2 

£39.99 

36 AF-4 

£74.99 

STUDIO LIGHTING 

Jacobs Studio 160 

Lighting Kit 

£199.99 

Includes two 160W Flash Heads, 

two Lighting Stands, Soft Box, Gold 

Umbrella Honeycomb, Clear Diffuser, Blue, 

red and yellow filters,Snoot, IR remote, sync lead 

and adeluxe studio carrying bag. 

48 AF-1 

£188.99 

Di-II Lenses 

10-24mm f3.5-4.5 Di II LD ASP IF £388.99 

17-50mm f2.8 XR Di II VC LD ASP £336.99 

18-200mm f3.5-6.3 XR Di II LD ASP IF £173.99 

18-250mm f3.5-6.3 Di II LD ASP IF £388.99 

18-270mm f3.5-6.3 Di II VC LD ASP IF £459.99 

55-200mm f4-5.6 Di II LD 

Zoom Lenses 

£107.99 

28-75mm f2.8 XR Di LD ASP IF £357.99 

28-300mm f3.5-6.3 XR Di ASP IF £316.99 

28-300mm f3.5-6.3 XR Di VC LD ASP IF £510.99 

70-200mm f2.8 Di LD IF £621.99 

70-300mm f4.5-5.6 Di LD £132.99 

200-500mm f5-6.3 Di LD IF 

Macro Lenses 

£873.99 

60mm f2 Macro Di £449.99 

90mm f2.8 Macro Di £ £368.99 

180mm f3.5 Macro Di LD £710.99 

AF 10-17mm f3.5-4.5 AT-X 107 DX Fisheye £549.99 

AF 11-16mm f2.8 AT-X Pro DX £549.99 

AF 12-24mm f4 AT-X 124 Pro DX £499.99 

AF 12-24mm f4 AT-X 124 Pro DXII £574.99 

AF 16-50mm f2.8 AT-X Pro DX £699.99 

AF 50-135mm f2.8 AT-X 535 Pro DX £649.99 

AF 80-400mm f4.5-5.6 AT-X 840D £649.99 

AF 35mm f2.8 Macro AT-X Pro DX £399.99 

AF 100mm f2.8 Macro AT-X 100 AF Pro D £399.99 

58 AF-1 

£278.99 

£459.99 

£1480.99 

Bowens 4820 Gemini 500R Travel Pack Kit .£1378.99 

Bowens 4800 Gemini 250R Head Kit ............£810.99 

Bowens 4800 Gemini 500R Head Kit ............£949.99 

40.5mm UV HMC ..................£17.99 

49mm Circular Polar ...............£39.99 

49mm UV ...............................£16.99 


52mm UV ...............................£19.99 


55mm UV ..............................£21.99 


58mm UV ...............................£21.99 


62mm UV ..............................£24.99 

67mm Circ.Polariser.................£79.99 

67mm UV ...............................£29.99 

72mm Circular Polariser ..........£81.99 

72mm UV ...............................£39.99 

77mm Circ Polariser.................£99.99 

77mm UV ...............................£44.99 

82mm Circular Polariser ........£129.99 

82mm UV ...............................£69.99 

86mm UV .............................£179.99 

Hoya HD 

Multi-coated surface with high transparency 

polarising film. Waterproof to 

repel water spots and hardened to be 

scratch &stain resistant. 

HD 58mm Protector ................£49.99 

HD 58mm UV..........................£49.99 

HD 58mm PL-CIRC ...............£109.99 


HD 62mm UV..........................£59.99 

HD 62mm PL-CIRC.................£109.99 

HD 67mm Protector ...............£134.99 

HD 67mm UV..........................£64.99 

HD 67mm PL-CIRC ..................£64.99 


HD 72mm UV..........................£76.99 

HD 72mm PL-CIRC ...............£169.99 


HD 77mm UV.........................£94.99 


HD 82mm UV........................£104.99 

Strobies Portrait Kit STR100 £99.99 

Lightweight &portable STROBIES lighting accessories, ideal for the 

mobile photographer, indoors or outdoors. Simple to put together using 

aFlex Mount on your flashgun, no glue, velcro or rubber bands needed! 

Swap between the Beauty Dish or the Globe Diffuser in seconds 

Interfit Strobies EFX Kit STR101..............£80.99 

Interfit Strobies XS Softbox Kit ...............£99.99 

Interfit EX150 MkII Kit 

FREE DVD £229.99 

Award winning -all you need to get 

started in the creative world of studio 

lighting! Includes two Heads, two 

Lighting Stands, Softbox and Umbrella. 

Interfit EX150 MkIII Kit Includes three Heads .....£419.99 

Interfit EXD200 Kit All in 1kit .......................£289.99 

Interfit EXD300 Kit Softbox umbrella kit ............£469.99 

Interfit EXD400 Kit Softbox umbrella kit ............£539.99 



LENSES (available in different fits) FILTERS PROTECT YOUR INVESTMENT! Protect your lens from grit and scratches. 

Bowens 4713 

Gemini 200 

2Head Kit 

Inc. two Gemini 200Ws, 

two Bowens 90cm 

Silver/White 

Umbrellas, two 120° 

Wide-Angle Umbrella 

reflectors and 

two Bowens 

support 

stands. 

10-20mm 

30mm 

17-70mm 

18-200mm 

15mm 

50mm 

105mm 

18-270mm 28-300mm 55-200mm 

Jacobs 

Lens Pouch S....£10.99 

Lens Pouch M...£12.99 

Lens Pouch L.....£13.99 

Domke 

11” Wrap.......£14.99 

15” Wrap.......£16.99 

19” Wrap.......£18.99 

(Most available in Canon, Nikon, Olympus, 

Panasonic, Sony and Pentax fits) 

Bowens 4850 

Gemini 500R 

3Head Kit 

Includes three Gemini 500Ws, 

two Bowens 115cm Silver/White 

Umbrellas, two 120° Wide-Angle 

Umbrella 

reflectors, 

one Softbox 

and three 

support 

stands. 

LENS CASES 

Lowepro 

Lens Case 1..............£15.99 

Lens Case 1M/ 1N...£19.99 

Lens Case 1S/ 1W....£14.99 

Lens Case 2/ 2s........£17.99 

Lens Case 3..............£19.99 

Lens Case 4/ 4s........£26.99 

Lens Case 5/ 5s........£44.99 

POCKETWIZARD 

WIRELESS 

Plus II set..........................£369.99 

Plus II Transceiver..............£189.99 

Multimax Transceiver.........£249.99 

PC1 Cable...........................£8.99 

HILDOZINE 

Safely secure your pocketwizard 

with confidence. 

Transceiver Caddy..............£12.99 

Protective Storgae Jacket.......£7.99 

Hoya Pro 

Revolutionary performance in light 

transmission &colour balance. Glass 

just 1mm thick, mounted in asuper 

slim 3mm ring and 12 layers of super 

multi-coating. 

Pro-1D 52mm Protector .............36.99 

Pro-1D 52mm UV.....................£38.99 

Pro-1D 52mm PL-CIRC .............£84.99 

Pro-1D 55mm Protector ...........£38.99 

Pro-1D 55mm UV.....................£40.99 

Pro-1D 55mm PL-CIRC .............£89.99 


Pro-1D 58mm UV.....................£43.99 

Pro-1D 58mm PL-CIRC .............£94.99 


Pro-1D 62mm UV.....................£49.99 

Pro-1D 62mm PL-CIRC .............£99.99 


Pro-1D 67mm UV.....................£59.99 

Pro-1D 67mm PL-CIRC ...........£119.99 


Pro-1D 72mm UV.....................£64.99 

Pro-1D 72mm PL-CIRC ..........£134.99 


Pro-1D 77mm UV.....................£74.99 

Pro-1D 77mm PL-CIRC ...........£169.99 


Pro-1D 82mm UV.....................£79.99 

Pro-1D 82mm PL-CIRC ......... £189.99 

Cokin PSeries 

The original square filter system. 

Cokin PSeries filters are designed for 

shorter focal lenghts 20-24mm or 

28mm as well as for wide angle 

zooms (24-50/28-85/35-135mm) 

49mm PAdaptor ....................£12.99 

52mm PAdaptor ....................£12.99 

55mm PAdaptor ....................£12.99 

58mm PAdaptor ....................£12.99 

62mm PAdaptor ....................£12.99 

67mm PAdaptor ....................£12.99 

72mm PAdaptor ....................£12.99 

77mm PAdaptor ....................£12.99 

82mm PAdaptor ....................£12.99 

PHolder &Catalogue (BP400).£12.99 

PWide Angle Holder ..............£14.99 

PDigital SLR Nik Kit H521-67 £38.99 

P255 Modular Hood...............£15.99 

P001 Yellow Filter ...................£15.99 

P002 Orange Filter .................£15.99 

P003 Red Filter .......................£15.99 

P007 Infrared (89B).................£39.99 

P026 Warm 81A ...................£15.99 

P027 Warm 81B ....................£15.99 

P056 Star 8...........................£23.99 

P120 G1 Gradual ..................£21.99 

P121 G2 Gradual ..................£21.99 

P121F G2 Gradual Full ..........£21.99 

P121L G2 Gradual Light..........£21.99 

P121M G2 Gradual Med .......£21.99 

P121S G2 Gradual Soft ..........£21.99 

P122 B1 Gradual ...................£21.99 

P123 B2 Gradual ...................£21.99 

P124 T1 Gradual....................£21.99 

P125 T2 Gradual....................£21.99 

P152 Neutral Density x2 .........£16.99 



P164 Circular Polariser ...........£84.99 

P197 Sunset 1........................£39.99 

P830/P083 Diffuser 1.............£19.99 

P840/P084 Diffuser 2.............£19.99 

Jacobs by Cokin 

Our own range of filters are available 

in popular effects and sizes offering 

outstanding quality and great value for 

money. 

30.5mm Circ-PL Filter...............£10.99 

37mm Circ-PL Filter..................£10.99 

49mm Circ-PL Filter...................£26.99 

49mm UV Filter ......................£10.99 


52mm UV Filter ......................£12.99 


55mm UV Filter ......................£14.99 


58mm UV Filter ......................£16.99 


62mm UV Filter ......................£19.99 


67mm UV Filter ......................£21.99 


72mm UV Filter ......................£25.99 


77mm UV Filter ......................£30.99 

LASTOLITE LIGHTING ACCESSORIES 

Ezybalance 

1250 30cm .......£18.99 

Xpobalance 

1558 38cm .......£35.99 

Ezybalance Hotshoe 

2438 38x38cm ...£92.99 

2462 60x60cm .£112.99 

Ezybalance Softboxes 

2460 60x60cm ...........£122.99 

Micro Apollo 

2201 Micro Apollo 45 ..£27.99 

2204 Micro Apollo 60 ..£30.99 

TriGrip Reflectors 

3631 silver/white 75cm ...............£61.99 

3636 sunfire/silver 75cm .............£61.99 

4806 sunfire/white 120cm............£74.99 

1206 sunfire/white 30cm .............£12.99 

1236 sunfire/silver 30cm .............£12.99 

3006 sunfire/white 75cm .............£34.99 

3731 silver/white Large ...............£76.99 

3751 one stop diffuser .................£76.99 

3223 5-in-1 75cm ........................£46.99 

3631 Dual duty 80cm ..................£25.99 

TriFlip Kit 

3696 75cm 19” ..........................£92.99 

CLEANING & 

PROTECTION 

LENSPEN 

Cleaning Pen....£9.99 

LENSPEN 

Sensor Klear 

Angled 

£16.99 

LENSPEN 

Sensor Klear 

Loupe 

VISIBLEDUST 

SL700 Arctic Butterfly.. £59.99 

SL724 Arctic Brite Vue.£89.99 

Sensor Loupe (7x)....... £64.99 

Zeeion Non Contact Dust 

Removal..................... £39.99 

Mini Swab 1.0x......... £30.97 

Mini Swab 1.3x......... £30.97 

Mini Swab 1.6x......... £30.97 

Vdust Plus 7.5ml......... £15.99 

Reflector Brackets 

Trigrip 2430 bracket .........£71.99 

Universal 1100 bracket .....£49.99 

Pocket 1113 bracket .........£42.99 

2402 Tilthead shoe adapt .£17.99 

Background Supports 

1108 3m wide ...........................£148.99 

Backgrounds 

5621 black/white 1.5x1.8m .......£112.99 

5602 black velvet 1.5x1.8m ........£112.99 

56FM florida/maine 1.5x1.8m ....£102.99 

67FM florida/maine 1.8x2.15m ..£174.99 

6701 black/white 1.8x2.15m .....£204.99 

8017 baby poser ........................£107.99 

HiLite Backgrounds 

8867 1.8x2.15m ..£318.99 

8857 1.5x2.15m ..£266.99 

Umbrellas 

3203 silver 80cm ........£24.99 

3207 white satin 80cm £17.99 

ePhotomaket Kit 

2484 small .....£51.99 

3684 large .....£81.99 

Studio Cubelite Kit 

8825 70cm ..£461.99 


£51.99 

JACOBS JACOBS 

Air Duster Refill Air Duster Valve 

£9.99 £9.99 

JACOBS 

LCD Protector 

£4.99 

JACOBS 

Cleaning Kit 

£9.99 

GIOTTOS 

Rocket Air (L) 

£11.99 

PROPHOT 

WetWipes 

£3.99 

JACOBS 

Microfibre Cloth 

£4.99 

JACOBS 

Blower Brush 

£8.99 

GIOTTOS 

QBall Air 

£11.99 

DELKIN 

SensorScope Kit 

£81.99 








MANFROTTO TRIPODS 

055X Range 

The 055X PROB makes the famous 

Manfrotto patented horizontal centre 

column feature even easier to use. By 

extending the column to its highest 

vertical position, it can be swung 

round to horizontal without removing 

the head or disassembling the column 

itself. 

055XPROB 

£108.99 

055XB Tripod..................... £94.99 

055XPROB Tripod............ £108.99 

Vitruvian VGR Tripod Kits 

Designed to offer photographers not 

only atruly lightweight and compact 

tripod, but afull function monopod 

and ball head. 

With “reverse technology” legs so 

that when collapsed they fold 

through 180 degrees and surround 

the tripod centre column and head - 

folding down into aunit that 

measures only 40cm long. 

Unscrew the tripod leg, remove the 

centre colum &head then join them 

together to produce amonopod 

with amaximum height of 162cm. 

Vitruvian VGR9255 &MN5310 

.....................................£199.99 

Vitruvian VGR8255 &MN5310 

....................................£329.99 

190X Range 

Featuring apatented design which 

allows the centre column to be used 

horizontally as an extending arm, or 

vertically. 

190XPROB 

£88.99* 

*INC. £2O CASHBACK FROM MANFROTTO 

Valid 1st May -31st July 2010. 

190XB..................................£88.99 

190X PROB..........................£88.99* 

Manfrotto Tripod Bags 

Youlook after your camera so why not protect your tripod? 

Manfrotto Tripod Bag Unpadded 70cm.. £29.99 

Manfrotto Tripod Bag Unpadded 80cm.. £39.99 

Manfrotto Tripod Bag Padded 80cm...... £49.99 

Manfrotto Tripod Straps 

Includes aspring clip to fasten quickly at the 

shoulder of the tripod for atight &secure grip. 

Manfrotto MN102 Tripod Strap............ £21.99 

MTL Adjustable 

Column Carbon Fibre 

Patented multi-function 

centre column allows for 

180° vertical movement 

and 360° degree 

horizontal rotation 

as alateral arm. No 

need for an extra 

head when using 

the built-in 

universal 3-way head, just 

change to the short column and lock 

the safety knob. 

MTL8351B Adjust Column .£159.99 

MTL8350B Adjust Column..£158.99 



MTL Adjustable 

Column Aluminium 

Aluminium legs and 

patented multifunction 

centre column. No 

need for an extra 

head when using 

the built-in 3-way 

head, just 

change to the 

short column 

and lock the safety knob. 

MTL9351B Adjust Column ...£89.99 



055CX Range 

The 4-section 055CX PRO 

4combines the best 

performances of the 

055 carbon family 

with lower dimensions. 

This tripod is compact and light, 

with the patented Q90°system for 

quick vertical-horizontal movements. 

055CX3 ..........................£243.99 

055CX PRO3 ...................£249.99 

055CX PRO4....................£249.99 

190CX Range 

Features an ergonomic leg 

angle selector.This new 

angle selector improves 

the comfort and 

precision in use. 

Made of 100% 

Carbon Fibre, providing 

rigidity and lightness. 

190CX3...........................£189.99 

190CX PRO3...................£239.99 

190CX PRO4 ..................£239.99 

Modo 

The Modo range has been 

created for those on the 

move, the Maxi has a 

max height of 150.5cm, 

but folds down to 

43.5cm and the ultra 

compact Mini 

114.5cm but folds 

down to 36.5cm. 

785B Modo Maxi...............£49.99 

797 Modo Pocket...............£17.99 

MANFROTTO TRIPOD HEADS MONOPODS 

Ball &Socket Heads 

Designed to be lightweight but at the 

same time offer heavy duty load 

capacity. 

494RC2 Mini Ball 

Head with RC2 

Quick Release Plate 

....£44.99 

498RC2 Midi Ball 

Head with RC2 

Release Plate 

.....£89.99 

496RC2 Compact Ball 

Head with RC2 

Quick Release 

Plate 

....£54.99 

Pan &Tilt Heads 

Smooth control of pan, back and 

forward tilt plus side to side tilt 

movements. 

804RC2 Basic 

Head Q/R 

£594.99 

460Mg 

Magnesium 

Head ...£68.99 

Quick Release Plate 

Replacement Square Mount Plate for 

MH652. 

MH642 Q/R Plate 1/4 ......£12.99 

Video Heads 

Small &lightweight heads 

with smooth fluid 

movement & 

pan &tilt 

locks. 

128RC 

£65.99 

Joystick Heads 

Just grip the handle 

and you can 

position your 

camera anywhere 

within a180° 

sphere. 

222 Joystick 

Head 

.....£76.99 

322RC2 

Heavy 

Duty 

Grip Head 

.....£88.99 

while stocks last 

700RC2 

£69.99.... 

Monopods 

Ever heard the one about aone 

legged tripod? Youhave now 

Monopods are perfect for those that 

need stability, speed and portability. 

790B Modo.................. .....£25.99 

679B 3-Section ..................£35.99 

680B 4-Section ..................£45.99 

681B 3-Section...................£49.99 

685B Neotec ..................£114.99 

695CX ...........................£139.99 

694CX ...........................£127.99 

776YB M-Y ........................£34.99 

Monopod Heads 

234 Simple tilt head 

allows 900 tilt for 

vertical or 

horizontal format. 

234 Tilt Head-M/Pod..........£14.99 

234RC Tilt Head Q/R ........£24.99 

GIOTTTOS TRIPODS - 5Year Warranty on all Giottos Tripods &Heads GIOTTOS TRIPOD HEADS GIOTTOS MONOPODS 

NEW! 

GITZO TRIPODS - Available at our New Oxford Street store only and as aspecial order through other stores. 

Systematic 

The strongest 

and most 

stable available, they 

also offer unsurpassed 

flexibility. 

GT3541LS Studex.............£599.99 

GT3511S Rapid Column...£169.99 

Leveling 

Revolutionary 

leveling tripod 

for photographers who 

need fast set-up and 

leveling accuracy. 

GT2540LLVL Leveling ........£629.99 

Traveler & 

Head 

An excellent 

choice for compact digital 

cameras and DSLRs, or 

even for lightweight 

camcorders. Come with 

the G1077M head. 

GT1550T Traveler ...............£539.95 

GK2580TQR with head.......£699.99 

Explorer 

Aversatile support 

to explore new 

shooting perspectives. 

GT2531EX Explorer GLock...£499.99 

MTL Vertical Column 

Aluminium/Carbon Fibre 

High density tubes 

minimise weight yet 

maximise rigidity. 

The centre column 

can be reversed to 

position the 

camera upside 

down. 

Maximum 

height 

(MTL9271B) 182cm. 

MTL3271 Aluminium Vertical 

Column .............................£89.97 

MTL8240B Carbon Vertical 

Column...........................£169.99 

MT Travel 

Extra compact 

dimensions yet all 

the features of the 

larger models 

including 

reversible or 

multi-function 

centre column. 

Models 

available in 

Carbon 

Fibre or Aluminium. 

MT8246B Vertical Column £169.97 

MT9340B Aluminium Adjust 

Column..............................£74.99 

Mountaineer 

The world’s first carbon fibre 

tripod that maximises 

rigidity, vibration absorbtion and 

lightweight performance. 

GT2542L long version ......£609.99 

Aluminium 

30% lighter 

than 

magnesium but just as 

strong and with great 

vibration dampening 

properties. 

GT3340L Aluminium ......£429.99 

Ball &Socket Heads 

Giottos MH1302-652 

Professional extra large 

ball &socket. 

Features light and 

extra large ball 

with hollowed ball 

structure. All of 

these plates feature 

asafety lock with 

“auto lock” 

retaining system. 

MH1302-652 8kg..............£59.99 

MH1301-652 12kg ...........£74.99 

MH1300-652 20kg ...........£74.99 

MH7002-652 4kg..............£39.99 

MH7001-652 6kg..............£44.99 

MH7000-652 8kg..............£54.99 

Designed to meet the 

demands of professional 

photographers. 

Pan &Tilt Heads 

Giottos MH5001 

Smooth control 

of pan, back & 

forward tilt plus 

side to side tilt movements. The quick 

pan head incorporates aspecial 

patented double safety lock and a 

sprung location pin, which allows 

the equipment tobe simply and 

quickly loaded and unloaded. 

MH5001 ..........................£39.99 

MH5011 3-Way Head with quick 

release plate .....................£35.99 

VH6011-658B Birding Hd..£64.99 

Accessories 

Tripod Bag Large ..............£24.99 

Tripod Bag Medium ..........£24.99 

Shoulder Strap... ...............£19.99 

Monopods 

Made from 6061 grade aluminium, 

featuring quick action lever leg 

locks, foam hand grip and security 

wrist strap. 

Giottos MML3260B..........£39.99 

Giottos MML3270B......... £39.99 

Giottos MNL3290B ........ £39.99 

Gorillapods 

The Gorillapod firmly secures your 

camera to 

just about 

anything, 

it can be 

manipulated 

into avariety 

of 

configurations 

to wrap 

around 

objects. 

Gorillapod Black................£14.99 

Gorillapod SLR...................£29.99 

Gorillapod SLR Zoom..........£39.99 

Gorillapod Green...............£89.99 

Gorillapod Magnetic NEW £24.99 

Gorillapod BH1 Head.........£39.99 

Gorillapod BHX Head NEW..£69.99 

GITZO TRIPOD HEADS New Oxford Street store only GITZO MONOPODS 

New Oxford Street store only 

GH2780QR 

Centre Ball 

£279.99 

GH3780QR 

Centre Ball 

£309.99 

GH5380SQR 

Systematic Ball 

Head £319.99 

GH2750QR Off 

Centre Ball Head 

£199.99 

G2180 Fluid Head 

£179.99 

G2272M Low Profile 

3Way Head 

£239.99 

G1173/14B QR 

Plate1/4 

£29.99 

To view or download the latest list of 

pre-owned equipment, please visit: 

www.jacobsdigital.co.uk/used 

JACOBS PRE-OWNED EQUIPMENT 

All our pre-owned equipment comes with a12month warranty. 

Brands include: Bronica, Canon, Contax, Fuji, Hasselblad, Leica, Mamiya, Nikon, Pentax, Rollei, Voigtlander &many more. 

Velbon Tripods 

CX Mini Table inc. case.......£19.99 

CX-440 Tripod inc. case .....£29.99 




0207 436 55 44 

Gitzo monopods 

continue to set the 

standard for 

professionals 

and advanced 

amateurs. 

GM2561T.......................£189.99 

GM3340L.......................£139.99 

GM5561T...................... £279.99 

GH1780 Q/R Advanced 

Centre ball head .............£209.99 

•BIRMINGHAM •BRISTOL •CARDIFF •DERBY •EDINBURGH •HULL •LEEDS •LEICESTER •LIVERPOOL •LONDON CHELSEA

ORDER HOTLINE 



BACKPACKS - Some stock at selected stores only -Please check before making aspecial journey -0845 600 6055 

Slingshot 

Perfect for 

photojournalists, 

the slingshot uses a 

unique sling design to go 

from ‘carry mode’ to ‘ready 

mode’ in just seconds. 

Slingshot 200AW...............£59.99 

while stocks last 

Slingshot 102AW...............£64.99 

Slingshot 202AW...............£84.99 

Slingshot 302AW...............£94.99 

Classified Sling 180AW......£104.99 

Classified Sling 220AW......£134.99 

CompuDaypack Grey.........£69.99 

HOLDALLS - Some stock at selected stores only -Please check before making aspecial journey -0845 600 6055 

Altus 

Quick 

access lid, card storage, 

adjustable strap &divider. 

Altus 140...........................£14.99 

Apex 100AW Black/Blue...£24.99 

Apex 110AW Black...........£27.99 

Apex 110AW Blue.............£27.99 

Apex 120AW Black...........£31.99 

Apex 140AW Black/Blue...£34.99 

Cirrus 120 Black................£28.97 

Cirrus 120 Blue..................£28.99 

Cirrus 140 Black................£33.99 

Cirrus TLZ 5Black...............£22.99 

Cirrus TLZ 5Blue................£24.99 

Cirrus TLZ 15 Black.............£29.99 

Cirrus TLZ 25 Black.............£34.99 

Classified 

Fast access 

bag with 

slim 

profile. 

Classified 140AW Blk/Sep £89.99 

Classified 160AW Black....£104.99 

Classified 160AW Sepia....£114.99 

Classified 200AW Blk/Sep£124.99 

Classified 250AW Blk/Sep£129.99 

Toploader 

Holster-style 

bag with strap 

&belt loop 

for DSL &lens 

Toploader Zoom 45AW........£39.99 



Toploader Zoom Pro 65AW..£69.99 



TLZ1 Black...........................£29.97 

TLZ1 Navy...........................£39.97 

Digital Holster 10.................£34.99 





Urban Disguise 10...............£49.99 



Urban Disguise 35.............£109.99 




Urban Disguise 70 Pro.......£139.99 

TOPLOADERS - Some stock at selected stores only -Please check before making aspecial journey -0845 600 6055 

ROLLERS 

NEW! 

NEW! 

Pro Roller X100................£299.99 

Pro Roller X200................£349.99 

Pro Roller X300................£399.99 

Pro Roller 3.......................£234.99 

Computrekker Plus AW.......£ 

Flipside 

Versapack 

Comfortable 

the ultimate dual- 

backpack 

compartment DSLR 

series protects 

backpack: flexible, 

your digital SLR 

lightweight and 

and laptop (250 & 

350 models). Slide 

incredibly versatile. 

compartments give quick access to 

accessories. 

Versapack 200AW Blk, Blue.£59.99 

Pro Trekker 300AW............£229.99 

Flipside 200 Blue/Blk/Red....£59.99 Pro Trekker 400AW............£274.99 

Flipside 300 Blue or Red.......£69.99 Pro Trekker 600AW............£289.99 

Flipside 400 Blk ..................£79.99 

Rover AW2Black/Grey........£89.99 

Fastpack 100 Blue................£45.99 

Fastpack 100 Black..............£45.99 Vertex 100AW.....................£99.99 

Fastpack 200 Blue................£54.99 Vertex 200AW...................£124.99 

Fastpack 200 Blk or Red.......£49.99 Vertex 300AW...................£159.99 

Fastpack 250 Blk/Red ..........£54.99 

Fastpack 350 Blue................£69.99 Pro Runner 300AW..............£79.99 

Fastpack 350 Black/Red.......£69.99 Pro Runner 350AW............£119.99 

Pro Runner 450AW............£149.99 

Inverse 100AW Blu/Blk/Grn.£59.99 Pro Runner X350AW.........£199.99 

Inverse 200AW Blue.............£69.99 Pro Runner X450AW.........£249.99 

Inverse 200AW Black...........£69.99 

Inverse 200AW Green..........£69.99 Primus AW Black..................£89.97 

Magnum 

An essential toolbox 

for the pro 

photographer. Extra-portable, durable 

&flexible with asturdy base offering 

sturdy &stable 

protection. 

Magnum 400AW...............£159.99 

Magnum 650AW...............£199.99 

Nova 140AW Black............£34.99 

Nova 140AW Blue..............£24.97 

Nova 160AW Black............£39.99 

Nova 170AW Black............£44.99 

Nova 180AW Black............£49.99 

Nova 180AW Blue..............£64.99 

Nova 190AW Black............£59.99 

Nova 200AW Black............£59.99 

Rezo 110AW.......................£18.99 

Rezo 120AW.......................£24.99 

Rezo 140AW.......................£34.99 

Rezo 160AW.......................£34.99 

Rezo 170AW.......................£39.99 

Rezo 180AW.......................£44.99 

Rezo 190AW.......................£49.99 

Rezo TLZ 10........................£21.99 

Rezo TLZ 20........................£27.99 

Digi Holster 

For DSLR’s, 

each 

feature two 

vertical lengths 

to accomodate 

different size 

lenses. 

Airport International V2......£234.99 

Airport Airstream...............£199.99 

Airport Secruity V2............£264.99 

Stealth 

Generous 

all-in-one bag. 

Stealth Reporter D100AW....£64.99 




Stealth Reporter D550AW..£114.99 

Stealth Reporter D650AW..£124.99 

Edit 110 Video Case...........£24.99 

Urban Disguise 

Protect your 

equipment 

without 

attracting attention. 

DH-421 Dig Holster S...........£24.99 

DH-423 Dig Holster M..........£29.99 

DH-425 Dig Holster L............£34.99 

PELI CASES 

Watertight, 

crushproof, 

and dust proof. 

NEW! 

Digi Holster 

Added protection plus 

fast &easy access 

when you need it. 

Peli Cases 

1500 Case with Foam............£99.99 

1510 Case with Dividers......£151.99 

1510 Case with Foam..........£129.99 

1550 Case with Foam..........£234.99 

1560 Case with Dividers......£169.99 

Shape Shifter 

Expands and 

contracts to fit 

your equipment. 

Holds photo 

gear &17” 

laptop. 

Shape Shifter........................£209.99 

Streetwalker 

Slim, 

vertically 

styled & 

lightweight. 

Street Walker........................£99.99 

Street Walker Pro................£121.99 

Street Walker Hard Drive....£142.99 

Airport Antidote V2.............£149.99 

Airport Ultralight V2............£124.99 

Airport Addicted V2............£234.99 

Airport Takeoff....................£249.99 

Airport Check In...................£99.99 

Airport Acceleration V2......£194.99 

Digital Case 

Includes ample 

pockets and awaterproof cover. 

DC-433 Digital Case............£32.99 




Messenger Boys 

Fit DSLR &lenses into this snug 

shoulder bag. Features waterproof 

lining, adjustable strap &extra padding 

Messenger Boy 2500 Blk......£19.99 


Messenger Boy 4000 Blk/Grn.£24.99 


Messenger Boy 5500 White.£59.99 

POUCHES 

Apex 5AW Blue..................£6.99 

Apex 10AW Blk/Blue.........£19.99 

Apex 20AW Black..............£19.99 

Apex 20AW Blue...............£19.99 

Apex PV AW Blue..............£19.99 

Apex PV AW Black.............£19.97 

Napoli 5Black...................£10.99 

Napoli 10 Black.................£24.99 

Napoli 20 Black.................£27.99 

Napoli 30 Black.................£16.99 

NEW! 

Portofino 10 Blk/Red/Ivory..£21.99 

Portofino 20 Blk/Red/Ivory..£24.99 

Rezo 10.............................£13.99 

Rezo 20.............................£15.99 

Rezo 30.............................£24.99 

Rezo 40.............................£13.99 

Rezo 50.............................£24.99 

Rezo 60.............................£24.99 

Sliplock Pouch 10...............£21.99 

Sliplock Pouch 30...............£24.99 

Sliplock Pouch 60AW.........£25.99 



DPS 

Features 

innovative 

Thermo Shield Technology adding 

protective rigidity when needed. 

DPS DR-465i Black............£79.99 

DPS DR-466i Black............£89.99 

DPS DR-467i Black............£99.99 

3N1 Sling Backpack 10....£69.99 

3N1 Sling Backpack 20....£89.99 

3N1 Sling Backpack 30..£119.99 

3N1 Sling Laptop Small..£119.99 

3N1 Sling Laptop Med...£139.99 

3N1 Sling Laptop Large..£159.99 

Messenger Boy Half Photo Black, 

Green, Mahogany............£89.99 

Messenger Boy Half Photo White 

.......................................£89.97 

British made bags made from waterproof 

canvas, with non-absorbent 

lining and seams that are bound with 

waterproof 

tape. 

Hadley Pro Khaki/Tan.......£129.99 

Hadley Digital Khaki...........£89.99 

Hadley Digital Black...........£99.99 

Hadley Small Black.............£99.99 

Hadley Small Khaki.............£99.99 

Hadley Large Black...........£129.99 

Hadley Large Khaki..........£129.99 

L2 Khaki .........................£119.99 

S225 Khaki......................£219.99 

S335 Khaki......................£209.99 

S335 Black.......................£209.99 

S445 Black or Khaki.........£229.99 

SP40 Shoulder Pad Black....£22.99 

207 Shoulder Bag Black ..£239.99 

207 Shoulder Bag Khaki ..£239.99 

307 Shoulder Bag Khaki ..£259.99 

MBIL f1.4 Khaki FibreNyte £159.99 

MBIL f2.8 Khaki FibreNyte £149.99 

MBIL f2.8 Black FibreNyte £149.99 

Tasca 10 Blue/Red............£5.99 

Tasca 20 Blue...................£5.99 

Messenger Boy 

55 Mahogany 

or White..£6.99 

Messenger Boy 55 Black....£13.99 

Messenger Boy 55 Green.....£9.99 

Messenger Boy 80 Mahog...£9.99 

Messenger Boy 80 Green/ White 

.......................................£9.99 

PP70 &Strap Black/Red....£15.99 

Camera Wraps 

Wrap-Up Black ................£14.99 

Wrap-Up Black Quilted......£14.99 

Wrap-Up Pink Dots ...........£14.99 

ACCESSORIES 

Straps &Accessories 

Belt &Buckle......................£19.99 

DMC-Z Memory Wallet......£15.99 

Filter Pocket........................£19.99 

Pixel Pack V1 Mem Wallet....£9.99 

Pixel Pack V2 Mem Wallet....£9.99 

S&F Light Belt 9..................£26.99 

Transporter Strap................£24.99 

Speedster Strap..................£19.99 

Verbal Tech Shoulder Strap..£29.99 

Modular Components 

Lens Drop In.......................£25.99 

Lens Changer 15................£16.99 

Lens Changer 25................£18.99 

Lens Changer 35................£19.99 

Lens Changer 50................£20.99 

Lens Chang 75 Pop Down...£26.99 

Lens Changer 300..............£34.99 

Large Lens Drop In..............£29.99 

Speed Changer..................£36.99 

Whip it Out........................£32.99 

RUThirsty?........................£17.99 

The Chimp Cage................£29.99 

Lightening Fast....................£25.99 

Bum Bag............................£25.99 

Skin Components 

Skin 50..............................£20.99 

Skin Chimp Cage...............£29.99 

Skin Double Wide..............£32.99 

Skin 75 Pop Down..............£26.99 

Skin Strobe.........................£25.99 

Skin Set............................£109.99 

Tripod Case 

Bazooka............................£42.99 

Humungous Bazooka..........£54.99 

Rain Cover 

Hydrophobia 70-200.........£99.99 

Hydrophobia Flash 70-200.£109.99 

Hydrophobia 300-600.....£109.99 

Remote Control 10.............£36.99 

Remote Control 20.............£43.99 

Belt Packs 

Speed Racer....................£109.99 

Speed Freak......................£89.99 

Speed Demon....................£71.99 

Pro Speed Belt V2..............£25.99 

Pixel Racing Harness V2.....£25.97 

Steroid Speed Belt V2.........£34.99 

Pro Speed Belt-S.................£25.99 

Thin Skin Belt V2................£18.99 

Accessories 

Camera Strap Black/ Grey..£18.99 

Camera Support Straps.......£8.99 

Camera Strap Black/Blue....£18.99 

Cable Management 10.......£9.99 

Digital Holster Harness........£18.99 

Belly Dancer Harness..........£32.99 

Shoulder Harness................£19.99 

Pixel Pocket Rocket..............£12.99 

Rotation 360º...................£184.99 

EP-NSI................................£25.99 

ID Tag................................£18.99 

Cable Management 50.......£19.99 

EP-C...................................£25.99 

EP-CMIII.............................£25.99 

EP-N..................................£29.99 

AA Low Dividers.................£28.99 

AS Low Dividers.................£42.99 


Apex 

Inc. All 

weather 

cover. 

Tasca 

Neoprene fabric 

with clasp opening. 

Vests &Rain Covers 

Jacobs Photo Vest L.............£49.99 

Domke Photo Vest S-XL....£119.99 

Domke Photo Vest XXL.......£129.99 

Jacobs Rain Cover S...........£20.99 

Jacobs Rain Cover M..........£25.99 

Jacobs Rain Cover L............£30.99 








DIGI COMPACTS 

Powershot A495......... £99.99 

Ixus 105................... £149.00 

Ixus 130.................. £229.00 

Ixus 210.................. £348.99 

Powershot SX20IS.... £299.00 

Powershot D10......... £269.00 

Powershot SX1IS...... £399.00 

DIGI COMPACT 

CAMERAS 

Lumix FP1................. £139.00 

Lumix FS10............... £139.99 

Lumix FS11............... £149.00 

Lumix FS30.............. £169.00 

Lumix TZ8................. £229.00 

Lumix FZ38............... £279.99 

Lumix FT2................. £329.00 

DIGI COMPACT 

CAMERAS 

Finepix AV100 

12MP, 3xOpZoom..... £69.00 

Finepix JX200 

12MP, 5xOpZoom... £109.00 

Finepix Z70 

12MP, 5xOpZoom..... £99.99 

Finepix S1600 

12MP, 15x Op Zoom..£149.00 

DIGI COMPACT 

CAMERAS 

Coolpix L21................ £69.99 

Coolpix L22................ £69.00 

Coolpix L110........... £179.00 

Coolpix P100............ £309.99 

Pentax I10 

£149.00 

Megapixels ................ 12.1 

Optical Zoom ................ 5x 

LCD Screen ............ 2.7-inch 

Colours: 

Canon P/shot SX120IS 

£179.00 

Megapixels ................ 10.0 

Optical Zoom .............. 10x 

LCD Screen ............... 3-inch 

Colours: 

Panasonic Lumix FP3 

£169.00 

Megapixels ................ 14.1 

Optical Zoom ................ 4x 

LCD Screen .............. 3-inch 

Colours: 

Fuji Finepix XP10 

£129.99 

Megapixels ................ 12.2 

Optical Zoom ................ 5x 


Colours: 

Nikon Coolpix S3000 

£99.00 

Megapixels ................ 12.0 

Optical Zoom ................ 4x 


Colours: 

Sony DCR-SR58 

£299.99 

Type ..... Standard Definition 

Hard Drive ............... 80GB 

Optical Zoom ...............60x 

Memory Card ...........SDHC 

Canon P/shot SX210IS 

£299.00 

Megapixels ................ 14.1 

Optical Zoom .............. 14x 

LCD Screen ............... 3-inch 

Canon 

Powershot S90 

Canon Powershot G11 


•5xOptical Zoom 

•Image Stabiliser 

•ISO 12800 

•RAW Shooting 

•28mm Wide-angle 

•2.8” Vari-angle 

LCD Screen 

•Dual Anti Noise 

System 

Colours: Colours: 

£329.00 Colours: 

£429.00 

Fuji Finepix JZ500 

£179.00 

Megapixels ................ 14.1 

Optical Zoom .............. 10x 

LCD Screen ........... 2.7-inch 

Colours: 

Nikon Coolpix S8000 


•10x Optical Zoom 

•3-inch LCD 

•720p HD Movie 

•ISO 3200 

•Vibration Reduction 

•Smart Portrait System 

•Advanced Flash 

Control 

Colours 

£599.99* 

Leica X1 

£1395.00 

Megapixels ................ 12.2 

Optical Zoom ................... - 


Colours: 

CAMCORDERS -Pocket, Standard Definition &High Definition 

CAMCORDERS 

FS-306 Value-up kit 

inc.4GB SDHC card &Case. 

*INC. £30 CASHBACK ...£219.99* 

HFR-106 Value-up kit 

inc.4GB card, Case &Lead 

*INC. £30 CASHBACK ...£419.99* 

CAMCORDERS 

Bloogie MHS-PM5 

High Def Pocket Camcorder 

NEW!.....................£169.99 

DCR-SX33 Blue M/Stick 

NEW!.....................£199.99 

HDR-XR155 HD &120GB 

Hard Drive NEW!...£529.99 

W90 Green w/proof £269.99 

D-Lux 4..................... £549.00 

ES-17 Black................ £74.99 

DP1S........................ £329.99 

DP2.......................... £526.99 

•High Definition 


•2.7-inch LCD 

•HDVideo Lens 

•Inc. 4Gb 

SDHC Card 

&Case 

Panasonic Lumix TZ6 Black 



•2.7” LCD 

•Face Detection 

•Intelligent Auto 

mode 

•40MB Internal 

Memory 

Colours 

Sony HDR-CX115 






•SDHC Card 

£399.99 


•3.8x Optical Zoom 


•ISO 3200 

•RAW Shooting 

•3”LCD Screen 

•Face Detection 

•VGA Movies 

WAYSTOBUY 

Fuji Finepix F80EXR 

£179.99 

Megapixels ................ 12.0 

Optical Zoom .............. 10x 


Colours: 

£239.00 

CompactFlash Ultra 

8GB Ultra II................£39.99 

CompactFlash Extreme 

4GB Extreme III...........£35.99 

8GB 60Mbps.............£68.99 

16GB 60Mbps.........£108.99 

32GB 60Mbps...........£88.99 

Extreme Pro 

16GB...£178.99 

32GB...£298.99 

64GB...£548.99 

Visit one of our 17 stores for 

great advice and agreat deal! 

Shop online at our fast and secure 

web store: www.jcaobsdigital.co.uk 

Call our order hotline: 

0845 600 6055 

Fuji Finepix S2500HD 

£199.00 

Megapixels ................ 12.2 

Optical Zoom .............. 18x 


Colours: 

DIGI COMPACT 

CAMERAS 

SP-800UZ................. £369.99 

Mju Tough 8010....... £379.00 

MEMORY CARDS &READERS 

SD Standard Speed 

2GB 20x speed........£9.99 

4GB SD-HC............£14.99 

8GB SD-HC............£19.99 

SD Ultra 

4GB SD-HC............£18.99 

8GB SD-HC............£28.99 

16GB SD-HC..........£54.99 

32GB SD-HC..........£98.99 

64GB SD-XC........£229.99 

Canon HFM-306 Kit *INC. 

Panasonic HDC-SD60B 

£50 

CASHBACK 

ENDS 

31/7/10 

SAVE £60 

SONY TRADE-IN 

PROMOTION 

ENDS 31/8/10 

T&C’S APPLY. SEE WEB 

£179.99 

CAMCORDERS 

SDR-S50B NEW! 

SDHC Camcorder 

INC. 3YRWARRANTY † ...£229.99 

SR-H85 NEW! 

80GB Hard Drive Camcorder 

...............................£329.99 

Panasonic Lumix ZX3 

£249.00 

Megapixels ................ 14.1 

Optical Zoom ................ 8x 


Colours: 



•Optical Image 

Stabiliser 

•SDHC Card 

+10% 

CASHBACK † 

OR 32GB SD CARD † 

ENDS 31/8/10 

CAMCORDERS 

Fuji Finepix HS10 



•3-inch Tilt LCD 

•Full HD Movie Mode 

•Triple Image Stabiliser 

•Electronic Viewfinder 

•Motion Panorana 

•Motion Remover 

Olympus Mju 3000 

£199.99 

Megapixels ................ 0.0 

Optical Zoom .............. 0x 

LCD Screen ............ 0-inch 

Colours: 

Panasonic Lumix LX3 

£359.00 

Megapixels ................ 10.1 

Optical Zoom ............. 2.5x 


Colours: 

£399.00 

DSC-W350.............. £179.99 

DSC-W380.............. £219.99 

DSC-H55.................. £249.99 

DSC-HX5.................. £349.99 

DSC-HX1.................. £349.00 


Colours 

SD Extreme 

4GB Extreme ...............£29.99 

8GB Extreme................£48.99 

16GB Extreme..............£88.99 

32GB Ext. 30Mbps ...£204.99 

SD Micro SD 

2GB Micro SD-HC .........£7.99 

4GB Micro SD-HC........£13.99 

8GB Micro SD-HC .......£23.99 

SD Ultra Video HD 

4GB Ultra Video HD.....£18.99 

8GB Ultra Video HD.....£29.99 

16GB Ultra II Vid. HD...£61.99 

NEW! 

£429.99 

GZ-MS110 SDHC Camcorder 

NEW!........................£169.99 

GZ-MG750B 80GB Hard 

Drive NEW!................£299.99 

GZ-HM300 High Definition 

with time lapse record 

INC. 5YRWARRANTY• ........£329.99 

Panasonic Lumix TZ10 

£329.00 

Megapixels ................ 14.1 

Optical Zoom .............. 12x 


Colours: 

JVC GC-FM1B 

•HDPocket Camcorder 

•4xOptical Zoom 

•High Definition Video 

•8Megapixel Stills 



•SDHC Card 

E-mail us at: 

sales@jacobs-photo.co.uk 

Fax us on: 

0116 281 5190 

Write to us at: Jacobs Digital 

Jacobs House, Meridian East, Meridian 

Business Park. Leics. LE19 1WZ 

£139.99 

SONY COMPACT 

CAMERAS 

AVAILABLE IN STORE ONLY 

Memory Stick Pro Duo 

2GB Pro Duo .................£18.99 

4GB Pro Duo .................£25.99 

8GB Pro Duo..................£45.99 

M/Stick Ultra Video HD 

4GB Ultra Video HD ......£35.99 

16GB Ultra Video HD...£102.99 

Memory Card Readers 

Imagemate all-in-one........£29.99 

Imagemate Multicard.......£19.99 

+10% 

CASHBACK † 

OR 32GB SD CARD † 

ENDS 31/8/10 

Panasonic HDC-HS60 

£599.99 

Type ........... High Definition 

Hard Drive ............. 120GB 

Optical Zoom ............. 25x 

Memory Card ...........SDHC 

†3YrWarranty to be claimed from Panasonic. Valid on in store purchases only. Compact Cameras offer valid 9/4/10 -30/6/10. Camcorder offer valid 1/6/10 -31/8/10. •5Year Warranty to be claimed direct from JVC. Valid 1/5/10 -30/9/10.

ORDER HOTLINE 



BINOCULARS 

LEICA 30 DAY 

MONEY BACK 

GUARANTEE 

8x20 BCA 

Trinovid 

High-performance 

and compact 

design.. £313.99 

DATA STORAGE 

FREE 

HOLSTER 

WITH ALL 

HD BINOS 

ENDS 31/8/10 

8x32 Ultravid HD 

HD lenses for 

increased 

performance and 

large field of view 

of 135m..£1298.99 

10x32 Ultravid HD........£1364.99 

7x42 Ultravid HD .........£1454.99 

8x42 Ultravid HD .........£1438.99 

10x42 Ultravid HD........£1518.99 

8x50 Ultravid HD .........£1532.99 

10x50 Ultravid HD........£1611.99 

12x50 Ultravid HD........£1807.99 

CD-R Discs 

TDK CD-R 700MB x50.........£7.99 

TDK CD-R 700MB x100....£15.99 

Verbatim CD-R 700MB x1....£0.99 

Verbatim DVD Discs 

Verbatim DVD-R x25............£8.99 

Verbatim DVD-R x50 .........£15.99 

Verbatim DVD-R x100 .......£28.99 

8cm DVD+RW x3............£10.99 

8cm DVD-R x3Pk ................£7.99 

8cm DVD-RW x3Pk ..........£10.99 

8cm DVD-R Print x10.........£15.99 

Store ‘N’ Go 

4GB USB flash drive 

Retractable design without the need 

for acap. With blue LED light to signal 

when data is being transferred, 

also comes with password 

protection software. 

£9.99 

GRAPHIC TABLETS 

Intuous4 

The userdefined 

Touch 

Ring, with toggle 

functionality, 

provides intuitive control of scrolling, 

zooming, brush size, canvas rotation 

or layer selection. 

Intuous4 Medium A5W ......£329.99 

Bamboo Touch &Pen 

The new Bamboo is the first 

tablet combining multi-touch 

functionality and pen 

tablet technology in 

asingle device. 

Bamboo 

Pen &Touch 

£81.99 

JACOBS 

STORE LOCATOR 

BIRMINGHAM 

97 Corporation Street B2 4UG 

T: 0121 233 4196 

E: birmingham@jacobs-photo.co.uk 

BRISTOL 

88 Whiteladies Road BS8 2QN 

T: 0117 973 3610 

E: bristol@jacobs-photo.co.uk 

10x40 T* 

Conquest 

Best-in-class s 

olution for those 

who need 

brilliant daylight 

performance.......................£698.99 

8x40 T* Conquest..............£668.99 

8x20 BT T* Victory Comp...£408.97 

8x32 T* FL Black. ............£1068.99 

8x42 T* FL Black..............£1123.99 

10x42 T* FL 

Highest light 

transmission of 

any binocular in its 

class –>90% - 

with low stray light. 

.......£1098.99 

VP5700 80GB 

Portable H/Drive 

Large 3.5” colour LCD. Store and display 

thousands of photos, music and 

video 

playback 

without a 

computer. 

£204.99 

VP8870160GB 

Portable H/Drive 

Multimedia storage viewer with 4.3inch 

colour LCD. Reads all memory 

cards, aspeedy RAW image 

viewer, video player, photo viewer, 

voice recorder 

and video 

recorder. 

£306.99 

Anew primary storage, the safe. 

expandable Drobo storage robot. 

Dynamically expand storage any time; 

Drobo holds up to 16TB in four drive 

bays using any combination of 3.5” 

SATA drives1. 

DROBO Housing without Drives 4 

Bays ...............................£306.99 

DROBO Share Network Adapter 

.......................................£153.99 

DROBO Housing with 2x 1Tb Hard 

Drives..............................£510.99 

DIGITAL 

FRAMES 

Sony 10” 

High Res Frame 

DPF-X1000NB 

..............£229.99 

Jacobs 7” Frame ..£29.99 

Sony 7” Frame 

DPF-E72 NBS..........£99.99 

Sony 7” with 1GB mem 

DPF-D72 NB............£81.97 


DPF-D82 B..............£144.99 


DPF-D92 B..............£151.97 

Sony 8” High Res Frame 

DPF-V800 B............£184.99 

CARDIFF 

18-19 High Street CF10 1AX 

T: 0292 023 2005 

E: cardiff@jacobs-photo.co.uk 

DERBY 

52 Saint Peters Street DE1 1SH 

T: 01332 202 599 

E: derby@jacobs-photo.co.uk 

EDINBURGH 

41-43 Shandwick Place EH2 4RG 

T: 0131 221 0765 

E: edinburgh@jacobs-photo.co.uk 

8.5x42 EL 

Swarovision 

Adiamond-bright optic aids bird watching 

in poor light contions....£1649.99 

8x32 EL............................£1288.99 

10x32 EL .........................£1348.99 

10x42 EL Swarovision.......£1670.99 

8x30 SLC...........................£774.99 

10x42 SLC........................£1143.99 

10x25B Pocket 

Extremely small, 

handy compact 

binoculars with 

10x magnification 

....£459.99 

8x20 Pocket Binos...............£408.99 

A3+ PRINTERS 

Pro 9000MkII 

A3+ Printer 

Prints up to A3+ and 

14x17”. Achieve 

professional colour and 

monochrome prints on a 

wide range of media. 

Pixma Pro 9000 MkII .......................................................................£399.99 

Replacement Inks CLI-8 ........................................................from £14.99 

Pro 9500MkII 

A3+ Printer 

The A3+ Canon PIXMA 

Pro9500 Mark II produces 

gallery-quality, long-lasting 

prints, on awide range of 

media. 

Pixma Pro 9500MkII .......................................................................£579.99 

Replacement Inks PGI ..........................................................from £13.99 

SCANNERS 

Summit Photofix Copier SP2 

Transform your film negative and slide collection into to digital 

files, simply, quickly &atthe touch of abutton. ....£69.99 

Summit SP5 Copier 

Includes a2.4” LCD screen. 

View and digitize your 35mm negatives, slides and 110 

images on to an SD card....................................£99.99 

Plustek OpticFilm 7400 

7200 dpi film scanner with Plustek’s 

Multi-Exposure, noises are eliminated efficiently, 

and the unique light source gives images 

more vivid effect and precise colour rendering. 

.......£218.99 

Plustek OpticFilm 7600i SE 

Provides unparalleled image colour 

rendering thanks to its Multi- Exposure 

hardware, iSRD (Infared Smart 

Removal of Defect). Comes bundled 

with SilverFast SE Plus software. 

.......£288.99 

HULL 

76 Prospect Street HU2 8PW 

T: 01482 226 170 

E: hull@jacobs-photo.co.uk 

LEEDS 

82 Albion Street LS1 6AD 

T: 0113 245 1451 

E: leeds@jacobs-photo.co.uk 

LEICESTER 

60 London Road LE2 0QD 

T: 0116 255 0111 

E: leicester@jacobs-photo.co.uk 

Trailfinder II 

Compact Roof 

Prism binoculars, 

nitrogen sealed & 

waterproof, represent 

outstanding value for money. 

8x25 Trailfinder II Green.....£66.99 

10x25 Trailfinder II Green...£70.99 

8x25 Imia DWCF................£51.99 

10x25 Imia DWCF..............£56.99 

8x32 Oregon LE WP...........£91.99 

8x42 Oregon LE WP...........£97.99 

10x42 Oregon LE WP.......£102.99 

8x32 Discovery WPPC.....£132.99 

8x42 Discovery WPPC.....£163.99 

10x42 Discovery WPPC...£173.99 

8x42 BGA Countryman....£255.99 

10x42 BGA Countryman..£265.99 

8x42 Traveller BGA..........£224.99 

10x42 Traveller BGA........£234.99 

Plustek SmartPhoto P60 

Share your memories with family and 

friends. Palm size 6x4 inch smart photo 

P60 photo scanner, turns your prints and 

photographs into digital files in second.......£76.99 

LEICESTER 

61 Granby Street LE1 6ER 

T: 0116 254 4572 

E: granby@jacobs-photo.co.uk 

LIVERPOOL 

54 Bold Street L1 4EA 

T: 0151 709 3733 

E: liverpool@jacobs-photo.co.uk 

LONDON -WEST END 

74 New Oxford St WC1A 1EU 

T: 020 7436 5544 

E: london@jacobs-photo.co.uk 



SPOTTING SCOPES 

APO TELEVID 65 

For users who are particulary active. 

Small size, big performance. 

. £1918.99.......... 

85T* FL Angled Silver Scope 

With the photo adapter the Diascope 

is transformed into asuper tele for SLR 

photography .. £1499.99 

Photo Adapter....................£349.99 

INKJET PAPER 

A3+ Paper 

Canon PR201 Pro Paper x10shts 

BUY 1GET 1FREE........................................£25.99 

Canon PT101 Platimun Pro x10shts...............£29.99 

Ilford Galerie Gold Fibre Silk x10sht..............£39.99 

A3 Paper 

Canon PR201 Pro Paper x20shts..................£35.99 


Epson Super Premium Gloss x20shts..............£29.99 

Epson Super Archival Matte x50shts..............£54.99 

Ilford Galerie Smooth Gloss x25sht...............£29.99 

Ilford Galerie Smooth Pearl x25sht................£29.99 

A4 Paper 

Canon PR201 Pro Paper x20shts - WSL.........£15.99 


Epson A4 Gloss 225gsm x10shts 

BUY 1GET 1FREE........................................£14.99 

Epson Archival Matte x50shts.......................£16.99 

Ilford Galerie Classic Gloss x25sht..................£9.97 

Ilford Galerie Smooth Pearl x25sht................£11.99 

Ilford Galerie Smooth Gloss x25sht...............£12.99 

Ilford Galerie Smooth Gloss x35+10sht WSL.£13.97 

Ilford Galerie Smooth High Gloss x25sht.......£15.99 

Ilford Galerie Smooth Heavy Matte x50sht....£12.99 

Ilford Galerie Fine Art 190g x10sht..............£13.99 

Ilford Galerie Gold Fibre Silk x10sht.............£14.99 

Ilford Galerie Limited Edition Pack.................£13.99 

INC. £5 VOUCHER ON SELECTED PAPER FOR NEXT VISIT 

Lexmark Perfectfinish 255g x150sht 

3FOR 2(150shts in total)..............................£9.97 

6x4” Paper 

Canon PR201x50shts....................................£10.99 

Canon KP-36IP postcard x36shts....................£14.99 

Canon E-P50 postcard x50shts.......................£16.99 

Canon KP-108IN postcard x108shts...............£18.99 

Kodak Easyshare media x40shts.....................£25.99 

Sony SVM-F120P Photo Paper Kit...................£34.99 

MONITOR 

CALIBRATION 

Spyder 3Pro 

Display Calibration 

for Serious 

Photographers. 

Provides accurate, 

reliable and 

consistent colour. 

.........£89.00 

SAVE £10! 

Spyder 3 

Express 

Quick, easy, accurate 

monitor calibration. 

Calibrates monitores 

in 3easy steps. 

..............£69.99 

LONDON -CITY 

124-126 Cannon St EC4N 6AS 

T: 020 7621 1621 

E: cannonst@jacobs-photo.co.uk 

LONDON -CHELSEA 

187 Kings Road SW3 5EB 

T: 020 7351 6681 

E: chelsea@jacobs-photo.co.uk 

LONDON -WESTMINSTER 

34 Broadway SW1H 0BH 

T: 020 7233 1605 

E: westminster@jacobs-photo.co.uk 

ATS80HD 

By far the 

lightest of the larger observation 

telescopes............£1481.97 

ATS65HD 

Extremely easy to 

handle &compact 

........ £1072.97 

GS665 Kit 

Rubber armoured & 

nitrogen waterproof 

...... £510.99 

Piccolo 15-45x60...............£90.99 

Spyder 3Elite 

Display Calibration 

for Professional 

Photographers & 

Studios. 

..............£139.99 

Pantone huey 

Huey corrects the 

colour on your 

monitor for more 

accurate prints. 

..............£66.99 

Pantone hueyPRO 

Calibrates and 

profiles LCD or CRT 

monitors so photos 

print more accurately. 

..............£100.99 

IS60 Kit 

Inc. eyepiece & 

case..£268.99 

MANCHESTER 

16 Cross Street M2 7AE 

T: 0161 834 7500 

E: manchester@jacobs-photo.co.uk 

NEWCASTLE 

55-57 Clayton Street NE1 5PW 

T: 0191 233 2678 

E: newcastle@jacobs-photo.co.uk 

NOTTINGHAM 

22 King Street NG1 2AS 

T: 0115 941 2178 

E: nottingham@jacobs-photo.co.uk 

E&OE. Prices correct at time of print. Subject to availability. Promotions not in conjunction with any other offer. Prices inc. VATat17.5%. *Cashbacks are included in the advertised price and are to be claimed direct from manufacturer, end dates vary. 




Body SRP £799.99 

Lens sold separately 


Body SRP £1,699.99 

SRP £439.00 

14mm f/2.8L II USM £1,899.99 

15mm f/2.8 Fisheye £639.99 

20mm f/2.8 USM £421.99 

24mm f/1.4L Mk II USM £1,368.99 

24mm f/2.8 £368.99 

28mm f/1.8 USM £384.99 

28mm f/2.8 £174.99 

35mm f/1.4L USM £1,174.99 

35mm f/2.0 £217.99 

50mm f/1.2 LUSM £1,304.99 

50mm f/1.4 USM £316.99 

50mm f/1.8 II £98.99 

50mm f/2.5 Macro £244.99 

EF-S 60mm f/2.8 Macro £329.99 

MP-E 65mm f/2.8 £867.99 

85mm f/1.2L II USM £1,799.99 

85mm f/1.8 USM £329.99 

100mm f/2 USM £394.99 

100mm f/2.8 USM Macro £449.99 

100mm f/2.8L MacroISUSM £789.00 

135mm f/2.0L USM £932.99 

135mm f/2.8 Soft Focus £369.99 

180mm f/3.5L USM Macro £1,277.99 

200mm f/2.0L IS USM £4,838.99 

Forarange of 

USED items, 

please visit our 

website 

UPDATED 

DAILY 

STILLS OR MOVIES,CAPTURE YOUR STORY 

•18MPAPS-C CMOS sensor •iFCL metering 

•DIGIC 4 •Quick Controlscreen 

•ISO 100-6400, H:12800 •Ext.Mic socket 

•3.7fps shooting •Movie crop 

•Full HD movies •3.0” 3:2 Clear View LCD 

•15.1 MP (APS-C)CMOS sensor 

•Full HD (1080p)movies 

•3.4fps with up to 170 JPEG burst 

•3.0” LCDwith LiveView mode 

•High ISO up to 12800 

•EOS IntegratedCleaning System 

Body Price 

£524.99 

+18-55mm IS 

£599.99 

•18MP APS-C CMOS sensor 

•8fps shooting 

•ISO range up to 12800 

•Full HD movie 

•3.0” Clear View II LCD 

•Magnesium alloybody 

PowerShot S90 

•High-sensitivity10.0 MP 

•3.8x wide Optical Zoom 

•Image Stabilisation 

•3.0” LCD 

Body Price 

£1,219.99 

+18-135mm IS 

£1,468.99 

Body SRP £2,299.99 

Fast,professional &ready for 

your next assignment 

•16.1 MP APS-H CMOS sensor 

•10fps at up to 121 JPEG burst 

•45-pointAFsystem 

•Full HD (1080p)movies 

PowerShot G11 

•High-sensitivity10.0 MP 

•5xwide Optical Zoom 

•Image Stabilisation 

•2.8” vari-angle LCD 

LENSES 

Body Price 

£629.99 


Only £318.00 Only £416.00 

SRP £569.00 

200mm f/2.8L USM/2 £651.99 

300mm f/2.8L USM IS £3,883.00 

300mm f/4.0L USM IS £1,179.99 

400mm f/2.8L USM IS £6,664.00 

400mm f/4.0 DO LUSM IS £5,649.99 

400mm f/5.6L USM £1,119.00 

500mm f/4.0L USM IS £5,599.99 

600mm f/4.0L USM IS £7,348.00 

800mm f/5.6L IS USM £10,198.00 

TSE17mm f/4.0L £1,969.00 

TSE24mm f/3.5L II £1,839.99 

TSE45mm f/2.8 £1,116.99 

TSE90mm f/2.8 £1,137.99 

EF-S 10-22mm f/3.5-4.5 USM £629.99 

EF-S 15-85mm f/3.5-5.6 IS USM £629.00 

EF-S 15-85mm (Unboxed) £539.00 

16-35mm f/2.8L II USM £1,199.99 

17-40mm f/4.0L USM £623.99 

EF-S 17-55mm f/2.8 IS USM £771.99 

EF-S 17-85mm f/4.0-5.6 IS USM £339.99 

EF-S 17-85mm (Unboxed) £330.00 

EF-S 18-55mm (Unboxed) £40.00 

EF-S 18-55mm f/3.5-5.6 IS £130.00 

EF-S 18-55mm IS (Unboxed) £95.00 

+18-55mm IS 

£709.99 

•15.1 MP CMOS sensor 

•6.3 frames per second 

•ISO range up to 12800 

•3.0” LCDwith LiveView 

•Magnesium alloybody 

Body Price 

£668.00 

+17-85mm IS 

£999.99 

•21.1 Megapixel Full-frame sensor 

•Full HD Video capture 

•Improved weather-resistantbody 

•3.9 fps continuous shooting 

•LiveView Function 

•Highest ISO Range to Date 

Body Price 

£1,689.99 

+24-105mm LIS 

£2,319.00 

NEWLOW PRICE! 

Body Price£3,724.99 

Please visit www.ParkCameras.com 

formoney saving deals 

Meet the Team at the 

Rutland Birdfair 2010! 

Seewebsitefor details 

20th -22nd August 

Formoneysaving deals with filters 

&hoods, visit our website. 

EF-S 18-135mm f/3.5-5.6 IS £358.99 

EF-S 18-135mm (Unboxed) £249.99 

EF-S 18-200mm f/3.5-5.6 IS £459.00 

EF-S 18-200mm (Unboxed) £449.99 

24-70mm f/2.8L USM £999.99 

24-105mm f/4.0L IS USM £899.99 

24-105mm (WhiteBox) £799.99 

28-135mm f/3.5-5.6 USM IS £389.99 

28-300mm f3.5-5.6L IS USM £2,249.99 

EF-S 55-250mm f/4-5.6 IS £187.99 

70-200mm f/2.8L IS II USM £2,169.00 

70-200mm f/2.8L USM £1,015.99 

70-200mm f/4.0L IS USM £918.99 

70-200mm f/4.0L USM £498.00 

70-300mm f/4.0-5.6 IS USM £439.99 

70-300mm (WhiteBox) £419.99 

70-300mm f/4.5-5.6 DO IS USM£1,155.00 

75-300mm f/4.0-5.6 Mk III £139.99 

75-300mm f/4.0-5.6 USM III £242.99 

100-300mm f/4.5-5.6 USM £299.99 

100-400mm f/4.5-5.6L USM IS £1,319.00 

1.4x II extender £289.99 

2x II extender £299.99 

ForCanon Accessories, please visit www.ParkCameras.com 

Pentax Lenses 

14mm f2.8 DA ED IF SMC £539.00 

15mm f4 ED AL DA ED AL SMC £579.00 

21mm f3.2 DA ED IF SMC Ltd £449.99 

31mm f1.8 FA SMC Limited £1,099.00 

35mm f/2.8 MacroLimited £475.00 

40mm f2.8 DA SMC Limited £359.00 

43mm f1.9 SMC FA Limited (Blk) £699.00 

50mm f1.4 SMC FA Lens £319.99 

50mm f2.8 MACRODFA SMC £429.99 

55mm f1.4 SDM DA* £549.00 

70mm f2.4 SMC DA Limited £465.00 

77mm f1.8 SMC DA Ltd(Blk) £779.00 

100mm f2.8 DFAMacroWR £569.99 

200mm f/2.8 SMC DA*EDIFSDM £799.00 

300mm f/4 SMC DA*EDIFSDM £1,039.00 

10-17mm SMC f3.5-4.5 DA ED IF £429.99 

17-70mm SMC DA F4 AL IF SDM £499.99 

16-45mm f4 ED AL SMC £219.99 

16-50mm f2.8 ED AL IF SDM DA* £749.99 

12-24mm f4 DA ED AL (IF) £899.00 

18-55mm f/3.5-5.6 DA AL II £30.00 

18-55mm f/3.5-5.6 DA AL WR £70.00 

18-55mm DA AL WR (Unboxed) £70.00 

50-135mm f/2.8 ED IF SDM DA* £899.99 

50-200mm f/4-5.6 £179.99 

50-200mm f/4-5.6 ED WR £120.00 

55-300mm f/4.0-5.8 £279.99 

60-250mm f4.0 ED (IF) SDM £1,025.00 

WhyBuy from Park Cameras?? 

•Wideselection •Fantastic LowPrices •Expert Advice 

•Over 250 products ‘live’ in our Touch and TryShowroom 

•Over 7,000 lines in stock, instore •Free onsite parking 

•Seminar room •Onsitephotographic studio 

•ExtendedOpening Hours &Sunday trading 

NEW Digital slr from nikon - NEW lOW PRICE!! 

Body SRP £4,290.99 

•12.1 megapixel FX (full-frame) CMOS sensor 

•ISO 200 –12,800 

•9fps consecutiveshooting (11fps in DX Crop mode) 

•D-Movie recordshigh-definition (HD)movie clips 

•3-inch VGA LCDmonitor 

•Durable Magnesium alloybody 

Forthe latest LOWPriceonthe NikonD3s,aswell as avarietyof 

moneysaving offers,please visit www.ParkCameras.com 

NEW Digital slr from nikon - NEW lOW PRICE!! 

Body SRP £1,499.99 

•12.3 megapixel DX format CMOS image sensor 

•7fps continuous shooting 

•Records beautiful,high-definition (HD)movie clips 

•ISO 200-3200 extendable up to ISO 6400 

•D-Movie with stereo microphone terminal 

•Dual cardslots forCF/SD memorycards 

Body Price 

£3,594.00 

Body Price 

£1,139.00 

£1,678.99 

COMPACT D -SLR 

+18-200 VR II 

Apowerful and versatile SLR camera 

thatdelivers superbstill images &high 

definition D-movie clips with sound. 

Body Price£459.00 

D5000 +18-55mm VR £529.00 

Nikon CF-DC2 Semi Soft Case £40.99 

Nikon EN-EL9a Battery £39.99 

FULL FRAME D-SLR 

TheD700 incorporatesgroundbreaking 

technologies and performanceinto a 

discreetly-sized body. 


D700 +105mm VR Micro £2,389.98 

D700 +14-24mm f/2.8 ED £3,099.99 

Nikon EN-EL3e Battery £50.00 

EvEn MorE nikon 

Coolpix L21 £69.99 

Coolpix L22 £79.99 

Coolpix S570 Silver £129.99 

Coolpix S3000 £99.99 

Coolpix L110 £179.99 

Coolpix S8000 £229.99 

Coolpix S640 Black (3) £199.99 

Coolpix S1000pj £259.99 

Coolpix P100 SeeWeb 

Please see our websitefor the latest 

LOWPRICES and further moneysaving offers!! 

COMPACT D -SLR 

TheD90 fuses technology from Nikon’s 

flagship DSLRs with an arrayoffunctions 

to help youachievesuperior results. 

Body Price£619.00 

D90 +18-105mm VR £772.99 

Nikon CF-D80 Semi Soft Case £46.99 

Nikon EN-EL3e Battery £50.00 

FULL FRAME D-SLR 

TheD3X redefines high resolution SLR 

photography, whether youshoot in the 

studio or out on location. 


D3x +24-70mm f/2.8 ED £6,033.00 

D3x +14-24mm f/2.8 ED £6,138.99 

Nikon EN-EL4a Battery £100.00 

IAM EXCELLENCE 

In stock at only 

£199.99 

aftercashback 

from Nikon 

TheK-7 is completely ready foraction in all possible 

conditions.Rain, dust,dirtorevenfrosts of up to 

-10°C leave it cold. 

•14.6 million pixels 

•Sensor shake system 

•Video Recording 

•3.0” LCDwith LiveView 

Pentax 18-55mm 

f/3.5-5.6 DA AL WR 

Our Price £75.00 

K-7Body £779.00 

K-7 

+18-55mm £839.00 

Please visit our website 

forevenmoreK-7 offers! 

Advanced features &user-friendly functions ensure 

an outstanding level of photographic performance 

within acompact, lightweightbody. 

•12.4 million pixels 

•User-friendly operation 

•4.7 fps 

•2.7” LCDScreen 

NikonCoolpix 

S8000 

K-xBlack 

+18-55mm £438.00 

K-xBlack 

Twin Kit £574.99 

Please visit our website 

forthe other K-xColours! 

Pentax 16-45mm 

f/4 ED AL SMC 

Our Price £219.99 

8 www.ParkCameras.com/DCAM ( 01444 23 70 59 

AF-G10.5mm f/2.8G ED DX Fisheye £539.99 

AF-D 14mm f/2.8D £1,225.00 

AF-D 16mm f/2.8D £597.99 

AF-D 20mm f/2.8 £459.00 

AF-S 24mm f/1.4 GED £1,894.99 

AF-D 24mm f/2.8D £328.99 

PC-E 24mm f/3.5D ED Manual Focus £1,389.99 

AF-D 28mm f/2.8 £224.99 

AF-D 35mm f/2.0 £255.00 

AF-S 35mm f1.8 DX £167.99 

PC-E 45mm f/2.8D ED Micro £1,389.99 

AF-D 50mm f/1.4 £235.00 

AF-S 50mm f/1.4G £298.00 

AF-D 50mm f/1.8 £109.99 

AF-S 60mm f/2.8G MicroED £399.99 

AF-S 85mm f/3.5G DX Micro £399.99 

AF-D 85mm f/1.8D £304.99 

AF-D 85mm f/1.4 (IF) £899.00 

AF-S 105mm f/2.8G VR IF-ED Micro £609.99 

PC-E 85mm f/2.8D ED Micro Manual £1,389.99 

AF-DC 105mm f/2.0 £799.00 

AF-D 135mm f/2.0D £969.99 

AF-D 180mm f/2.8 IF ED £619.00 

AF-D 200mm f/4D IF ED Micro £1,135.00 

AF-S 200mm f/2G IF ED VR £3,069.00 

AF-S 300mm f/2.8G ED VR II £3,899.99 

AF-S 300mm f/4 DIF-ED £965.99 

AF-S 400mm f/2.8G ED VR £6,599.00 

AF-S 500mm f/4G ED VR £5,949.99 

AF-S 600mm f/4G ED VR £6,999.99 

AF-S 10-24mm f/3.5-4.5G DX ED £599.99 

AF-S DX 12-24mm f/4 GIF-ED £819.00 

AF-S 14-24mm f/2.8G ED £1,299.00 

AF-S DX 16-35mm f/4 GEDVR £949.99 

AF-S DX 16-85mm f/3.5-5.6G ED VR £415.00 

AF-S 17-55mm f/2.8G IF-ED DX (1) £1,065.00 

AF-S DX 18-55mm f/3.5-5.6G II £85.00 

AF-S DX 18-55mm f3.5-5.6G VR £80.00 

AF-S 18-105mm f/3.5-5.6G ED VR £170.00 

AF-S 18-200mm f/3.5-5.6 IF ED DX VR £469.00 

AF-S 18-200mm f/3.5-5.6G ED DX VR II £539.99 

AF-S 24-70mm f2.8G ED £1,199.00 

AF-D 24-85mm f/2.8-4 £518.99 

AF-S 24-120mm f/3.5-5.6G IF ED VR £549.99 

AF-S 55-200mm f/4-5.6G DX Black £189.99 

AF-S 55-200mm f/4-5.6 VR DX £189.99 

AF-S 70-200mm f/2.8 G(IF) VR ED II £1,628.99 

AF-S 70-300mm f/4.5-5.6G IF ED VR £403.99 

AF-D 80-400mm f/4.5-5.6D ED VR £1,169.99 

AF-S 200-400mm f/4G IF-ED VR £4,669.99 

Allprices inc.VAT @17.5% Opening times Mon-Sat 8:45-5:45pm; Thurs.8:45-7.30pm; Sun. 10:15-4.30pm. Sun. trading is forin-storeonly.Address :YorkRoad,Victoria Bus.Park, Burgess Hill,W.SussexRH15 9TT. 

We accept Visa, Mastercard, Maestro. Figures in Brackets indicates stocklevel held at unrepeatable prices at time of going to print. Allproducts areUKstock. 

E&OE.*=Please mention “Digital CameraMagazine”for this special price 

Prices correctattime of going to press; Prices subjecttochange; Check websitefor latest prices. 

£30 

Cashback 

if boughtbefore 

30.06.2010 

Lenses 

2year warranty available 

2year warranty available 

Best D-sLR 

entRy LeveL

Panasonic DMC-G1 +14-45mm O.I.S 

Megapixels 12.1 HD Video 

LCD Screen 3.0” FPS 3 

Live View Card Type SD 

TheLumix G1 is both compactand light. In fact, the only reason it isn’t 

smaller is down to ergonomics…you can go toofar! These qualities 

allowthe cameratobeveryportable making it an ideal travelling 

companion. 

Blue Kit only £389.00 

DMC-G1 –Stunning priceand featurecombination 

DMC-G2 –Excellentfeatures at apremium price 

DMC-G10 –Smaller featureset,great price 

Panasonic DMC-G10 Panasonic DMC-G2 

NEW NEW 

Megapixels 10.0 

LCD Screen 2.7” 

Live View 

HD Video 

FPS 3.5 

Card Type SD 

Visit us in-storewhereyou canreceivean 

extended 3year warranty &£30 cashback 

MICROFOUR THIRDS LENSES 

20mm f/1.7 Pancake ASPH £294.99 

20mm f/1.7 Pan (Unboxed) £289.99 

45mm f/2.8 MacroLeica DG £598.99 

7-14mm f4.0 AspLumix G £914.99 

14-140mm Lumix GVario £689.99 

45-200mm f4.0-5.6 O.I.S £240.00 

ForevenmorePanasonic Lenses and 

Accessories,please visit us in-storeor 

at www.ParkCameras.com/DPhoto 

•14.2 MP Exmor APS HD CMOS sensor 

•MPEG4 720p video shooting 

•Sweep Panorama 

•3.0” tilt-angle TruBlack LCD 

Please visit us in-storeoronour websitetosee 

this exciting newproduct!! 

NOWINSTOCK!! 

Stylus PhotoPX810 FW 

Print, Scan, Copy &Fax from anywherein 

the home with this wireless 4-in-1 printer 

SRP £299.99 

PX810 FW +Extra SetofInks 

Only £290.99 

GreatBag Deals this Summer! 

DR-465 DPS 

Black with RedTrim 

Only £49.95 

SRP £69.95 

Only 

£229.99 

SRP £349.99 

Lumix DMC-FZ38 

High Qualityphoto&High Definition 

Movie with 18x Zoom and O.I.S 

NEW 

In stockatonly £269.99 

+8GB SD Card oly £294.98 

Megapixels 12.1 

LCD Screen 3.0” 

Live View 

HD Video 

FPS 3.2 

Card Type SD 

Visit us in-storewhereyou canreceivean 

extended 3year warranty &upto£50 cashback 

Lumix DMC-TZ10 

12x Optical Zoom Camerawith AVCHD 

LiteMovie Recording featuring GPS 

NEW 

In stockatonly £309.99 

+8GB SD Card oly £334.98 

Forthe latest in Epson Printer, Scanner and Projector 

technology,please visit us in-storeoron-line 

Stylus PhotoR2880 

Step into large-formatprinting with first 

rate colour &black and whiteimages 

SRP £719.99 

Aero Zoom 20 

Holster Bag 

Only £13.99 

SRP £16.29 

•14.2 MP Exmor APS HD CMOS sensor 

•AVCHD Full HD 1920x1080i video shooting 

•Sweep Panorama 

NOWIN 

•3.0” tilt-angle TruBlack LCD 

•Magnesium body STOCK!! 

Please visit us in-storeoronour website 

to see this exciting newproduct!! 

Only 

£599.99 

R2880 +Extra SetofInks 

Only £698.90 

Stylus PhotoPro 3880 

Big on quality, small in size-tofityour 

office, your studio and your budget 

SRP £1,144.25 

Only 

£979.99 

Pro 3880 +Extra SetofInks 

Only £1,446.99 

EPSON PRINTERS EPSON SCANNERS 

Stylus PhotoP50 £82.99 Stylus PhotoR1900 £429.99 Perfection V30 £64.99 

Stylus PhotoPX800FW £189.99 Stylus Pro4880 £1,999.99 Perfection V300 £79.99 

Stylus PhotoPX650 £119.99 Stylus Pro7880 £2,959.99 Perfection V500 £189.99 

Stylus PhotoPX710W £139.99 Stylus Pro9880 £5,799.99 Perfection V600 £229.99 

Stylus PhotoR800 £259.99 ForPaper &Ink deals,please visit Perfection V700 £408.99 

Stylus Photo1400 £269.99 www.ParkCameras.com/DCAM Perfection V750 £549.99 

P-2000 (40GB Viewer) P-5000 (80GB Viewer) P-7000 (160GB Viewer) 

In stockatonly 



£149.99 

£279.99 

£459.99 

SRP £499.99 

Slingshot 300AW 

Only £69.99 

SRP £109.95 

EXILIM Pro EX-FC150 

•10Mega Pixels 

•40frames per second 

•5xoptical zoom 

•Slowmotion video 

•2.7” Super Clear LCD 

NEW&INSTOCK! 

Seeour websitefor the latest price 

EXILIM Pro EX-FH25 

•10.1 Mega Pixels 

•40frames per second 

•Can record high speed 

movies at up to 1000 fps 

•20x optical zoom 

•Anti-Shake function 

In stockat£294.99* 

+4GB SD +Case £324.99* 

Olympus E-PL1 Olympus E-P1 Olympus E-P2 

As Seen on TV! 

Kits from 

£499.99 

•10MegaPixels 

•Supersonic Wave Filter 

•2.7” LCD with LiveView 

•CreativeArt Filters 

NewLOW PRICE!! 

See webfor latest deals 

E-620 

From Only 

£479.99 

•12.3 MegaPixels 

•Built-in portable creativestudio 

•Built-in imagestabiliser 

Formoneysaving bundles with filters, 

pleasevisitour website 

Lenses |Cameras |Flashguns |Accessories 

4.5mmf/2.8 EX DC £599.99 18-200mm f/3.5-6.3DC £219.99 

8mm f/3.5 EX DG £639.99 18-200mm f/3.5-6.3DCOS £289.99 

20mmf/1.8 EX DG £449.99 24-70mm f/2.8 EX DG Macro £449.99 

24mmf/1.8 EX DG £409.99 24-70mm f/2.8 IF EX DG HSM £749.99 

50mmf/1.4 EX DG HSM £379.99 28-300mm f/3.5-6.3DGMacro £259.99 

50mmf/2.8 EX DG Macro £244.99 50-150mm f/2.8 EX DC HSM II £572.99 

70mmf/2.8 EX DG Macro £389.99 55-200mm f/4-5.6 DC £99.99 

300mm f/2.8 APO EX DG £2,200.99 50-500mm f/4-6.3 EX DG HSM £1,099.99 

500mm f/4.5 APO EX DG £3,850.99 70-200mm f/2.8 EX DG HSM II £659.99 

10-20mm f/4-5.6 EX DC HSM £389.99 70-300mm f/4-5.6 APO DG Macro£178.99 

12-24mm f/4.5-5.6 EX DG HSM £694.99 100-300mm f/4 EX DG £819.99 

15-30mm f/3.5-4.5 EX DG £239.99 120-300mm f/2.8 EX DG HSM £1,849.99 

17-70mm f/2.8-4DCMacroOS £349.99 120-400mm f/4.5-5.6DGOS £639.99 

18-50mm f/2.8-4.5 DC OS £169.99 150-500mm f/5-6.3 DG OS HSM £749.99 

18-50mm f/2.8 EX DC HSM Macro£318.99 200-500mm f/2.8 EX DG See Web 

18-125mm f/3.5-5.6 DC OS HSM £249.99 300-800mm f/5.6 EX DG HSM £6,999.99 

Kits from 

£549.00 

•10MegaPixels 

•Supersonic Wave Filter 

•2.7” LCD with LiveView 


Body £308.99 +14-42 £349.99 

+14-42mm +40-150mm £439.99 

E-30 

Body Only 

£729.99 

•12.3 MegaPixels 

•2.7” LCD Screen with LiveView 


NEW COURSE LINe-up for 2010! 

Find acoursethatsuits youthisyearwiththe Park CamerasSchoolofPhotography. 

Visit www.ParkCameras.com/DCAM andclick on the Training Tabfor details. 

SRP £538.29 

PL-150 Blue /Red /Purple 

Twicethe fun of anycamera. 

Dual LCDs make it easy. 

SRP £179.99 

Only 

£149.99 

PL150 +4GB MicroSDCard 

Only £159.99* 

ES17 Silver /Black /Pink £69.99 

ES65 Silver /Black £99.99 

PL80 Black /Red £129.99 

PL55 Silver /Black /Red £119.99 

Digimax i100 £89.99 

ST50 Silver £39.99 

FinePix AV100 Black |Silver |Pink £69.99 

FinePix Z33 Yellow/Liquid Gold £84.99 

FinePix Z300 (Touch Screen) £99.99 

FinePix Z35 (In5colours) £84.99 

FinePix J250W Black £109.99 

FinePix S1500 £129.99 

FinePix F200 EXR £159.99 

FinePix S2500HD £179.99 

FinePix S200 EXR £299.99 

For Full dEtails on thE latEst nEw 

caMEras, plEasE visit our wEbsitE 

GreatTripod Deals this Summer! 

055XB +128RC 

Tripod with Head 

Only £109.99 

SRP £204.90 

Forthe latest in Digital CompactCameras,Digital 

Camcorders and the latest TV technology including 

3D,please visit us in-storeoron-line 

WB-650 Grey /Black 

With a24mm wide angle lens and 15x 

Optical Zoom youcan go deeper &wider 

SRP £299.99 

NEW &IN 

STOCK! 

SRP £229.99 

VT-806 

LightDutyTripod 

Only £19.99 

SRP £27.95 

Only 

£249.99 

WB-650 +4GB SD Card 

Only £259.99 

SAMSUNG DIGITAL CAMERAS 

ST60 Black /Purple £138.99 

ST70 Silver /Black /Red £179.99 

ST500 Silver /Red £184.99 

ST550 Orange /Purple £199.99 

ST550 Black /Red £199.99 

ST5000 Orange /Grey/Black £279.99 

Visitour showroom to seethe latest 

rangeofSamsung TV s, including 3D!! 

Fuji FinePix 

F80 EXR 

12 

MP 

10x 

Zoom 

OurPrice £179.95 

+4GB SD Card £191.95 

NX10 +30mm Pancake 

Create the worldasyou imagine with the 

small &compactNX10 

SRP £649.99 

ForSigma's whole range of 

products including flashguns in a 

varietyoffits,please see our website 

NX10 +30mm 18-55mm O.I.S 

Only £589.00* 

3D 

FRamE 

OFFER! 

Pro 700DX 

Tripod with Head 

Only £119.99 

SRP £277.91 

Fuji FinePix 

W1 3D 

Kits from 

£649.99 

SPECIAL OFFER! 

Olympus PS-HLD5 

BatteryGrip forE-620 

Only £75.00* 

OlympusE-SystemLenses 

Olympus E-System Lenses 

25mm f/2.8 Pancake £196.99 

50mm f/2.0 ED Macro £569.99 

7-14mm f/4 £1,399.00 

11-22mm f/2.8-3.5 £699.00* 

12-60mm f/2.8-4.0 SWD £839.99 

14-35mm f/2.0 ED SWD £1,735.99 

14-54mm f/2.8-3.5 II £549.00 

18-180mm f/3.5-6.3 £422.99 

40-150mm (unboxed) £98.00 

50-200mm f/2.8-3.5 SWD £999.99 

70-300mm f/4.0-5.6 ED £305.99 

To seethe rangeofOlympus Compact DigitalCameras, please visitour website 

Only 

£549.99 

ST5500 Orange /Grey/Black £349.99 

WB-600 Grey /Black £229.99 

WB-550 Black /Grey £189.99 

WB2000 Black £329.99 

WP10 Black /Yellow £159.99 

EX1 Black £399.99 

SAMSUNG C20 

UltraCompactDigital 

MemoryCamcorder 

In Stock at only £149.99 

12 

MP 

5x 

Zoom 

OurPrice £424.99 

+8"3DFrame £764.98 

Follow 

us...

VotedBestOnline Retailerfor 8Years!2002-2009 

Ourpassion forphotography means we stock 

CANON 500D BODYONLY 

£519.99 

500D +18-55mm IS £588.99 


£633.99 

A450 

FROM 

£414 

SAVE 

£40 on RRP 

RRP £129.99 

55-300mm 

DA ED 

£269.99 

A550 +18-55 

+55-200mm 

£742.99 

CANON EF 50mm 

f1.8 II£89.99 

70-300mm 

f4-5.6 Zuiko 

Digital ED 

£349 

EOS7DFROM £1224.99 

A850 

FROM 

£1859 

SAVE 

£110 

WAS£869 

EF 100mm 

f2.8L Macro 

IS USM 

£759 

30mm 

f2.8SAM DT 

Macro 

£159 


£679 

50D +17-85mm IS £898 

+FREE 

CANON BAG 

worth £79.99 

SAVE 

£101 

WAS£2099 

A900 

FROM 

£1998 

EF 70-300mm 

f4-5.6 

IS USM 

£427.99 

18-200mm 

f3.5-6.3 

XR DII 

£169.99 

+FREE 

CANON BAG 

worth £79.99 

EOS5DMK2 

FROM 

£1689.89 

K-x +18-55 

+55-300mm 

£573.99 

EF 85mm 

f1.8 

USM 

£318.99 

55-200mm 

f4-5.6DiII 

LD Macro 

£104.99 

CANON 100mm f2.8USM Macro ..........................................£434.99 

CANON 16-35mmf2.8LMKII ..............................................£1184.99 

CANON 17-40mmf4LUSM ..................................................£622.99 

CANON 18-55mmf3.5-5.6IS ................................................£147.89 

CANON 55-250mm f4-5.6 IS ..................................................£218.99 

CANON 100-400mm f4.5-5.6LISUSM ..................................£1268 

NIKON 24mm f3.5D ED PC-E ................................................£1369.99 

NIKON 50mm f1.4DAF ........................................................£228.99 

NIKON 50mm f1.8DAF ........................................................£106.99 

NIKON 105mm f2.8GAF-SVRIFEDMicro ..........................£604.99 

NIKON 14-24mmf2.8GAF-SED ..........................................£1288.99 

SIGMA 50mm f1.4EXDGHSM ..............................................£366.99 

SIGMA 105mm f2.8EXDGMacro ........................................£373.99 

D5000 

FROM 

£468 

K-7 

FROM 

£795.99 

70-300mm 

f4-5.6Di 

w/AF Motor 

£131.99 

NIKON D90 BODYONLY 

£659 

D90 +18-105mmEDVR £771.99 

SAVE 

£404 on RRP 

RRP £1199.99 

EF 24-70mm 

f2.8 L 

USM 

£998.99 

D300s 

FROM 

£1138 

SAVE 

£65 on RRP 

RRP £549.99 

E-PL1 

+14-42mm 

£484.99 

AF-S 

50mm 

f1.4 G 

£297.99 

SAVE 

£201 

WAS£649.99 

10-20mm 

f3.5 EX DC 

HSM 

£448.99 

D700 

FROM 

£1763.99 

SAVE 

£155 on RRP 

RRP £699.99 

E-P1 

+14-42mm 

£544.99 

AF-S 

35mm 

f1.8 GDX 

£166.99 

+FREE 

UV FILTER 

worth £48.99 

18-250mm 

f3.5-6.3 DC 

OS HSM 

£395 

+FREE 

ACCESSORIES 

worth £99 

SONY NEX-5 +16mm 

+18-55mm 

PRE-ORDER 

SAVE 

£611 on RRP 

RRP £4199 

D3s 

FROM 

£3588 

SAVE 

£135 on RRP 

RRP £919.99 

E-P2 

+14-42mm 

£784.99 

AF-S 

24-70mm 

f2.8 GED 

£1190 

NEW! 

£679 

NEX-5 +16mm £549 

NEX-5 +18-55mm £589 

D3x 

FROM 

£4834 

IN 

STOCK 

NOW 

£30 

CASHBACK* 

(ends 31.08.10) 

G2 +14-42mm 

£594 

£569 Inc Cashback* 

SAVE 

£371.01 

WAS£1999 

AF-S 

70-200mm 

f2.8G ED VR II 

£1627.99 

SIGMA 10-20mm f4-5.6 

EX DC HSM£399.99 

SIGMA 17-70mm f2.8-4 DC MacroOSHSM ..........................£328.99 

SIGMA 18-200mm f3.5-6.3 DC OS ..............................ONLY£288.99 

SIGMA 70-300mm f4-5.6 APO MacroSuper DG....................£173.99 

SIGMA 120-400mm f4.5-5.6 DG OS HSM ..............................£598.99 

SIGMA 150-500mm f5-6.3 DG OS HSM ................................£698.99 

TAMRON 17-50mm f2.8 XR Di-II LD ASP IF................................£335.99 

OLYMPUS 9-18mm f4-5.6 ZuikoDigitalED(Four Thirds) ............£469 

SONY 50mm f1.8SAM DT £20 Cashback* (ends 30.06.10) ............£139.99 

SONY 75-300mm f4.5-5.6 DT £50 Cashback* (ends 30.06.10) .......£189 

MoreDSLR,Lenses &Accessories on ourwebsite at 

www.warehouseexpress.com 

AWARDS2010 

HIGH-END 

CAMERA 

OF THEYEAR

01603 208769 

CALL US Mon-Fri 8am-8pm 

Or visit ourwebsite at www.warehouseexpress.com 

over11,000 products –Come talk to the experts! 

SAVE 

10% 

WAS£69.99 

B+W 77mm 

MRCClear UV 

HazeFilter 

£62.99 

HOYA 52mm 

Pro1 Digital 

UV Filter 

£34.99 

HOYA UV Filters 

prices from: 

55mm ............£37.99 

58mm ............£39.99 

62mm ............£41.99 

67mm ............£48.99 

82mm ............£69.99 

SANDISK Ext. 

8GB 400x 

UDMA 

£67.99 

CANON LP-E6 

Battery 

(5DMKII/7D) 

£71.49 

MEMORY CARDS 

SANDISK From 

UltraIISD......£10.49 

UltraIICF......£17.99 

Ext. III SDHC ..£28.99 

Ext. UDMA CF£67.99 

Ext.Pro600x ..£179 

LEXAR From 

UDMA 300x ..£47.99 

233x CF..........£58.99 

60x SDHC ......£12.99 

133x SDHC ....£25.99 

HD Vid.SDHC £13.99 

77mm 3.0/ 

1000x Neutral 

Density Filter 

£79.99 

COKIN 

H250A ND Gradual 

Filter Kit 

£49.99 

NEW! 

COKIN Filters prices from: 

P154 Grey ND8X ..£13.99 

P153 Grey ND4X ..£13.99 

P121M Gradual Grey G2 

Medium ND4 ......£17.99 

U960 Pro ND-Grad Filter 

Kit ........................£134.07 

SAVE 

£16 on TSSP 

(TSSP£41.98) 

WEXPRO4GB 

150x SDHC 

Twin Pack 

£24.99 

CANON BG-E7 

Battery Grip 

(EOS 7D II Grip) 

£189.99 

SIGMA 

72mm DG UV 

Filter 

£48.99 

MEMORY CARDS 

WEXPRO From 

UDMA305x ........£14.99 

55xCF................£14.67 

55xSD................£6.99 

150x SDHC ..........£20.99 

BATTERIES&GRIPS 

From 

Canon Fit ............£11 

Nikon Fit ............£12.99 

CanonFit Grips....£59.99 

NikonFit Grips ....£68.50 

SIGMA 

86mm EX DG 

UV Filter 

£79.99 

LEE Big Stopper 

10x Neutral Density Filter 

£89.99 

(Holder availableseparately) 

LEXARPro USB 

UDMA &SD 

CardReader 

£24.99 

FLIGHT LOGISTICS 

SunPosition 

Compass 

£19 

We also sell LEE & 

COKIN Filter Holders 

PricesFROM 

£11.99 

NIKON 

ML-L3Wireless 

Remote 

£16.49 

B-GRIP Camera 

Holder (Attaches a 

small DSLR to your belt) 

£49.95 

BATTERIES&GRIPS 

From 

Sony Fit Grips ....£89.99 

REMOTES From 

Canon ................£16.99 

Nikon ..................£16.49 

Sony ....................£26.99 

Olympus..............£24.99 

Pentax ................£17.99 

GADGETS Only 

RS-5 Cam. Strap ..£69 

CANON PowerShot G11 

£419 

+FREE 

8GB ExtIII 

SDHC worth 

£59.99 

CANON Ixus 300 HS 

PRE-ORDER 

SAVE £50 

on RRP was 

£349.99 

NIKONCoolpix P100 

£299.99 

£379 

FUJI FinePix 

HS10 

£374.99 

OTHER COMPACTS IN STOCK… 

NIKON Coolpix S8000 ........£209.99 

SONY Cyber-Shot W380 ......£169 

FUJI FinePix F80 EXR ..........£169 

PANASONIC Lumix FT2 ......£294 

OLYMPUS Tough 6020 ........£254 

PowerShot 

S90 

£318 

PowerShot 

SX120 IS 

£159.99 

SAVE £80 

on RRP was 

£319.99 

PANASONIC 

Lumix FZ-38 

£239.99 

PowerShot 

SX210 IS 

£274 

PowerShot 

SX20 IS 

£299 

SONY Cyber- 

ShotHX5 

£289 

TERMS AND CONDITIONS: All prices incl. VATat17.5%. 

FREE Delivery** available on ordersover£250 (based on a 

4day delivery service). ForNextWorking Day Delivery our 

charges are: £4.99** forordersover£100. £3.99** for 

ordersunder £100. Saturday deliveries arecharged at a 

flat rate of £7.50**. (**Deliveries to some European 

countries, N.Ireland, remote areas of Scotland &Ch. Isles 

aresubject to extracharges.) E. &O.E. Prices subject to 

change. Goods subject to availability. LiveChat operates 

between 8am-8pm Mon-Fri and may not be available 

during peak periods. ©Warehouse Express2010. 

*CASHBACKS Areredeemed via product registration with 

the manufacturer.Please refertoour website fordetails. 

WAREHOUSE EXPRESSSHOWROOM 

Mon-Sat 10am-6pm, Sun 10am-4pm. 

Unit B, Frenbury Estate, Norwich, Norfolk. NR6 5DP.

VotedBestOnline Retailerfor 8Years!2002-2009 

BOWENS GEMINI KITS 

FROM£479 

GEMINI Kits FROM 

200/200 Kit............£479 

400/400 Kit............£559 

NEW! 500c Kit ......£799 

500R Twin Kit ........£899 

500R TravelPak Kit £1339 

500R ThreeHdKit £1439 

Hi-Lite 6x7ft Inc. 

Train£279 

Background 

Support 

£139.99 

Can’tfind what you’relooking for? Call, or 

80cm Dual 

Duty Umbrella 

£21.99 

Trigger 

Cards 

FROM £73.55 

Ringlite 

Converter 

£279.99 

60˚Reflector 

+3Grids 

£132.99 

Hi-Lite 

BottletopCover 

£64.99 

BabyPoser 

£88.99 

EzyBox 

Hotshoe 

NEW! 

PulsarTrigger 

£229.99 

Reflector Kit 

£109 

Barn Doors 

£59.99 

Velvet B’Grd 

with Stand 

£109.99 

EzyBalance 

Grey card 

£17.99 

Softlite 

Reflector 

£105 

Snoot 

£64.99 

Lighting 

Stands 

FROM £29 

100cm 

Umbrella Kit 

£99 

Tilthead 

Hotshoe 

£16.99 

EZYBOXHOTSHOE 

38x38cm................£74.99 

38x38cm Kit ..........£162.99 

60x60cm................£104.99 

60x60cm Kit ..........£182.99 

76x76cm................£133 

76x76cm Kit ..........£211 

MacBook Pro15.4”/2.4GHz/IntelCore iMac 21.5”/3.06GHz/IntelCore2Duo/ 

i5/4GB Ram/320GB HardDrive ..£1449 4GB Ram/500GB HardDrive ......£949 

MacBook Pro15.4”/2.66GHz/IntelCore iMac 27”/3.06GHz/IntelCore2Duo/ 

i7/4GB Ram/500GB HardDrive ..£1699 4GB Ram/1TB HardDrive ..........£1339 

MacBook Pro17.0”/2.53GHz/IntelCore iMac 27”/2.66GHz /IntelCorei5/ 

i5/4GB Ram/500GB HardDrive ..£1799 4GB Ram/1TB HardDrive ..........£1594 

ProlincaIR 

Trigger 

£55 

Skyport 

Skyport Trigger 

£125 

18cmGrid 

Reflector 

£39.99 

430EX II 

£214 

L-308s 

£128.99 

WD MyBook 

Studio 1TB 

HardDrive 

£98.99 

QuadraRXSet A 

£1522.60 

Snoot & 

Grid Set 

£55 

135cm Oct 

Rotalux 

£272.63 

SEKONIC ® SEKONIC ® 

Mini &FlexKit 

£569 

SAVE 

£80 on RRP 

RRP £179.99 

SB-900 

£325.99 

L358 

£199 

T2D Kit 

£119.99 

SAVE 

£50 on RRP 

RRP £169.99 

WD MyBook 

Studio 1.5TB 

HardDrive V2 

£119.99 

BXRi 500 

Twin Kit 

£949 

18cm 

Reflector Set 

£55 

Umbrella Set 

£55 

IMAGE MANIPULATION SOFTWARE 

APPLE Aperture3................£144 

NEW! ADOBE Photoshop CS5 

(Mac/Win) FROM................£639 

ADOBE Photoshop Elements 8.0 

........................RRP £79.99 £54.99 

36 AF-4 

£75 

Plus II Set 

£319 

NEW! 

iSync 4Kit 

£49.99 

SAVE 

£48 on RRP 

RRP £122 

LACIE 1TB 

USB 2.0 

HardDrive 

£74 

NEW! 

ELINCHROM D-LiteIT 

KITS FROM£215 

D-LITE IT Kits FROM 

D-Lite 2ITKit ........£215 

D-Lite4ITKit ........£255 

D-Lite2Twin Kit ....£579 

D-Lite2/4 Twin Kit £549 

D-Lite4Twin Kit ....£669 

FLASHGUNS 

CANON 580EX II ....£374.99 

NIKON SB600 ........£229 

METZ 48 AF-1........£175 

METZ 58 AF-1........£267 

SIGMA EF 530 DG ST 

..............................£119 

SIGMA EF 530DGSUPER 

..............................£199 

NISSIN Di622 ........£109.99 

NISSIN Di866 ........£239 

SUNPAK PZ42X ......£119.99 

MARUMI DRF14 RingFlash 

..............................£119 

FLASHGUN ACCESSORIES 

WEXPRO Mini UmbrellaKit 

..............................£29.99 

INTERFIT Strobies 

Portrait Kit ............£99.99 

STOFEN Diffuser ....£16.99 

LUMIQUEST Gel ....£17.99 

HONL 

Accessories FROM £8.40 

EPSON 

Stylus Pro3880 

A3+ Printer 

£979 

SAVE 

£190.13 

on RRP 

RRP £1169.13 

COLOUR MANAGEMENT 

COLORVISION Spyder 3Pro £89.99 

COLORVISION Spyder 3Exp£62.99 

COLORVISION Spyder 3Elite 

............................................£126.99 

X-RITE ColorMunki Photo ..£299.99

01603 208769 

CALL US Mon-Fri 8am-8pm 

Or visit ourwebsite at www.warehouseexpress.com 

visit us today…chances arewehaveitinstock! 

F-2 Original 

£194.99 

HadleyDigital 

£79.99 

SAVE 

£15.99 

DC-445 Case 

£38 WAS£52.99 

Pro8 

£58.99 

Grip Action 

Ball Head 

forTripods 

322RC2 

£89.99 

A.M.T. Super 

Titanium alloy 

legs 

Pro700DX 

£119.99 

F-2 Original 

(sand) 

£124.99 

307 

£234 

DR-467i DPS 

£69 

Aerospeed 85 

£64.99 

3Way 

Head for 

Tripods 

804RC2 

£49.99 

AMonopod/ 

Tripod/Hiking 

stick in one! 

Go Pro 

£109.99 

F-803 Satchel 

£99.99 

HadleyPro 

£114.99 

3n1-20 Sling 

£89 

Expedition5x 

£84.99 

Easilyposition 

your camera 

horizontally 

055XPROB 

£114.99 

With quick 

action lever 

leg locks 

MTL9261B 

£74.99 

F-8 Shoulder Bag 

£65.99 

SAVE 

550 

£349.99 

£16 

R-102 

£119.99 WAS£135.99 

Expedition8x 

£149 

£20 

CASHBACK* 

(ends 31.06.10) 

Lighterthan 

the 055XPROB 

190XPROB 

£104 

£84 Inc C/back* 

Adjustable 

columnCarbon 

Fibre Tripod 

MTL8360B 

£165.99 

Rezo 110AW 

£17.99 

Toploader Pro75AW 

£74.99 

Compu- 

Trekker 

PlusAW 

£149 

WAS£219 

SAVE 

£70 

ProRoller x100 

£286.99 

SAVE 

£55 on RRP 

RRP £129 

Integral Head 

that allows360 

positioning 

190XDB +056 Kit 

£74 

Built in spirit 

level on the 

plate 

GT3530LS 

Series 3 £449 

SAVE 

£20 

Fastpack 250AW 

£54.99 

NEW! 

Versapack 200AW 

£59.99 

+FREE 

234RCHead 

worth £24 

(ends 31.07.10) 

694CX 

MONOPOD 

£117.40 

Legsare 

scaled for 

precise setup 

GEOE640 

£219.99 

LOWEPRO Classfied200 AW 

NOW£79.99 WAS£99.99 

RoverAWII 

£99 

NEW! 

Slingshot 302 AW 

£94.99 

Vertex 200AW 

£114.99 

Lens Trekker 

600AWII 

£139.99 

SAVE 

over£85on RRP 

RRP £299.95 

Carbon Fibre 

construction 

that’slight and 

compact 

MANFROTTO 

190CXPRO4 Tripod 

£209.95 

TERMS AND CONDITIONS: All prices incl. VATat17.5%. 

FREE Delivery** available on ordersover£250 (based on a 

4day delivery service). ForNextWorking Day Delivery our 

charges are: £4.99** forordersover£100. £3.99** for 

ordersunder £100. Saturday deliveries arecharged at a 

flat rate of £7.50**. (**Deliveries to some European 

countries, N.Ireland, remote areas of Scotland &Ch. Isles 

aresubject to extracharges.) E. &O.E. Prices subject to 

change. Goods subject to availability. LiveChat operates 

between 8am-8pm Mon-Fri and may not be available 

during peak periods. ©Warehouse Express2010. 

*CASHBACKS Areredeemed via product registration with 

the manufacturer.Please refertoour website fordetails. 

WAREHOUSE EXPRESSSHOWROOM 

Mon-Sat 10am-6pm, Sun 10am-4pm. 

Unit B, Frenbury Estate, Norwich, Norfolk. NR6 5DP.

EOS DSLRS +KITS 

5D MKII +24-105 ..........£2399 

7D +15-85 .....................£1799 

7D +18-135 ...................£1499 

50D body .........................£729 

50D +17-85 F4/5.6 IS U..£989 

50D +18-200 F3.5/5.6.. £1099 

550D body ..................... £649 

550D +18-55 IS ............. £699 

550D +18-135 IS ........... £899 

500D body ..................... £529 

500D +18-55 IS ............. £599 

DIGITAL SLR +KITS 

D3x body .......................... £4777 

D90 body ............................ £629 

D90 +18-105 F3.5/5.6 G.... £779 

D5000 body ........................ £459 

D5000 +18-55 VR .............. £529 

D3000 body ........................ £315 

D3000 +18-55 VR .............. £349 

8-16 F4.5/5.6 

DC HSM 

1D MKIV body 

£3699 

MIFSUDS ARE CANON PROSTOCKISTS 

POWERSHOOT CAMERAS 

G11.......£449 S90.......................... £369 

EF-S NON FULL FRAME LENSES 

10-22 F3.5/4.5 USM.......................£699 

15-85 F3.5/5.6 IS Unobox............£749 

17-55 F2.8 IS USM.........................£869 

17-85 F4/5.6 IS USM unboxed ......£299 

18-55 F3.5/5.6 IS unboxed.............£147 

18-135 F3.5/5.6 IS Unobox......... £329 

18-200 F3.5/5.6 unboxed ..............£459 

55-250 F4/5.6 IS ............................£229 

60 F2.8 Macro USM ..................... £379 

EF LENSES 

14 F2.8 LUSM MKII ....................£1999 

15 F2.8 Fisheye .............................£639 

16-35 F2.8 MKII LUSM .............. £1199 

17 F4 TSE L.................................£2039 

17-40 F4 USM L........................... £649 

20 F2.8 USM .................................£439 

24 F1.4 LIIUSM ......................... £1399 

24 F2.8 ......................................... £409 

24 F3.5 LTSE MKII ......................£1849 

24-70 F2.8 LUSM ....................... £1047 

24-105 F4 LISUSM unboxed ...... £849 

28 F1.8 USM ................................ £419 

D3S body 

£3549 

27-29 Bolton Street Brixham 

South Devon TQ5 9BZ 

Shop is open Mon-Fri 10am-5pm 

Sat 9am-5pm Sun 10am-1pm 

Shop &Phones Closed Sat 1pm till 1.30pm 

PHONE LINES OPEN Mon-Fri 9am-5.30pm Sat 9am-5pm Sun 10am-1pm 

5D MKII body 

£1689 

28 F2.8 ..........................................£189 

28-135 F3.5/5.6 IS USM ................£399 

28-300 F3.5/5.6 IS LU ............... £2399 

35 F1.4 LU........£1199 35 F2........£239 

45 F2.8 TSE................................. £1199 

50 F1.2 LUSM ............................£1329 

50 F1.4 U.......................................£339 

50 F1.8 II.......£109 

50 F2.5 Macro ...............................£259 

55-200 F4.5/5.6 II USM .................£139 

65 MPE F2.8 ..................................£899 

70-200 F2.8 IS USM LII .............. £2169 

70-200 F2.8 non IS LUSM ..........£1099 

70-200 F4 LISUSM ..................... £979 

70-200 F4 LUSM ...........................£549 

70-300 F4.5/5.6 DO IS U.............£1149 

70-300 F4.5/5.6 IS USM ................£469 

85 F1.2 LII...................................£1849 

85 F1.8 USM ................................ £329 

90 F2.8 TSE ................................ £1199 

100 F2.8 IS LUmacro .................. £799 

100 F2.8 Macro USM ................... £459 

100 F2 USM ................................. £399 

100-400 F4.5/5.6IS LUSM ......... £1349 

135 F2 LUSM .............................. £949 

180 F3.5 LUSM Macro ...............£1349 

200 F2.8 II LUSM ......................... £699 

300 F2.8 LISUSM ..................... £3979 

300 F4 LISUSM .........................£1199 

400 F2.8 IS LUSM ......................£6899 

400 F4 DO IS LUSM .................. £5699 

400 F5.6 LUSM ......................... £1179 

500 F4 IS LUSM .........................£5799 

600 F4 IS LUSM ........................ £7599 

Ext tube 12 .£79 Ext tube 25..........£129 

1.4x or 2x converter II each .......... £299 

FLASH &ACCESSORIES 

Angle finder C............................... £179 

Compact batt pack CP-E4 ........... £127 

BGE2N Grip (20/30/40D) .............. £149 

BG-E8 Grip (550D) .........................£159 

BG-E6 Grip (5D MKII) ................... £210 

BG-E7 Grip (7D) ............................ £149 

MR 14EX...............£499 MT-24.......£779 

430 EXII.........£229 580 EXII ..........£347 

Off camera shoe cord OC-E3.......... £59 

LC5 wireless set .............................£369 

STE2 Transmitter .......................... £199 

TC-80N3.........................................£109 

RS80N3.............................................£49 

MIFSUDS ARE NIKON PRO STOCKISTS 

EDIGITAL ONLY LENSES 

10.5 F2.8 DX.................................. £539 

10-24 F3.5/4.5 GAFS DX.............. £615 

12-24 F4 DX ................................ £829 

16-34 F4 AFS VR ........................£1029 

16-85 F3.5/5.6 AFS VR DX........... £425 

17-55 F2.8 DX .............................. £899 

18-55 F3.5/5.6 VR DX no box ....... £129 

18-105 F/3.5-5.6G ED VR no box .£179 

18-200 F3.5/5.6 VR DX II .............. £549 

55-200 F4/5.6 VR DX .................... £219 

LENSES 

14-24 F2.8 GEDAF-S ................ £1229 

16 F2.8 AF-D Fisheye.................... £619 

16-35 F4 AFS VR ......................... £949 

17-35 F2.8 DAFS ....................... £1499 

20 F2.8 AF-D ................................ £459 

24 F3.5 DPCE ........................... £1399 

24 F2.8 AF-D ................................ £357 

24-70 F2.8 GEDAF-S ................ £1177 

24-85 F2.8/4.................................. £559 

24-120 AF-S VR G......................... £549 

D700 body 

£1797 

580EXII 

Flashgun 

MIFSUDS ARE SIGMA PRO LENS STOCKISTS 

120-300mm 

CAF/NAF 

28 F2.8 AFD................................... £249 

35 F1.8 G...................................... £189 

35 F2 AF-D .................................... £269 

45 F2.8 DPCE ............................ £1399 

50 F1.4 AF-S G............................. £297 

50 F1.8 AF-D ................................ £109 

60 F2.8 AFS ................................. £409 

70-200 F2.8 VRII.......................... £1629 

70-300 F4.5/5.6 VR ....................... £397 

80-400 F4.5/5.6 VR AFD ............ £1149 

85 F1.4 AFD................................... £879 

85 F1.8 AF-D ................................. £307 

85 F2.8 DPCE............................. £1399 

85 F3.5 GVR................................ £429 

105 F2.8 VR macro........................ £597 

200 F2 GVR............................... £3199 

200-400 F4 VR ............................ £4599 

300 F2.8 AFS GVRII ................... £4199 

300 F2.8 AFS VR ....................... £3639 

300 F4 AF-S .................................. £999 

400 F2.8 AFS VR ......................... £6249 

500 F4 AFS VR ........................... £5677 

85mm F1.4 

EX DG 

£799 

Mail Order: 

01803 852400 

E: info@mifsuds.com 

W: www.mifsuds.com 

600 F4 AFS VR ............................ £6766 

TC14EII converter ......................... £319 


TC20EII ......................................... £399 


FLASH &ACCESSORIES 

MBD10 Grip (D300/D700) ............ £199 

MBD80 Grip (D80/D90) ................ £119 

MBD200 Grip (D200) ..................... £129 

DR-5 angle finder ......................... £229 

DR-6 angle finder ......................... £229 

SBR200 wireless rem S/Lite ......... £199 

SBR1 ringflash .............................. £410 

SBR1CI ringflash/command ......... £599 

SB-600 ......................................... £239 

SB-900 ......................................... £329 

SC-28 ...................£66 SC-29 ........£77 

SU-800 flash slave ........................ £349 

MC36............................................. £129 

EN-EL3E.................£65 ENEL4A ..£116 

NX Capture 2................................. £139 

MC30................................................£66 

£389 

300mm EX DG 

f2.8 

ESO 7D body 

£1249 

17mm 14 L 

TSE £2039 

180mm 13.5 

LU macro 

£1349 

14-24mm 

f2.8 GED 

AF-S £1229 

70-200mm 

F2.8 VRII 

£1629 

500mm 14 

AFS VR £5677 

STE2 

Transmitter 

D300s body 

£1139 

£199 

70-200mm 

12.8 LISUII 

£2169 

100mm f2.8 

IS LU £799 

SB 900 Flash 

£329 

400mm f2.8 

AFS VR £6249 

600mm f4 

AFS VR 

£6766 

HOYA Filters 

UV/Sky Pro1 D Circ Pol Pro1 D 

UV 

Circ Pol 

£1789 

£2177 

49mm £14 .... £36 .... 

52mm £16 £34 £37 £68 

55mm £17 £36 £40 £70 

Many stocked in Pentax &Sony fits – 18-200 F3.5/6.3 DC OS .................£290 NIK AF not D40 /60 etc .................£149 70-200 F2.8 EX SIGMA EX DG FILTERS 58mm £19 £38 £47 £80 

price may vary according to fit 

18-250 F3.5/6.3 DC OS .................£399 70-300 F4.5/5.6 DG macro.............£139 

SIZE UV Circ Pol 62mm £24 £44 £62 £85 

OS DG HSM 67mm 

46mm £17 £38 

£30 £49 £67 £94 

4.5 F2.8 EX DC...............................£599 24-70 F2.8 EX IF DG HSM ............£649 105 F2.8 EX DG macro...................£390 

72mm £39 £55 £72 £114 

52mm £17 £40 77mm 

8f3.5 DG ex CAF/NAF ...................£649 24-70 F2.8 EX DG ..........................£469 120-300 F2.8 EX DG CAF/NAF ....£1789 

£47 £59 £79 £132 

55mm £20 £49 82mm £66 £89 £110 £149 

10 F2.8 EX DC................................£499 30 F1.4 EX ......................................£399 120-400 F4.5/5.6 APO OS ............£640 

58mm £30 £50 86mm £85 .... £149 £160 

10-20 F3.3 EX ................................£450 50 F1.4 EX DG................................£399 150 F2.8 EX DG Mac ....................£579 

62mm £35 £55 95mm £85 .... .... .... 

10-20 F4/5.6 EX DC .......................£399 50 F2.5 EX DG macro ....................£245 150-500 F5/6.3 OS ........................£750 

67mm £40 £93 HOYA 95mm Linear Polariser £99 

12-24 F4.5/5.6 EX DG ....................£679 50-200 F4/5.6 DC OS CAF/NAF......£179 300 F2.8 EX DG CAF/NAF ...........£2177 

72mm £49 £95 

HOYA Pro 1Protector Filters 

77mm £50 £99 

15 F2.8 EX DG /Sony .....................£449 50-500 F4/6.3 APO DG OS...........£1189 300-800 F5.6 EX DG ....................£5999 

82mm £49 £123 62mm .......£38 72mm .......£45 

17-70 F2.8/4.5 DC OS ...................£329 50-150 F2.8 EX DC II .....................£569 500 F4.5 EX DG ...........................£3777 

67mm .......£42 77mm .......£49 

86mm £99 £132 

17-70 F2.8/4.5 DC..........................£279 50-500 CAF F4/6.3 EX DG .............£749 1.4x conv EX DG ...........................£219 

95mm £85 £125 HOYA InfraRed Filters 

18-50 F2.8 EX DC Mac ..................£319 70 F2.8 EX DG mac........................£390 2x conv EX DG CAF/NAF ............. £239 

105mm £119 £165 58mm .......£39 

18-50 F2.8/4.5 OS CAF/NAF..........£149 70-200 F2.8 DG mac II ..................£699 EM-140 DG macro flash ................£329 

MANY MORE 62mm .......£49 72mm .......£69 

18-125 F3.8/5.6 OS DC .................£269 70-300 F4/5.6 DG OS ....................£299 

ONLINE 

67mm .......£69 77mm .......£89 

Family Run Pro Dealership with Friendly Knowledgable Staff.Open 7days per week. Prices inc VAT. 

Commision Sale &Part Exchange Welcome.Collection Service Available.P&P Extra. E&OE. 

We are happy toreserve new &used stock forcustomers planning to visit. Prices are based on current stock at time of compilation shown on opposite page.Prices are subject to change without notice so please check availability to avoid disappointment. We keep the 

website updated daily-latest prices always available on-line. Prices correct when compiled May2010 but subject to stock availability.E&OE. 

£1299 

£799 

70-300 F4/5.6 

AOO MAC DG £189

Fastpack 100 £37 




Pro Runner 200AW £69 

Pro Runner 300 AW £79 



Pretty Bella Shoulder Bag 2500 £25 





10-24mm f3.5/4.5 SP Dill £379 

17-35mm f2.8/4 Dill SP PKAF £139 

17-50mm f2.8 SP XR Dill VC £449 

18-200mm f3.5/6.3 XR Dill NAF (no motor) £139 

18-250mm f3.5/6.3 DI ii NAF only £269 

Expedition 3Rust £45 

Expedition 4x £79 






K7D Body £797 

K7D +18-55 f3.5/5.6 DA WR £849 

KX Body £399 

KX Body +18-55 f3.5/5.6 DA £429 

Paper 

PP-201 Photo Paper Plus Glossy II 

6”x4” 50 Shts £5 each 

PT-101 Photo Paper Pro Platinum II 

A3 20 Shts £30 each 

SG-201 Photo Paper Plus Semi-Gloss 

A3 20 Shts £18 each or £50 for 3 

FA-PR1 Fine Art Paper Photo Rag A3+ 20 

One of the BEST STOCKED dealers in the West Countryaphotographic 

ALADINS CAVE -well worth avisit! 

Mail Order: 

01803 852400 

E: info@mifsuds.com 

W: www.mifsuds.com 

MIFSUDS ARE CANON PRO STOCKISTS 

Pro Trekker 300 AW £229 



Magnum 200 AW £119 



R-101 £119 

R-102 £136 

R-103 £199.95 

R-104 £234 

DR-461 £54.91 

60mm f2 Di II Macro CAF NAF +Sony £359 

18-270mm f3.5/6.3 Di II VC LD CAF/NAF £449 

28-200mm f3.8/5.6 XR Di PKAF £129 

28-300mm f3.5/6.3 XR Di VC CAF/NAF £499 

90mm f2.8 Di Macro £359 

Converters/Extension Tubes 

1.5x DG Converter £99 

Pro 300 1.4x DG Converter £169 

Pro 300 2x DG Converter £199 

Ext Tube Set DG CAF/NAF £149 

190XDB +390RC2 Kit £119 

190XDB +056 Kit £109 

055XDB +222 Kit £149 

393 Heavy Tele Lens Support £159 

36AF4 Flashgun £79 

45CL4 Flashgun NiCd £149 



Dedicated to most AF cameras 

DR-465 £64.95 

DR-466 £74.95 

DR-467 £79.95 

3N1-20 £94.95 

3N1-30 £99.99 

WANTED-Your good quality cameras, lenses etc -Part Exchange - 

Cash -Commision Sale.Please email details in first instance..... 

info@mifsuds.com

Ed GoddenPhotography 

one to one tuition 

Basic studio starter days 

Producing aportfolio 

Shooting better portraits 

Understanding your DSLR 

...and manymorecourses available to suit your needs. 

Helping 

youtobuild 

confidenceand 

an impressive 

portfolio of 

images. 

Ed Godden/Photographer www.edgoddenphotography.co.uk m/07977 559853 

Photography insurance 

at shutter speed 

Instant quotes online 

www.photoguard.co.uk 

0845 408 1814

An innovative 

alternative 

to carrying 

multiple 

neutral density 

filters. 

One Neutral Density Filter with an adjustable range from ND4 ToND400! 

Using aLight Craft FaderND filter allows you to control the amount of light entering your 

lens —simply twist the outer element of the filter, and reduce the amount of light entering 

the lens by2stops, 9stops, or any amount in between! 

FULL CONTROL 

Shutter Speed. Aperture. ISO. 

Plus FaderND. 

Long exposures often aren tpossible during daylight —there is too much light entering 

the lens. Using aLight Craft FaderND filter allows you to achieve longer exposures, 

blurring motion such as running water, passing clouds, or anything that moves! 

Apopular application for Light Craft FaderND filters is allowing fast lenses to be used 

at their widest aperture, even in bright sunlight, without overexposing the image. Being 

able to use such lenses at their widest aperture allows full control over depth of field, 

making the Light Craft FaderND an invaluable tool for both still photographers and 

videographers alike. 

New for 2010, the Mark II Light Craft FaderND filters feature anew extra-thin filter frame 

to help reduce vignetting, and improved optical elements to reduce image softening at 

longer focal lengths. The Mark IILight Craft FaderND filters are available now, from 

52mm to82mm diameter, with prices starting at just £56.99 

Light Craft FaderND Filters. 

Simplicity, Flexibility, Creativity. 

www.lightcraftworkshop.co.uk

At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals, 

which are made by Epson, and Compatibles, which are made by aUKcompany called 

Jet Tec. Using Jet TecCompatibles is away of saving money, without compromising on 

the quality of your prints. Here’re the results from two independent ink tests that agree… 

“Jet Tec’scolours were superb, withsingle greys and 

blacks very close to Epson …so Jet Tecwins!” 

-Total Digital Photography Magazine 

“What we’re looking at here is not only the best choice 

of ink for the R300 printer,but also the best ink in this 

group test, period. There’s just no getting away from 

the superb combination of performance and pricing” 

-Computer Upgrade Magazine 

Cartridge Code: 

T001 Colour 

T007 Black 

T008 Colour 

T009 Colour 

T026 Black 

T027 Colour 

T036 Black 

T037 Colour 

T040 Black 

T041 Colour 

T050 Black 

T051 Black 

T052 Colour 

T053 Colour 

T0331-336 Set of 7 

T0331/2/3, each 

T0334/5/6, each 

T0341-347 Set of 7 

T0341/8, each 

T0342/3/4, each 

T0345/6/7, each 

T0441-454 Set of 4 

T0441 Black 

T0452/3/4, each 

T0481-486 Set of 6 

T0481/2/3, each 

T0484/5/6, each 

T0540-549 Set of 8 

T0540 Gloss 

T0541/2/3/4, each 

T0547/8/9, each 

T0551-554 Set of 4 

T0551 Black 

T0552/3/4, each 

T0591-599 Set of 8 

T0591/2/3, each 

T0594/5/6, each 

T0597/8/9, each 

T0611-614 Set of 4 

T0611 Black 

T0612/3/4, each 

T0711-714 Set of 4 

T0711 Black 

T0712/3/4, each 

T0791-796 Set of 6 

T0791/2/3, each 

T0794/5/6, each 

T0801-806 Set of 6 

T0801/2/3, each 

T0804/5/6, each 

T0870-879 Set of 8 

T0870 Gloss 

T0871/2/3/4, each 

T0877/8/9, each 

T0961-969 Set of 8 

T0961/2/3, each 

T0964/5/6, each 

T0967/8/9, each 

T5591-6 Set of 6 

T5591/2/3, each 

T5594/5/6, each 

Originals: 

£26.99 65ml 

£22.99 16ml 

£18.99 46ml 

£24.99 66ml 

£19.99 16ml 

£22.99 46ml 

£9.99 10ml 

£11.99 25ml 

£19.99 17ml 

£19.99 37ml 

£19.99 15ml 

£19.99 24ml 

£19.99 35ml 

£19.99 43ml 

£102.99 

£14.99 17ml 

£14.99 17ml 

£119.99 

£14.99 17ml 

£17.99 17ml 

£17.99 17ml 

£40.99 

£17.99 13ml 

£9.99 8ml 

£61.99 

£13.99 13ml 

£13.99 13ml 

£102.99 

£7.99 13ml 

£13.99 13ml 

£13.99 13ml 

£29.99 

£8.99 8ml 

£8.99 8ml 

£94.99 

£11.99 13ml 

£11.99 13ml 

£11.99 13ml 

£29.99 

£8.99 8ml 

£8.99 8ml 

£29.99 

£8.99 7.4ml 

£8.99 5.5ml 

£70.99 

£11.99 10ml 

£11.99 10ml 

£45.99 

£8.99 7.4ml 

£8.99 7.4ml 

£76.99 

£7.99 11.4ml 

£9.99 11.4ml 

£9.99 11.4ml 

£78.99 

£9.99 11.4ml 

£9.99 11.4ml 

£9.99 11.4ml 

£61.99 

£11.99 13ml 

£11.99 13ml 

E&OE. Prices may be subject to change, but hopefully not! 

EPSON 

COMPATIBLE &ORIGINAL INK 

Jet TecCompatibles: 

£3.99 70ml, 3for £10.99 

£3.99 20ml, 3for £10.99 

£4.99 50ml, 3for £13.99 

£4.99 70ml, 3for £13.99 

£3.99 20ml, 3for £10.99 

£4.99 50ml, 3for £13.99 

£3.99 13ml, 3for £10.99 

£4.99 31ml, 3for £13.99 

£3.99 20ml, 3for £10.99 

£4.99 46ml, 3for £13.99 

£2.99 16ml, 3for £7.99 

£2.99 26ml, 3for £7.99 

£3.99 39ml, 3for £10.99 

£3.99 48ml, 3for £10.99 

£29.99, 3sets for £87.99 

£4.99 21ml, 3for £13.99 

£4.99 21ml, 3for £13.99 

Not Available. 




£14.99, 3sets for £42.99 

£4.99 21ml, 3for £13.99 

£3.99 21ml, 3for £10.99 

£19.99, 3sets for £56.99 

£3.99 21ml, 3for £10.99 

£3.99 21ml, 3for £10.99 

£35.99, 3sets for £99.99 

£3.99 21ml, 3for £13.99 

£4.99 21ml, 3for £13.99 

£4.99 21ml, 3for £13.99 

£14.99, 3sets for £42.99 

£4.99 21ml, 3for £10.99 

£3.99 21ml, 3for £10.99 

Check Website. 




£14.99, 3sets for £42.99 

£4.99 21ml, 3for £13.99 

£3.99 21ml, 3for £10.99 

£14.99, 3sets for £42.99 

£4.99 13ml, 3for £13.99 

£3.99 13ml, 3for £10.99 




£19.99, 3sets for £57.99 

£3.99 13ml, 3for £10.99 

£3.99 13ml, 3for £10.99 












We are asmall family owned and run company, specialising in photographic consumables. 

We are based in Leamington Spa, in the heart of Warwickshire -ifyou are passing, or 

live close by, please pop into our shop, and meet Judy -our office dog! 

Premier Ink &Photographic, Longfield Road, Sydenham 

Industrial Estate, Leamington Spa, Warwickshire. CV31 1XB. 

www.premier-ink.co.uk 

PRINTER INK CARTRIDGES 

Suitable EPSON Printers: 

Photo 1200 

Photo 790, 870, 890, 895, 900, 915, 1290 

Photo 790, 870, 890, 895, 915 

Photo 900, 1270, 1290 

Photo 810, 830 ,830u, 925, 935 

C42, C44, C46 

C62, CX3200 

440, 460, 660, Photo 700, 750, 1200 

740, 760, 800, 850, 860, 1160 

440, 640, 660, 740, 760, 1160 

Photo 700, 750 

Photo 950, 960 

Photo 2100 

C64, C66, C84, C86, 

CX3600/3650, CX6400, CX6600 

R200, R220, R300, R320, R340 

RX500, RX600, RX620, RX640 

Photo R800, R1800 

Photo R240, R245, 

RX420, RX425, RX520, RX525 

Photo R2400 

D68, D88, 

DX3800/3850, DX4200/4250, DX4800/4850 

S20, S21, SX100/105/110/115/200/205/210/215 

SX400/405/415/515, D78/92/120, B40W, BX300 

DX4000/4400/5000/6000/7000/7400/8400/9400 

Photo 1400 

Photo P50, R265, R285, R360 

RX560, RX585, RX685 

PX650, PX700/710W, PX800/810FW 

Photo R1900 

Photo R2880 

Photo RX700 

Please call or check our website if you cannot find cartridges for your printer. 

WIDE FORMATINK 

EPSON Stylus Pro 3800, 3880 

T5801/5802/5803/5804/5805/5806/5807/5808/5809/580A/B 80ml each 

EPSON Stylus Pro 4000, 4400, 7600, 9600 

T5431/5432/5433/5434/5435/5436/5437/5438 110ml each 

T5441/5442/5443/5444/5445/5446/5447/5448 220ml each 

EPSON Stylus Pro 4800, 4880: 

T6051/6052/605B/6053/6054/6055/6056/605C/6057/6138/6059 110ml 

T6061/6062/606B/6063/6064/6065/6066/606C/6067/6148/6069 220ml 

EPSON Stylus Pro 7800, 7880, 9800: 

T6021/6022/602B/6023/6024/6025/6026/602C/6027/6118/6029 110ml 

T6031/6032/603B/6033/6034/6035/6036/603C/6037/6128/6039 220ml 

Please call or check our website for further details 

Ink Test 

Winner 

£44.99 

£44.99 

£69.99 

£44.99 

£69.99 

£44.99 

£69.99 

Canon Compatibles 

BCi3e Black 26ml 

BCi3e C/M/Y 15ml 

BCi6 B/C/M/Y 15ml 

BCi6 PC/PM/R/G 15ml 

PGi5 Black 29ml 

CLi8 Black 15ml 

CLi8 B/C/M/Y 15ml 

CLi8 PC/PM 15ml 

PGi520 Black 19ml 

CLi521 B/C/M/Y/GY 9ml 

BCi10 Black (3 pack) 

BCi15 Black (2 pack) 

BCi15 Colour (2 pack) 

BCi24 Black 9ml 

BCi24 Colour 16ml 

PG37 Black 12ml 

PG50 Black 28ml 

CL38 Colour 12ml 

CL51 Colour 24ml 

£2.99 

£2.99 

£2.99 

£2.99 

£5.99 

£4.99 

£4.99 

£4.99 

£5.99 

£4.99 

£4.99 

£4.99 

£5.99 

£1.99 

£2.99 

£9.99 

£12.99 

£12.99 

£14.99 

Canon Originals 

BCi16 Colour (2 pack) £21.99 

BCi3e Black 26ml £10.99 

BCi3e C/M/Y 13ml £9.99 

BCi6 B/C/M/Y 13ml £9.99 

BCi6 PC/PM/R/G 13ml £9.99 

PGi5 Black 26ml £12.99 

CLi8 B/C/M/Y 13ml £11.99 

CLi8 PC/PM/R/G 13ml £11.99 


PGi9 Clear 191ml £11.99 

PGi9 PB/MB/C/M/Y 14ml £10.99 

PGi9 PC/PM/R/G/GY 14ml £10.99 


CLi521 B/C/M/Y/GY 9ml £8.99 

PG37 Black 11ml £12.99 

PG40 Black 16ml £15.99 

PG50 Black 22ml £22.99 

PG510 Black 9ml NEW £11.99 

PG512 Black 15ml NEW £15.99 

CL38 Colour 9ml £16.99 



CL52 Photo 21ml £19.99 

CL511 Colour 9ml NEW £15.99 

CL513 Colour 13ml NEW £19.99 

KP-36IP Ink &Paper £12.99 

KP-108IP Ink &Paper £29.99 

Many more in stock! 

Dell Compatibles 

Series 1 Black (T0529) 

Series 1 Black (T0530) 

Series 5 Black (M4640) 

Series 5 Black (M4646) 


£11.99 

£12.99 

£11.99 

£12.99 

Smooth Gloss 290g, 6x4, 100 sheets 

Smooth Gloss 290g, 7x5, 100 sheets 

Smooth Gloss 290g, A4, 25 

Smooth Gloss 290g, A4, 100 

Smooth Gloss 290g, A3, 25 sheets 

Smooth Gloss 290g, A3+, 25 sheets 

Smooth Pearl 290g, 6x4, 100 sheets 

Smooth Pearl 290g, 7x5, 100 sheets 

Smooth Pearl 290g, A4, 25 +10 FREE 

Smooth Pearl 290g, A4, 100 

Smooth Pearl 290g, A3, 25 sheets 

Smooth Pearl 290g, A3+, 25 sheets 

Gold Fibre Silk 310g, A4, 50 sheets 

Gold Fibre Silk 310g, A3+, 50 sheets 

Heavyweight Matt 200g, A4, 50 sheets 

Heavyweight Matt 200g, A3+, 50 sheets 

Smooth Fine Art 190g, A4, 10 sheets 

Smooth Fine Art 190g, A3+, 10 sheets 

Smooth High Gloss 225g, A4, 25 sheets 

Smooth High Gloss 225g, A3+, 25 sheets 

Smooth Lustre Duo 280g, A4, 25 sheets 

Smooth Lustre Duo 280g, A3+, 25 sheets 

ICC profiles available for all Ilford papers 

Sample Pack 14 sheets, A4 

Photo Rag 308 308g, A4, 20 sheets 

Photo Rag Pearl 320g, A4, 20 sheets 

Photo Rag Baryta 315g, A4, 20 sheets 

Fine Art Pearl 285g, A4, 20 sheets 

Fine Art Baryta 325g, A4, 20 sheets 

HP Compatibles 

No.15 Black 46ml £4.99 

No.21 Black 10ml £7.99 

No.22 Colour 21ml £11.99 

No.27 Black 24ml £9.99 


No.45 Black 45ml £4.99 

No.56 Black 24ml £9.99 


No.58 Photo 24ml £12.99 


No.88XL B/C/M/Y each £9.99 

No.110 Colour 12ml £10.99 

No.336 Black 10ml £7.99 

No.337 Black 24ml £10.99 

No.338 Black 24ml £10.99 

No.339 Black 34ml £12.99 

No.342 Colour 12ml £10.99 

No.343 Colour 21ml £12.99 

No.344 Colour 21ml £14.99 

No.348 Photo 21ml £12.99 

No.350XL Black 30ml £14.99 

No.351XL Colour 20ml £16.99 

No.363 Black 20ml £6.99 

No.363 C/M/Y/PC/PM each £4.99 

No.363 Set of 6 £24.99 

HP Originals 

No.21 Black 5ml £11.99 


No.38 PB/MB/GY 27ml £26.99 

No.38 C/M/Y/PC/PM 27ml £26.99 

No.56 Black 19ml £16.99 


No.58 Photo 17ml £22.99 

No.59 Grey 17ml £22.99 

No.100 Grey 15ml £22.99 


No.300 Black 4ml £10.99 




No.337 Black 11ml £17.99 

No.338 Black 11ml £17.99 

No.339 Black 21ml £24.99 


No.344 Colour 14ml £26.99 

No.350 Black 4.5ml £11.99 


No.351 Colour 3.5ml £13.99 


No.363 Black 6ml £13.99 

No.363 C/M/Y/PC/PM each £8.99 

No.363 Set of 6 £39.99 

No.364 Black 6ml £8.99 

No.364 PB/C/M/Y 3ml £7.99 

No.901 Black 4ml £11.99 



£14.95 

£19.95 

£9.95 

£29.95 

£23.95 

£25.95 

£14.95 

£19.95 

£9.95 

£29.95 

£23.95 

£25.95 

£32.95 

£79.95 

£9.95 

£27.95 

£10.95 

£23.95 

£14.95 

£29.95 

£9.95 

£39.95 

£9.95 

£23.95 

£26.95 

£28.95 

£25.95 

£26.95 

Lexmark Compatibles 

No.1 Colour 

No.2 Colour 

No.3 Black 

No.16 Black 

No.17 Black 

No.26 Colour 

No.27 Colour 

No.31 Photo 

No.32 Black 

No.33 Colour 

No.34 Black 

No.35 Colour 

Lexmark Originals 

No.1 Colour 

No.14 Black 

No.15 Colour 

No.17 Black 

No.23 Black 

No.24 Colour 

No.27 Colour 

No.28 Black 

No.29 Colour 

No.31 Photo 

No.32 Black 

No.33 Colour 

No.34 Black 

No.35 Colour 

No.36 Black 

No.37 Colour 

No.43 Colour 

No.44 Black 

PHOTOGRAPHIC PAPERS 

As an Ilford Pro Centre, we 

stock the complete range of 

Ilford Galerie papers, including 

A2, 17, 24 and 44 inch rolls. 

Below is just aselection. 

Established in 1584, the 

Hahnemuhle name is 

synonymous with fine art 

printing. Full range now 

available at Premier Ink. 


Brother Compatibles 

LC900 Black 

LC900 C/M/Y 

LC900 Set of 4 

LC970 Black 

LC970 C/M/Y 


LC1000 Black 

LC1000 C/M/Y 


LC980 /1100 Black 

LC980 /1100 C/M/Y 

LC980 /1100 Set of 4 

£10.99 

£11.99 

£14.99 

£10.99 

£9.99 

£12.99 

£11.99 

£11.99 

£9.99 

£11.99 

£11.99 

£12.99 

£16.99 

£16.99 

£18.99 

£13.99 

£14.99 

£16.99 

£14.99 

£13.99 

£14.99 

£24.99 

£15.99 

£17.99 

£20.99 

£24.99 

£16.99 

£18.99 

£22.99 

£18.99 

£3.99 

£2.99 

£11.99 

£3.99 

£2.99 

£11.99 

£3.99 

£2.99 

£11.99 

£3.99 

£2.99 

£11.99 

Brother originals also in stock! 

Kodak Original Ink /Paper 

ESP Black Series 10 Ink 

ESP Colour Series 10 Ink 

ESP Black &Colour Ink 

PrinterDock Ink/Paper 


£6.99 

£9.99 

£15.99 

£CALL 

As a PermaJet Premier Stockist, 

we supply the ENTIRE PermaJet 

range, including Baryta, Smooth 

and Textured Fine Art and Canvas. 

Below is just aselection. 

Sample Pack 30 sheets, 21 different papers! £14.95 

Digital Gloss or Oyster 271g, 6x4, 50 £7.95 

Digital Gloss or Oyster 271g, 7x5, 50 £10.95 

Digital Gloss or Oyster 271g, A4, 50 £19.95 

Digital Gloss or Oyster 271g, A3, 25 £21.95 

Digital Gloss or Oyster 271g, A3+, 25 £29.95 

Double Sided Oyster 285g, A4, 25 £26.95 

Matt Proofing 160g, A4, 150 

£19.95 

Matt Plus 240g, A4, 25 

£9.95 

Matt Double Sided 220g, A4, 100 £21.95 

Baryta Fibre Base Gloss 295g, A4, 25 £24.95 

Baryta Fibre Base Royal 271g, A4, 25 £28.95 

Smooth Fine Art Portfolio 200g, A4, 25 £19.95 

Smooth Fine Art Portrait 300g, A4, 25 £26.95 

Textured FineArt Artist 210g, A4, 25 £19.95 

Textured Fine Art Parchment 285g, A4, 25 £21.95 

Canvas Artistic 400g, A4, 10 

£14.95 

Canvas Photo Matt 350g, A4, 10 £16.95 

ICC profiles available for all PermaJet papers 

As an Official Fotospeed 

Stockist, wecan supply 

the complete Fotospeed 

range. Below is just atiny 

selection of their papers. 

Sample Pack 14 sheets, 7different papers! £9.95 

Pigment Friendly Gloss 270g, A4, 50 +15 FREE £19.95 

Pigment Friendly Lustre 270g, A4, 50 +15 FREE £19.95 

Pigment Friendly Satin 270g, A4, 50 +15 FREE £19.95 

Pigment Friendly Matt Duo 200g, A4, 100 £17.95 

Platinum Gloss 290g, A4, 20 

£22.95 

Platinum Lustre 270g, A4, 20 

£19.95 

NT Natural Textured 315g, A4, 20 

£17.95 

NST Natural SoftTextured 315g, A4, 20 £17.95 

ICC profiles available for all Fotospeed papers

Orders are shipped promptly byRoyal Mail 1st class post, for which we charge just £1.76 

per order.All prices include VAT,and afull VAT receipt is provided with every order. Payment 

accepted by credit/debit card, cheque or postal order. Orders accepted securely online, 

www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our showroom: 

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

01926 339977 www.premier-ink.co.uk 

MEMORY BATTERIES SQUARE FILTERS 

SCREW-TYPE FILTERS 

Camera Batteries P-Type Filter System 

Acomprehensive range of 

KOOD 

rechargeable li-ion 

The P-Type square/rectangular filter system 

batteries. 

consists of three parts: 

Japanese Optical Glass Filters 

MASSIVE SAVINGS! Manufactured by 

1) An adapter ring that screws onto the front 

Coated to reduce lens flare and reflections. 

UP TO 

respected independent 

of your lens 

battery manufacturers 

2) Afilter holder clips onto the ring 

Energizer and Blumax. All 

3) One or more P-Type (84mm wide) filters 

UV /Haze Filters Circular Polarising Filters 

50% 

batteries come with a2year guarantee. 

Used both to protect the lens of your These remove reflections from surfaces 

OFF RRP! 

NB-1L for Canon 

camera, and to absorb ultraviolet rays such as glass and water, aswell as 

£9.99 P-Type Adapter Rings P-Type Filters (84mm wide) that can cause photos to appear hazy. increasing contrast and saturation. 

NB-2L/LH for Canon £9.99 

SD &SDHC 

NB-3L 

49mm Adapter Ring 

Circular Polarizing £27.99 

for Canon £9.99 

£4.99 

46mm UV /Haze £5.99 46mm Circular Polarizing £17.99 

512MB Transcend £5.99 NB-4L 


Infra Red R72 £29.99 


£4.99 


1GB Transcend 

£6.49 NB-5L 


ND2 

£8.99 


£4.99 


2GB Kingston 

£6.59 NB-6L 


ND4 

£8.99 


£4.99 


2GB Sandisk £7.99 £5.49 NB-7L 


ND2 Soft Graduated £10.99 


£4.99 


2GB Sandisk, Ultra II £10.99 £6.79 NB-8L 


ND2 Hard Graduated NEW £10.99 


£4.99 


4GB Kingston, Class 4 £8.99 BP-511 


ND4 Soft Graduated £10.99 


£4.99 


4GB Sandisk £11.99 £8.19 LP-E5 


ND4 Hard Graduated NEW £10.99 


£4.99 


4GB Sandisk, Ultra II £14.99 £10.29 LP-E6 


Light Blue Graduated £10.99 

for Canon £WEB 

£4.99 


4GB Sandisk, Ext III £29.99 £16.49 LP-E8 

Dark Blue Graduated £10.99 



8GB Kingston, Class 4 £16.99 NP40 

P-Type Holders Cool Blue Graduated £10.99 

for Fuji 

£9.99 

More sizes in stock, from 24 to 86mm! More sizes in stock, from 27 to 86mm! 

8GB Sandisk £25.99 £14.29 NP45 for Fuji 

Holder Standard 

Light Sunset Graduated £10.99 

£9.99 

£5.99 

8GB Sandisk, Ultra II £27.99 £17.99 NP50 for Fuji 

Holder Wide Angle 

Dark Sunset Graduated £10.99 

£9.99 

£9.99 

Skylight Filters 

Neutral Density Filters 

8GB Sandisk, Ext III £59.99 £29.99 NP60 for Fuji 

Hood Modular 

Light Tobacco Graduated £10.99 

£9.99 

£9.99 

Similar to aUVfilter,but with apinkish tinge Used reduce the amount of light passing 

16GB Kingston, Class 4 £32.99 NP70 for Fuji 

Hood Bellows 

Dark Tobacco Graduated £10.99 to add agentle warmth to your photos. through the lens, reducing shutter speed 

£9.99 

£34.99 

without affecting colour contrast or balance. 

16GB Sandisk £39.99 £27.99 NP80 for Fuji 

AtoPType Adapter 

Light Mauve Graduated £10.99 

£9.99 

£9.99 

52mm Skylight 

£6.99 Available as ND4 (2 stop) and ND8 (4 stop). 

16GB Sandisk, Ultra £52.99 £38.49 NP95 

Dark Mauve Graduated £10.99 

for Fuji 

£9.99 

55mm Skylight 

£7.99 

NEW Sandisk C10 Extreme 30MB/s NP140 

Light Red Graduated 

for Fuji 

58mm 

52mm ND4 /ND8 

P-Type Bellows Hood 

£10.99 

£12.99 

Skylight 

£8.99 

£10.99 

4GB SD 30MB/s 

NP150 for Fuji 

62mm 

55mm ND4 /ND8 

£40.99 £22.49 

Dark Red Graduated £10.99 

£14.99 Anew design of 

Skylight 

£9.99 

£12.99 

8GB SD 30MB/s 

NP200 for Minolta 

67mm 

58mm ND4 /ND8 

£70.99 £38.99 

Bellows Hood that 

Light Green Graduated £10.99 

£9.99 

Skylight 

£10.99 

£14.99 

16GB SD 30MB/s 

NP400 for Minolta 

72mm 

62mm ND4 /ND8 

£132.99 £69.99 

slots into the front 

Dark Green Graduated £10.99 

£12.99 

Skylight 

£12.99 

£16.99 

slot of astandard 

EN-EL1 

Light Yellow Graduated £10.99 

for Nikon 

77mm 

67mm ND4 /ND8 

MicroSD &MicroSDHC 

£9.99 P-Type Holder. 

Skylight 

£15.99 

£19.99 

EN-EL2 

Dark Yellow Graduated £10.99 

72mm ND4 /ND8 £24.99 

for Nikon £9.99 

More sizes in stock, from 30 to 105mm! 

1GB Kingston 

£3.99 

£34.99 

EN-EL3/3A 

Starburst x4/6/8, each £11.99 

77mm ND4 /ND8 £29.99 


2GB Kingston 

£5.99 EN-EL3E 

Close-Up +1/2/4, each £11.99 



Close Up Filter Sets 

4GB Kingston, Class 4 £9.99 EN-EL5 

P-Type Filter Wallet 

Fog Light/Strong, each £8.99 


Setscontaining three filters, rated at +1, +2, 

8GB Kingston, Class 4 £17.99 

Asmooth cushioned filter 

EN-EL7 

Diffuser Light/Strong, each £8.99 

for Nikon 

and+4diopters. Increases close up /macro Starburst Filters 

£19.99 wallet, to protect 

Compact Flash 

EN-EL8 

Spot White/Clear, each £8.99 ability of the lens they are fitted to. These add adramatic star cross flare to 

for Nikon £9.99 and store up to 

EN-EL9 

52mm Close-Up Set 

bright light sources, such as streetlights. 

for Nikon 

8P-Type filters 

80A, 80B, 80C, each £8.99 

1GB They also give aslight soft focus effect. 

Kingston 

£8.99 

£12.99 

£25.99 

EN-EL10 

81A, 81B, 81C, each £8.99 55mm Close-Up Set 

for Nikon 

2GB Kingston 

£12.99 

£9.99 

£28.99 

£9.99 

EN-EL11 

58mm 

52mm Starburst x4/6/8, each 

82A, 82B, 82C, each £8.99 

Close-Up Set 

for Nikon 

2GB Sandisk, Ultra II £17.99 £10.99 

£9.99 

£32.99 

£11.99 


EN-EL12 

85A, 85B, 85C, each £8.99 

£15.99 

for Nikon 


4GB Kingston 

£13.99 

£9.99 


Li10B/12B 

We also stock Z-Pro (100mm) Red, Orange, each £8.99 

£21.99 

for Olympus 

4GB Sandisk, Ultra II £23.99 £14.99 

£9.99 


Li40B/42B 

and A-Type (67mm) filters, Yellow, Green, each £8.99 

for Olympus 

Lens Converters 

£27.99 

4GB Sandisk, Ext III £37.99 £24.99 

£9.99 

Li50B 

holders and adapter rings 


Many more P-Type filters in stock! 

for Olympus 

Ideal for converting your kit lens to a 

8GB Kingston 

£19.99 

£9.99 

2.0X telephoto or 0.5X wide angle lens. 

BLM-1 for Olympus 

8GB We stock many other filter types, 

Sandisk Ultra £38.99 £22.49 

£12.99 

BLS-1 for Olympus 

P-Type Neutral Density Filter Kit £45.99 

52mm 2.0X or0.5X converter £35.99 including multi-image, fog, 

16GB Kingston 133X £42.99 

£12.99 

CGA-S005 

55mm 2.0X or 0.5X converter £37.99 

for Panasonic 

split-field, red, orange, yellow and 

16GB Sandisk Ultra £79.99 £48.99 

£9.99 Neutral Density filters have amultitude of uses -from increasing detail in landscapes 

green filters in arange of sizes. 

CGR-S006 for Panasonic 

and reducing over-exposed skies, to creating stunning motion scenes by reducing shutter 58mm 2.0X or 0.5X converter 

NEW Sandisk Extreme 60MB/s 

£9.99 

£39.99 

speeds. Here's akit which includes all the popular ND filters, and everything you need 

CGA-S007 for Panasonic 

8GB CF 60MB/s £79.99 £44.99 

£9.99 to get started! The kit contains: 1x ND2 Filter, 1xND2 Soft Graduated Filter, 1xND4 

CGA-S008 for Panasonic 

16GB CF 60MB/s £129.99 £76.99 

£9.99 Filter, 1xND4 Soft Graduated Filter, 1xP-Type Filter Holder, 1xP-Type Adapter Ring 

Anew and innovative solution to 

BCG10E (V2) for Panasonic 

of your choice (49-82mm). Just £45.99 -saving £5 on the individual prices. 

32GB CF 60MB/s£249.99 

£139.99 

£19.99 

carrying multiple Neutral Density 

BLB13 for Panasonic 

NEW Sandisk Extreme Pro 90MB/s 

£WEB 

filters -one ND filter with an adjustable 

D-Li8 for Pentax 

range from 2to8stop reduction! 

16GB CF 90MB/s£249.99 

£140.99 

£9.99 

D-Li50 for Pentax 

32GB CF 90MB/s£399.99 

£256.99 

£12.99 LENS HOODS &CAPS 

D-Li78 for Pentax £9.99 

LightCraftWorkshop FaderND MkII (2-8 stop) 

xD Picture Cards DB60 for Ricoh 

£9.99 

FaderND Filters 52mm FaderND MkII £51.29 

1GB Olympus 

DB70 for Ricoh 

Bayonet-Fit Lens Hoods Screw-Fit Lens Hoods 

Amazing but true -bysimply rotating the 55mm FaderND MkII 

£11.99 

£9.99 

£53.99 

outer element of the filter, the amount of 

2GB Olympus 

SLM-1137D for Samsung 

58mm FaderND MkII £56.69 

£15.99 

£9.99 

52mm Shaped Petal Hood £6.99 light passing through the filter can be 

SLM-1674 for Samsung £12.99 

62mm FaderND MkII 

55mm 

£62.99 

Shaped Petal Hood £6.99 adjusted from a2stop to an 8stop reduction. 

Memory Stick Pro Duo BG-1 for Sony 

£19.99 

67mm FaderND MkII £71.99 

58mm Shaped Petal Hood £6.99 The FaderND filter is constructed from two 

2GB MS Pro Duo 

NP-FM500H for Sony 

opposing sheets ofpolarizing glass, the 72mm FaderND MkII £9.99 

£19.99 

£80.99 

62mm Shaped Petal Hood £7.99 outer sheet mounted in an independently 

4GB MS Pro Duo 

NP-FH50 for Sony 

77mm FaderND MkII 

£14.99 

£19.99 

£89.99 

67mm Shaped Petal Hood £7.99 rotating frame. The new Mk II version 

Many more batteries in stock! 

ND500MC (fixed 9stop) 

Smart Media 

72mm Shaped Petal Hood 

features both imporvied optical elements, 

£9.99 and athinner, conical shaped frame to 

128MB 

77mm Shaped Petal Hood 

reduce the chance of vignetting. 77mm ND500MC £58.49 

Samsung £29.99 

£9.99 

Acomprehensive range of aftermarket 82mm Shaped Petal Hood £11.99 

USB Pen Drives 

Battery Grips 

matt black bayonet-fit lens hoods for 46mm Rubber Hood 

Canon, Nikon and Sony lenses. 

£3.99 Genuine LightCraftWorkshop filters -beware of immitations! 

Arange of professional battery 

2GB 

52mm Rubber Hood 

Sandisk £8.99 £5.99 

£3.99 

grips from Hahnel. All can take 

ES-62 Canon 50/1.8 £9.99 

4GB 


Sandisk £11.99 £7.79 

£3.99 

two Li-ion batteries for double 

ES-71II Canon 50/1.4 £9.99 

8GB Sandisk 

the battery power.AA 


STEPPING RINGS 

£19.99 £13.99 

£3.99 

ET-60 Canon 75-300/4-5.6 

battery compartment 

£9.99 

16GB 


Sandisk £37.99 £24.99 

£4.99 

and/or vertical shutter 

ET-65B Canon 70-300/4-5.6 £9.99 67mm Rubber Hood £4.99 

release and/or infrared 

ET-67 Canon 100/2.8 Macro £9.99 

Step-Up and Step-Down Rings 

remote, depending on model. 

72mm Rubber Hood £5.99 

ET-67B Canon 60/2.8 £9.99 

Stepping rings are used to “step-up” or “step-down” 

Memory Cases 

For Canon 30/40/50D: £99.99 

77mm Rubber Hood £5.99 

from one filter thread size to another. 

EW-60C Canon 18-55 IS £7.99 

+1x BP-511: £111.99 +2x BP-511: £123.99 

EW-73B Canon 17-85 IS 

34-37mm 52-55mm 58-55mm 67-62mm 

Arange of protective 

For Canon 350/400D: £59.99 

£9.99 

Lens Caps 

This is just atiny 

shock-resistant rubber 

+1x NB-2L: £68.99 +2x NB-2L: £77.99 EW-78BII Canon 28-135 IS £9.99 

37-43mm 52-58mm 58-62mm 67-77mm fraction of our range. 

lined memory card 

For Canon 450/500/1000D: £69.99 EW-78D Canon 18-200 IS 

30mm, 37mm, 40mm, 43mm, 43-46mm 55-52mm 58-67mm 72-67mm Over 160 different sizes 

cases to keep your 

£9.99 

memory cards safe 

+1x LP-E5: £81.99 +2x LP-E5: £93.99 EW-78E Canon 15-85 IS £12.99 46mm, 49mm, 52mm, 55mm, 46-49mm 55-58mm 62-67mm 72-77mm in stock, from 25mm to 

105mm. Probably 

and secure. Vanguard 3D For Nikon D40/D60: £59.99 EW-83E Canon 17-40/4.0 £12.99 58mm, 62mm, 67mm, 72mm, 49-52mm 58-52mm 62-72mm 77-72mm 

+1x EN-EL9: £71.99 +2x EN-EL9: £83.99 

the largest selection 

4cards, with keychain 

EW-83J Canon 17-55/2.8 £12.99 77mm, 82mm, 86mm, 95mm 

For Nikon D80/D90: £89.99 

All just £4.99 each! 

in the UK! 

£3.99 

HB-25 Nikon 24-85, 24-120 £12.99 

+1x EN-EL3E: £104.99 +2x EN-EL3E: £119.99 

£3.99 each 

HB-37 Nikon 55-200 VR 

For Nikon D300/D700: £139.99 

£7.99 

Kenro MC5 +1x EN-EL3E: £154.99 +2x EN-EL3E: £169.99 HB-45 Nikon 18-55 VR £7.99 We also stock arange of 

2cards, 8AAbatteries 

For Sony A200/A350: £69.99 SH-006 Sony 18-70/3.5-5.6 £9.99 body caps and rear lens MACROPHOTOGRAPHY 

£6.99 +1x EN-EL3: £88.99 +2x EN-EL3: £107.99 SH-108 Sony 18-55/3.5-5.6 £9.99 caps for Canon, Nikon, 

This is just asample, more in stock! Olympus, Sony, Pentax, etc Reversing Rings - £12.99 Extension Tubes 

These fit to the camera body, between the Set of 3tubes. They contain no optics, 

BATTERIES &CHARGERS 

camera and lens, leaving ascrew thread to they simply move the lens further from the 

enable the reverse mounting of lenses. A camera body, allowing closer focusing. 

SPIRIT LEVELS 

way of obtaining ahigh reproduction ratio, Autofocus tubes available in Canon, Nikon 

allowing extreme Macro photography. and Sony fittings -manual tubes are also 

Standard Rechargeables Universal Charger 

available in Pentax and Olympus fittings. 

High-power Ni-MH rechargeable AA and The NEW Hahnel UniPal 

Canon: 52, 55, 58, 62, 67mm 

AAA batteries -all sold in packs of 4. 

Bubble Spirit Levels 

Seculine Digital Spirit Level Nikon: 52, 55, 58, 62, 67mm Manual Focus Tubes 

charger is able to charge 

£17.99 

AA, AAA, Li-Ion batteries, 

AAA 1000mAh Duracell 

These simply mount onto the 

Adigital spirit level that mounts onto the Pentax K: 52, 55, 58, 62, 67mm Autofocus Tubes £129.99 

£6.99 cameras, phones, iPods 

hot shoe of aDSLR camera. 

hot shoe in the usual 

AA 1300mAh Energizer £3.90 £1.99 and more! Mains power 

Olympus: 52,55, 58, 62, 67mm 

manner, and uses 

Extension Bellows 

AA 2450mAh Duracell £6.99 cable, plus 12V car charger. 

Twin Axis Normal Hotshoe £7.99 

LEDs to confirm Sony: 52, 55, 58, 62, 67mm 

Full details on our website. 

Acting like an adjustable set 

AA 2700mAh GP 

£9.99 

£29.99 

when the camera 

Twin Axis Sony Hotshoe £7.99 

of extension tubes, they 

is perfectly level. 

AA 

Coupling Rings - £11.99 

2850mAh Ansmann £13.99 

Triple Axis Normal Hotshoe £9.99 

allow fine control over 

Charger 

Li-Ion Charger 

+2500mAh Energizer 

Used to attach two lenses together via their 

focusing distance. Nikon, 

£9.99 

Triple Axis Sony Hotshoe £9.99 

£29.99 

Auniversal Li-Ion charger, able to charge 

filter threads, achieving high magnifications 

Canon and Pentax fit. 

most camera batteries. Mains 

ReCyko+ Rechargeables 

52-52mm, 52-55mm, 52-58mm 

£52.99 

cable, plus 12V car charger. £14.99 

New technology, combining the benefits 

55-55mm, 55-58mm, 58-58mm Right Angle Viewfinders 

of Alkaline and Ni-MH rechargeable 

CLEANING 

batteries. They come pre-charged, retain 

Adjustable eyepiece, adjustable 

T2 Mounts -£12.99 

90% of their charge after 6months, and 

Coin Cells, etc 

magnification, 360 degree rotating 

last 4times as long as alkaline batteries! 

Camera /Lens Cleaning Canon, Nikon, Sony,Oly,Pentax body. Ideal for close-up work. 

Acomprehensive range of specialist Sensor Cleaning -DRY 

AAA 850mAh equivalent (4) £5.99 batteries -see our website for full range. Sensor Loupe 7X with LED £54.95 Kenair Master Kit £13.99 

1.0X-2.0X £51.99 

Series 7Rings, Rollei Rings and 

AA 2050mAh equivalent (4) £7.99 CR123A Energizer Lithium (1) £1.99 ZEEion Anti-static Blower £37.95 Kenair Spare Aerosol £7.99 Hasselblad Rings also in stock. 1.0X-3.25X £79.99 

CR2 Energizer Lithium (1) £1.99 SL700 Arctic Butterfly £52.95 LensPen Original £9.99 

Ultimate Lithium 

2CR5 Energizer Lithium (1) £3.99 Sensor Cleaning -WET Spudz 6x6 inch £4.99 Telephone: 01926 339977 or 0800 1077 211 

Energizer Ultimate Lithium: 

CRV3 Energizer Lithium (1) £5.99 

The longest lasting AA and 

Cleaning Solution (7.5ml) £15.99 Spudz 10x10 inch £6.99 

AAA batteries in the world! 

LR44 Energizer Alkaline (2) £1.99 Cleaning VSwabs (12) £29.99 Kood Hurricane Blower £3.99 

AAA 

CR2025, CR2032 etc 

Ultimate Lithium (4) 

Camlink 5-in-1 Clean Kit £3.99 www.premier-ink.co.uk 

£6.99 

£1.99 EZ Kit (1ml Solution, 4Swabs) £14.99 

AA Ultimate Lithium (4) £6.99 £5.99 Full range of coin cells in stock 

Massive range of cleaning equipment on our website and in stock. Premier Ink, Longfield Road, Leamington Spa, CV31 1XB

Nissin Di866 Speedlite 

The world’s most powerful hotshoe flashgun! A 

guide number of 60m/ISO100 and aclear, full 

colour LCD panel, makes this advanced unit 

simple to use. Designed for use with Canon and 

Nikon digital SLRs, the Nissin Di866 fully 

supports Canon's E-TTL and Nikon’s i-TTL 

functionality with the option for full manual 

overrides. Covering arange of focal lengths 

from 24-105mm and including a 

secondary fill in flash unit, the 

Nissin Di866 is the flashgun 

professionals have been waiting 

for. Includes built-in USB port for 

down-loading upgrades. 

£219.95 


An impressively powerful flash gun, with aguide 

number of 44m/ISO100.Incredible specification, 

including bounce and swivel flash head, wide 

angle diffuser and catch light 

reflector, wireless slave flash 

with power ratio, active AF 

assist light and energy 

saving auto-off circuit. 

£104.95 


An advanced and versatile flash gun, with a 

guide number of 33m/ISO100. Featuring the 

latest TTL flash control technology,specification 

includes adjustable bounce flash head, wide 

angle diffuser and catch light 

reflector, wireless remote 

slave flash on manual 

mode and energy saving 

auto-off circuit. 

£92.95 

Marumi DRF14 Ring Flash 

The highly-acclaimed Marumi Ring Flash is a 

true ring flash -itconsistsofamain control unit 

and aseperate ring light which connects tothe 

lens filter thread. This unit is ideal for Macro 

or Close-up photography due to the flash light 

being positioned directly between the 

camera lens and subject allowing 

for even/shadowless illumination. 

The flash has a14m/ISO100 

guide number and features auto 

TTL exposure. The lens mount 

is 52mm, step-up rings are 

also supplied for 55mm, 

58mm, 62mm and 67mm 

fittings. Available in Canon, 

Nikon and Sony fit, all 

with full automatic 

TTl metering. 

£109.95 

FLASH GUNS 

FLASH ACCESSORIES 

Inverted Dome Pro Flash Diffuser Set 

Comprising aclear vinyl body that simply slips onto the head of the flash 

gun, and an inverted frosted dome that clips onto the front. 

In addition todiffusing the flash directly hitting your subject, the 

inverted dome spreads light evenly through the sides of the clear 

vinyl body, lighting upthe surrounding environment, thus producing 

anatural soft daylight effect. Especially useful for shooting interiors 

and portraits, and is afirm favourite with wedding photographers. 

Supplied with four domes -neutral, yellow, amber and 

blue, giving you afull range of natural, cool, or 

warm-up tones. Available in four sizes, to fit the 

heads of most flash guns: 

Size 1: 62-65 x39-42mm Nikon SB600, SB800, etc 

Size 2: 64-68 x35-38mm Canon 420EX, 430EX, etc 

Size 3: 68-72 x46-49mm Nikon SB26, 27, 28, etc 

£29.95 Size 4: 73-77 x46-49mm Canon 550EX, 580EX, etc 

Bounce Flash Diffuser 

These popular, simple opaque plastic diffusers simply fit onto the front 

of your flash gun, creating adiffused bare bulb effect with even 

coverage. Huge range available for Canon, Nikon, Sony, Olympus, 

Pentax, Metz &Nissin. Below is just asample of the range: 

Canon 270EX /380EX /420EX 

Canon 430EX /430EXII /550EX 

Canon 580EX /580EXII 

Nikon SB600 /SB800 /SB900 

Nikon SB24 /SB25 /SB26 /SB28 £10.95 

Sony: HVL-F42AM /HVL-F58AM, Metz: 48AF1 /58AF1 

Nissin: Di466 /Di622 /Di866, Pentax: AF-540FGZ 

Lastolite 

Ezybox Hotshoe 

Studio quality softboxes for your 

hotshoe flashgun. Complete with 

hotshoe mounting bracket for 

attaching to lightstand. Comes in 

three sizes, 38x38cm, 60x60cm 

and 76x76cm. Available as kit 

with 4-section light stand, tilt 

head, extending handle, 

shoulder bag and carry case. 

38cm Ezybox Hotshoe £89.95 

38cm Ezybox Hotshoe Kit £169.95 





Handle Extendable24-48cm £21.99 

Handle Extendable 65-150cm £29.99 

Diffuser Masks 38cm £39.99 

Diffuser Masks 60cm £41.99 

Clamp with spigot £12.99 

Lastolite TriGrip 

Handy triangular pop-up 

reflectors with moulded handle. 

TriGrip Mini 45cm £44.99 

TriGrip Standard 75cm £59.99 

TriFlip 8-in1sleeves for TriGrip £39.99 

Metz 48 AF-1 

Amulti-award 

winning powerful 

and versatile flash 

gun. Vertical tilting and horizontal 

swivelling head, guide number of 

48m/ISO100, auto zoom head, wide 

angle reflector, built-in wireless flash slave 

sensor, USB port for downloading updates. 

Toomuch spec to list here -asuperb flashgun! 

METZ MADNESS !!! 

20 AA BATTERIES -FREE 

FLASH DIFFUSER -FREE 

...with every Metz 48-AF1 

SPECIAL OFFER PRICE 

£169.95 

Dedicated TTL models for Canon, Nikon, Sony, 

Olympus, Panasonic, Pentax and Samsung! 

Metz 58 AF-1 

Guide Number of 58m/ISO100. 

TTL models for Canon, Nikon, 

Sony, Olympus, Panasonic, 

Pentax and Samsung! 

£279.95 

Metz 36 AF-4 

Guide Number of 33m/ISO100. 

TTL models for Canon, Nikon, 

Sony, Olympus, Panasonic, 

Pentax and Samsung! 

£69.95 

TTL Flash Cords 

1.8m Coiled -Canon £24.99 

1.8m Coiled -Nikon £24.99 

1.8m Coiled -Sony £24.99 

3.0m Straight -Canon £29.99 

3.0m Straight -Nikon £29.99 

3.0m Straight -Sony £32.99 

3.0m Straight -Olympus £29.99 

3.0m Straight -Pentax £29.99 

1.5m Coiled -Universal £49.99 

Lastolite Flashgun 

TiltHeads 

These ingenious Lastolite 

tiltheads provide away of 

attaching your flashgun 

or flashguns, plus 

umbrella, to alightstand. 

The standard tilthead holds 

one flashgun, while the TriFlash 

can hold 1, 2or3,for those seeking extra power 

or quicker recycle times. Available individually, 

or as kitscontaining light stand and 80cm umbrella. 

TiltHead For Single Flashgun £16.99 

TiltHead Umbrella Kit £89.99 

TriFlash For 1-3 Flashguns £39.99 

TriFlash Umbrella Kit £95.99 

Colour Balance and 

Exposure Control 

Handy pop-up colour balance 

and exposure control grey 

and white cards from Lastolite. 

EzyBalance 30cm £17.99 

EzyBalance 50cm £29.99 

XpoBalance 38cm £34.99 

Full Lastolite range available. 

Reflectors, Umbrellas, 

Paper Roll Backgrounds, 

HiLite Backgrounds ...and more! 

Expedition Backpack 

Tamrac’s famous range of 

Expedition backpacks have 

recently been upgraded and 

can carry huge amounts of 

camera kit in comfort! 

Fully MAS compatible. 

Expedition 4X £69.95 






L758DR 

DigitalMaster 

L398A 

Deluxe III 

£439.95 £132.95 

RT-32 RadioTrigger Module £89.95 

Grey Card £27.95 

Profile Target SEPT2 £129.95 

Gossen 

DigiSix 

£119.95 

Aero Speed Pack 

Dual access, dual compartment 

photo backpacks, with front 

and side openings. 

SpeedPack 75 £56.95 

SpeedPack 85 £75.95 

Vanguard UP-Rise 

Messenger bags 

Abrand new range of 

innovative shoulder 

bags. Concealed 

quick-access top 

opening, laptop 

compartment, 

customiseable and 

removeable interior -packed with features. 

Clever UP-Rise expanding zip system 

allows bag to increase or reduce in size! 

UP-Rise 28 Messenger £59.95 

External Dimensions: 28.0 x10.5 x24.0cm 

Internal Dimensions: 36.0 x22.5 x32.0cm 

Laptop Compartment: 12” Laptop 

UP-Rise 38 Messenger £79.95 



Laptop Compartment: 15/17” Laptop 

Vanguard UP-Rise 

Backpacks 

Gold award 

winning range 

of backpacks, 

featuring the 

patented UP-Rise 

expanding system. 

Smart &discreet. 

Durable &practical. 

UP-Rise 43 Slingbag £59.95 

UP-Rise 45 Backpack £75.95 



Full range of Pocket 

Wizard cables stocked. 

Gossen 

DigiFlash 

£139.95 

We are asmall family owned and run company, specialising in photographic consumables. 

We are based in Leamington Spa, in the heart of Warwickshire -ifyou are passing, or 

live close by, please pop into our shop, and meet Judy -our office dog! 

Premier Ink &Photographic, Longfield Road, Sydenham 

Industrial Estate, Leamington Spa, Warwickshire. CV31 1XB. 


Velocity Sling 

Aunique design of sling 

backpack, that opens away 

from your body for even 

faster access to your gear! 

Velocity 6X £29.95 





LIGHT METERS 

Modular Accessory System 

The patented Tamrac Modular Accessory 

System (MAS) allows photographers to 

customise their bags using accessories 

that attach to MAS slots onTamrac bags. 

Water Bottle With Holder £9.95 

Lens Case Pro 50 £11.95 



Flash Case Medium £8.95 

Flash Case Large £9.95 

Rain Cover Medium £17.95 

Rain Cover Large £19.95 

MAS Belt Medium £15.95 

Vanguard Pampas 

Sling Backpack 

Arange of sling backpacks, 

with day pack at the top 

and camera section at 

the bottom.The bag sits 

comfortably on your back, 

and when needed, 

revolves round to your front for 

easy access, without removing the bag. 

Pampas 37 £29.95 



Pampas 57 £39.95 



Vanguard Peking 

Shoulder Bag 

Shoulder bags, 

with separate 

carryling handle 

and shoulder 

strap. Capable of 

carrying most DSLRs with kit lens attached. 

Twoseparate end compartmentskeep your 

accessories safe, tidy and well protected. 

Peking 21 £18.95 



Peking 25 £21.95 



Entire Vanguard range available! 

CAMERA BAGS 

L208 TwinMaster 

Analogue, incident and 

reflected, ambient 

light only. 

£69.95 

L308S FlashMate 

Digital, incident and 

reflected, ambient and 

flash light. 

£129.95 

L358 FlashMaster 

Digital, incident and reflected, 

simultaneous ambient and flash 

light, rotating 

head. 

£199.95 

Gossen DigiPro F 

Digital, incident and reflected, 

ambient and flash light. 

Multiple flash calculation, 

convenient rotating head. 

WAS £199.95 

£179.95 

FLASHTRIGGERS 

Hahnel Combi TF 

Combination wireless remote 

shutter release and radio flash 

trigger. 2.4GHz, 100m range, 

4channels. 5models available. 

Receiver &Transmitter £59.95 

Extra Receivers £39.95 

Seculine Twin Link T2D 

Radio flash trigger with LCD displays. 

2.4GHz, 50m range, 16 channels. 



Plus II 

£169.95 

Plus II (x2) 

£309.95 

JJC JF Flash Trigger 

Radio flash trigger, 433MHz, 20m range, 4ch. 



Yongnuo CTR-301P 

Radio flash trigger with 

infrared sensor. 

433MHz, 

30m range, 

4channels. 



Mini TT1 

£199.95 

Flex TT5 

£219.95 

Kata 3N1 Sling 

This unique range of bags 

provides three carrying options 

in one, morphing from sling to 

backpack and back again 

quickly and easily by use of its 

quick release buckles. 

In sling position, the bag easily 

swings around from back to 

front to achieve quick draw 

access to your main camera 

and lenses. 

In backpack position you can 

comfortably carry your equipment 

for long distance walking 

Adventure K3L 

Aspacious camera section at the bottom, 

separate daypack section at the top, and 

dedicated 15.4” laptop 

compartment behind. 

Hidden rain cover, 

tripod carrying system, 

padded shoulder, waist 

and chest belts. Too 

many features to list! 

External Dimensions: 

30.5 x36.8 x48.3cm 

Interior Dimensions: 

Laptop Compartment: 

28.0 x3.8 x35.5cm 

£69.95 

Left 

Sling Mode 

Camera Compartment: 

16.5 x29.2 x15.2cm 

Backpack 

Mode 

when needed. The included chest belt and balancing hip strap helps 

take the load of your heavy equipment off your shoulders. 

Arrange your equipment in the bottom main compartment of the pack 

taking full advantage of the modular dividers to custom fit the bag to 

your exact equipment, while the large top compartment can be used 

as adaypack or for holding additional camera gear.Two external pockets 

allow quick access to accessories without opening the main 

compartments. The included rain cover folds neatly away into an 

integrated pocket. 

Right 

Sling Mode 

Kata 3N1-10 £65.95 



Kata 3N1-20 £75.95 



Kata 3N1-30 £85.95 



Kata 3N1-33 £119.95 

Based in the award-winning 3N1-30, the new 3N1-33 

has additional features, the most notable being a15” 

laptop compartment. See website for details. 

IMPROVED -Kata DPS Digital Rucksack 

The Kata DPS Digital Rucksack gives top level protection to 

two DSLRs with mounted lenses, 3-4 single lenses, aflash, as 

well as your personal items. The rucksack can be converted 

from acamera bag into adaypack when not shooting by 

removing the padded bottom camera insert. When used as a 

camera bag, the main compartment will hold your DSLR in a 

top grip position while the modular dividers system separates, 

organises and protects your lenses, flashes and other 

accessories. There is an included rain cover which folds neatly 

away, and an ergonomic chest belt and balancing waist strap 

for maximum comfort while transporting your gear. 

DR-465i £57.95 DR-466i £64.95 DR-467i £72.95 

DC 

445 

Kata 3N1-Tripod 

Holder £14.95 

For Kata 3N1 bags. 

DC-435 £26.95 

DC-437 £28.95 

DC-439 £31.95 

DC-441 £35.95 

DC-443 £39.95 

DC-445 £42.95 

DC Shoulder Bags 

Arange of understated, yet 

surprisingly roomy and 

well-padded shoulder 

bags, each including 

adetachable rain 

cover. 

Insertrolley 

Compatible 

with many 

Kata bags 

£49.95 

We are proud to announce that we have been appointed 

as an Authorised Billingham Specialist Centre. 

Billingham’s exquisite range of hand-made camera bags are now on display in our 

recently-extended showroom in Leamington Spa. If you are considering investing in a 

professional camera bag that will protect your equipment for many years to come, we 

strongly recommend first-hand inspection of the Billingham range -only then can 

Billingham’s preoccupation with excellence and attention to detail be fully appreciated. 

The Hadley Pro 

Based on the Hadley 

Original, the Hadley Pro 

features anumber of 

additional features, 

including acarrying handle and 

waterproofed zippered back pocket. 

Available in Khaki &Tan, Sage &Tan, 

Black &Tan, and Black &Black 

The Hadley Pro £122.95 

More Billingham Bags 

NEW Billingham f2.8 £129.95 

NEW Billingham f1.4 £139.95 

The Hadley Digital £84.95 

The Packington £179.95 

The Classic 550 £369.95 

Billingham Accessories 

Superflex Inserts (all) £12.95 

Shoulder Pads £17.95 

Tripod Straps £14.95 

Press Reporter Bags 

PR-420 £109.95 

PR-440 £129.95 

PR-460 £149.95 

Kata Elements Covers 

Protect your camera against 

the elements! 

E-690 for Small DSLR £36.95 

E-702 for Large DSLR £49.95 

E-704 lens extensions £54.95 

Entire Kata range available! 

Adventure K4L 

Alarger version of the K3L, 

able to accommodate 

most 17” laptops. 

External Dimensions: 

33.0 x35.6 x52.1cm 

Interior Dimensions: 

Laptop Compartment: 

33.0 x3.8 x40.6cm 

Camera Compartment: 

£82.95 19.0 x29.8 x17.8cm 

U30 Backpack £32.95 



The 5Series 

Afirm favourite with 

serious photographers 

the world over, the “5 

Series” range comprises 

four sizes of bag, available in 

Khaki &Tan, Black &Tan, or Black &Black. 

Billingham 225 £199.95 




The 07 Range 

New Billingham bags 

for 2009, constructed 

from FibreNyte -a 

lighter alternative to 

traditional Canvas. 

Available in Khaki & 

Chocolate or Black &Black. 



Billingham 307 £233.95

Orders are shipped promptly byRoyal Mail 1st class post, for which we charge just £1.76 

per order.All prices include VAT,and afull VAT receipt is provided with every order. Payment 

accepted by credit/debit card, cheque or postal order. Orders accepted securely online, 

www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our showroom: 

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

01926 339977 www.premier-ink.co.uk 

FREE HEAD 

679B Monopod 

plus 234 Head 

Special Deal 

Price: 

£35.95 

While Stocks Last 

190XPROB Tripod 

Aluminium 3-section legs, Q90 column 

Weight: 1.85kg 

Load: 5.0kg 

Folded: 57cm 

Height: 146cm 

£99.95 

190CXPRO3 

Carbon Fibre 3-section 

legs, Q90 column 


Load: 5.0kg 

Folded: 58cm 

Height: 146cm 

£209.95 

790B Monopod 

Aluminium 5-section 


Load: 1.0kg 

Folded: 39cm 

Height: 145cm 

£22.95 

679B Monopod 



Load: 10.0kg 

Folded: 64cm 

Height: 162cm 

£35.95 

492 Ball Head 

non quick-release 1/4” thread 


Load: 2.0kg 

£29.95 

494 RC2 Ball Head 

with RC2 quick release 


Load: 4.0kg 

£41.95 

468MG RC2 

Hydrostatic Ball Head 

magnesium, with RC2 q/r 


Load: 10.0kg 

£169.95 

804 RC2 Pan /Tilt 



Load: 4.0kg 

£52.95 

056 3D Head 

non quick-release 1/4” thread 


Load: 3.0kg 

£26.95 

KOOD 

C324 Monopod 



Load: 8.0kg 

Folded: 54cm 

Height: 169cm 

£69.95 

BH02 Ball Head 

Quick release plate, 

spirit level, 360 degree rotation, 

dual control knobs 


Load: 6.0kg 

£22.95 



Load: 8.0kg 

£26.95 



Load: 12.0kg 

£29.95 

055XPROB Tripod RRP: £159.95 

804RC2 Head RRP: £69.95 

2-Axis Spirit Level RRP: £29.95 

Special Deal 

Price: 

£159.95 

SAVE £100 


MANFROTTO TRIPODS 

190CXPRO4 




Load: 5.0kg 

Folded: 50cm 

Height: 146cm 

£219.95 

776YB Monopod 



Load: 4.5kg 

Folded: 48cm 

Height: 152cm 

£29.95 

680B Monopod 



Load: 10.0kg 

Folded: 51cm 

Height: 154cm 

£45.95 

234 Tilt Head 

Ideal for monopods 


Load: 2.5kg 

£14.95 




Load: 6.0kg 

£49.95 

808 RC4 Pan /Tilt 



Load: 8.0kg 

£98.95 

TRIPODS, MONOPODS &HEADS 

SPRING 

Special Deals 

055XPROB Tripod 

Aluminium 3-section legs, Q90 column 


Load: 7.0kg 

Folded: 65cm 

Height: 178cm 

£114.95 

055CXPRO3 




Load: 8.0kg 

Folded: 65cm 

Height: 175cm 

£249.95 

MANFROTTO MONOPODS 

MANFROTTO HEADS 

222 Grip Action 

Ball Head 

with RC2 q/release 


Load: 2.5kg 

£78.95 

460MG 3D Head 

magnesium, with RC2 q/release 


Load: 3.0kg 

£64.95 

A284 Tripod 



Load: 8.0kg 

Folded: 56cm 

Height: 154cm 

£73.95 

KOOD HEADS 


Sliding quick release plate, 

spirit level, 360 degree rotation, 

triple control knobs 


Load: 8.0kg 

£31.95 

055CXPRO4 




Load: 8.0kg 

Folded: 54cm 

Height: 170cm 

£259.95 

681B Monopod 



Load: 12.0kg 

Folded: 67cm 

Height: 161cm 

£46.95 

234RC Tilt Head 



Load: 2.5kg 

£24.95 


with RC2 q/release 


Load: 8.0kg 

£76.95 

322RC2 Grip Action 

Ball Head 

with RC2 q/r 

Weight: 0.7kg 

Load: 5.0kg 

£94.95 

Arange of sturdy, value-for-money 

Tripods, Monopods and Ball Heads. 

KOOD MONOPODS &TRIPODS 



Load: 12.0kg 

£35.95 



Load: 18.0kg 

£45.95 

E&OE. Prices may be subject to change, but hopefully not! 

FREE HEAD 

694CX Monopod 

plus 234RC Head 

Special Deal 

Price: 

£124.95 


695CX Monopod 



Load: 5.0kg 

Folded: 47cm 

Height: 160cm 

£137.95 

410 Geared Head 



Load: 5.0kg 

£149.95 

This is just asmall 

selection of the 

MANFROTTOrange 

now available to try in 

our new showroom 

in Leamington Spa 

CF284 Tripod 



Load: 8.0kg 

Folded: 56cm 

Height: 160cm 

£197.95 


Heavy duty sliding quick 

release plate, 360 degree 

rotation, triple control knobs 


Load: 8.0kg 

£33.95 



Load: 12.0kg 

£38.95 



Load: 18.0kg 

£49.95 

The 2009 TIPA“Best Accessory” 

award-winning Vanguard AltaPRO 

tripod range is set to revolutionise 

the way you think about tripods! 

Unlike traditional tripods, the AltaPRO’s Multi-Angle-Central- 

Column (MACC) allows the user to position the hexagonal 

central column at ANY angle from 0to130 degrees, without 

removing it from the tripod, while also allowing it to rotate a 

full 360 degrees! The clever Instant-Swivel-Stop-and-Lock (ISSL) mechanism 

allows photographers to securely reposition the central column in one simple 

movement, in amatter of seconds. 

Other features include: Independent height and angle adjustable legs, patented 

magnesium die-cast canopy, spiked and rubber feet, non-slip rubberised foam 

leg warmers, anti-shock column ring -true professional specification tripods! 

AltaPRO 263AT Tripod 

Aluminium 3-section legs, magnesium 

canopy, Multi-Angle-Central-Column. 


Load: 7.0kg 

Folded: 63cm 

Height: 169cm 

£119.95 

Alta+ 263AT Tripod 


canopy, standard central column. 


Load: 5.0kg 

Folded: 63cm 

Height: 181cm 

£89.95 

Alta+ 233AT 


legs, standard column 


Load: 3.0kg 

Folded: 53cm 

Height: 151cm 

£69.95 

AP284 Monopod 

Aluminium 4-section legs 


Load: 8.0kg 

Folded: 51.5cm 

Height: 158cm 

£33.95 

SBH30 Ball Head 

Lightweight magnesium alloy, 

single adjuster knob, 2spirit 

levels, quick release plate 


Load: 5.0kg 

£39.95 

PH21 Pan /Tilt 

2-way fluid head, magnesium, 

spirit level, quick release 


Load: 3.0kg 

£34.95 





Load: 3.0kg 

£34.95 

Alta+ 234AT 




Load: 3.0kg 

Folded: 43cm 

Height: 136cm 

£74.95 

Alta+ 233AT Tripod £69.95 

PH22 Pan/Tilt Head £34.95 

Special Deal Price: 

£79.95 SAVE £25 

Gorillapod Original (GP1) 

The original gorillapod, designed for compact 

cameras, available in grey, yellow, green, blue, 

red and pink. 


Load: 0.35kg 

£13.95 

Gorillapod SLR (GP2) 

An sturdier gorillapod, designed 

to take an SLR camera. 

Weight: 0.16kg Load: 0.7kg 

£29.95 

Gorillapod SLR-ZOOM (GP3) 

An even sturdier gorillapod, 

designed to take an SLR camera 

with zoom lens. 


£34.95 

Gorillapod FOCUS 

Designed for professionals, is 

the strongest Gorillapod yet! 


£92.95 

Gorillapod Ball Head 

For the SLR-ZOOM or FOCUS. 

£39.95 

AP324 Monopod 

Aluminium 4-section legs 


Load: 10.0kg 


Height: 167cm 

£38.95 





Load: 5.0kg 

£54.95 





Load: 5.0kg 

£54.95 

AltaPRO 264AT Tripod 


canopy, Multi-Angle-Central-Column. 


Load: 7.0kg 

Folded: 53cm 

Height: 159cm 

£129.95 

Alta+ 264AT Tripod 


canopy, standard central column. 


Load: 5.0kg 

Folded: 53cm 

Height: 171cm 

£99.95 

Alta+ 235AT 




Load: 3.0kg 

Folded: 38cm 

Height: 116cm 

£79.95 

Trek Tech 

Optera 460 

Alta+ 224CT 




Load: 3.0kg 

Folded: 41cm 

Height: 125cm 

£179.95 

Special Package Deals 

VANGUARD MONOPODS 

VANGUARD HEADS 



single adjuster knob, 2spirit 



Load: 6.0kg 

£49.95 

Alta+ 264AT Tripod £99.95 

PH31 Pan/Tilt Head £54.95 

Special Deal Price: 

£109.95 SAVE £45 

CP324 Monopod 

Caron Fibre 4-section legs 


Load: 10.0kg 


Height: 167cm 

£89.95 



twin adjuster knobs, 2spirit 



Load: 10.0kg 

£64.95 

TRIPOD BAGS 

BAG50 £7.95 

BAG60 £8.95 

BAG70 £9.95 

Durable, lightweight, 

with shoulder strap. 

This is just asmall 

selection of the 

VANGUARD range 

now available to try in 

our new showroom 

in Leamington Spa 

£39.95 

The Trek Tech Optera 460 is the next 

generation of portable tripods - capable 

of holding 5kg. 

The flexible legs are padded, covered in 

asoft yet hard-wearing water resistant 

fabric, and have integrated rubber feet for 

extra grip. They can be bent in practically 

any direction, allowing you to mount you 

camera on almost any object! The D-ring 

cord system attaches to the legs, ensuring 

that they will not splay out. Acamera is 

attached using Trek-Tech’sclever magnetic 

quick releasesystem, and two MagAdapter 

quick release plates are supplied. 

The Optera 460 PRO has 

an extra long 460mm leg 

to support up to a400mm 

zoom lens. Uniquely, itcan 

also be wrapped around your 

camera for protection while being carried. 

Trek Tech Optera 230 

Asmaller version of the above, 

with 230mm long legs. 

£37.95 

SHUTTER RELEASES 

Hahnel HW433 Wireless Pro Remote Shutter Release 

Ultra high frequency 433MHz professional radio remote 

control, with arange of up to 80 metres! Autofocus, 

Bulb Function and Continuous Shooting functions. 

4digit code selector allows individual codes to be 

set to eliminate interference from other sources. 

Each kit contains awireless transmitter, areceiver 

with camera shoe and connectors to allow it to 

plug into your camera, plus ashort distance cable 

operated shutter release. 

Available for Canon, Nikon, Sony, Olympus, Pentax 

and Samsung. 

£19.95 

Hahnel Cable Remote Shutter Release 

An innovative cable remote control for digital SLRs, with 

interchangeable camera connectors and a2metre 

extension lead, giving the choice of shutter release 

from 0.8 or 2.8 metres. Autofocus, Bulb Function 

and Continuous Shooting functions. 

Available for Canon, Nikon, Sony, Olympus, and Pentax. 

Trek Tech was formed in 2004 after the founders identified 

amarket need based on personal outdoor experience –the 

need for asturdy, lightweight, multi-purpose device with the 

functionality of both atripod and trekking pole/hiking staff. 

The result is the TrekPod, alightweight, height-adjustable 

walking/hiking staff, with afully integrated tripod, and a 

magnetic quick-release ball head system called the MagMount. 

The unique MagMount quick release system incorporates 

aNeodymium "super magnet" as the initial connection 

between the ball head and asteel quick-release plate, 

called a MagAdapter, that screws into the bottom of 

your camera. Asafety clip that stores below the ball 

head securely locks your device to the MagMount 

ball head. Each MagMount ball head is supplied 

with two MagAdapter quick release plates. 

TrekPod II - £69.95 

Arefined version of the original TrekPod, using aircraft-grade aluminium alloy, itcomes 

complete with aMagMount STAR ball head, weighs 765g, and is capable of supporting 

acamera system weighing up to 4kg. Maximum height in tripod mode of146cm, and a 

maximum height in monopod mode of158cm. The TrekPod II collapses down to 90cm. 

TrekPod GO PRO - £129.95 

The TrekPod GO PRO is amore compact TrekPod, collapsing down to just 58cm, yet 

still expanding to the same maximum height as the TrekPod II. Supplied with atravel 

case, it is small enough to qualify as aircraft hand luggage. Weighing 794g including the 

MagMount PRO ball head that comes as part of the package, it is able to support 4kg. 

TrekPod XL - £246.95 

The TrekPod XL is the top of the range TrekPod. Utilizing Carbon Fibre tubes, this is the 

lightest TrekPod ever, weighing in at just 480g, yet retaining the same dimensions as 

the TrekPod GO PRO. It includes the larger MagMount PRO ball head. 

MagMount 

The original MagMount ball 

head. Weighing in ajust 73g, 

it is capable of 

holding 4kg. 

£25.95 

All MagMount ball 

heads come with two 

MagAdapter quick 

release plates. These 

are also available 

separately: 

TREKKING POLES 

MagAdapter 

Light 

Pro Remote Special Deal 

HW433 Wireless Pro Remote RRP: £59.95 

2-Axis Spirit Level RRP: £29.95 

Special Deal 

Price: 

£49.95 

SAVE £40 

Hahnel Giga TPro -NEW FOR 2010! 

Timer Wireless Pro Remote Shutter Release 

The NEW Hahnel Giga Tisacombined 100m wireless remote 

shutter release and timer remote control -aswell as being 

able to be used as ashort distance cable shutter 

release. Programmable features include aselftimer, 

interval timer, long exposure setting and 

exposure count. These settings can be used in 

any combination, making the possibilities virtually 

limitless. 2.4GHz frequency is ultra-reliable. 

Channel selector for individual control of 

multiple cameras. Shutter release button with 

autofocus, single and continuous shooting, bulb 

mode and self-timer. 

Available for Canon, Nikon, Sony, Olympus, and Pentax. 

MagMount STAR 

The same size as astandard 

MagMount, with aSquare 

Tooth Anti Rotation (STAR) 

connection surface between 

the ball head and the 

MagAdapter quick release 

plate. Weighing 79g, with a 

maximum load rating of 4kg. 

£32.95 

MagAdapter 

STAR 

MagMount PRO 

Utilising the same Square 

Tooth Anti Rotation system 

as the MagMount STAR, the 

MagMount PRO is alarger 

ball head, weighing 127g, 

and capable of holding an 

impressive 6kg. 

£64.95 

T-Pod 

Table-top tripod, 

complete with 

MagMount STAR 

ball head. 

£5.95 £9.95 £39.95 

Telephone: 01926 339977 or 0800 1077 211 

RRP: £89.95 

Launch Offer: 

£69.95 

SAVING £20 


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170 

My Life in Focus 

joecornish:landscape grandmaster 

Joe Cornish 

The landscape grandmaster reflects 

on a lifetime’s fascination with the 

light and the land 

You’re responsible 

for everything 

When I first started, my 

pictures boreverylittle 

resemblance to what I had actually 

seen, or to what I hoped to achieve. 

I processed my own black-and-white 

films so I learned early on to take 

responsibilityfor everything. All the 

technical errorsweremyown, and I 

learned that only I could correct them. 

Learn from your biggest influences 

John Blakemore’s photography 

made me understand thatart and 

photographyare not separated by 

some unbridgeable cultural divide. 

From Mike Mitchell, who I worked 

with in the 80s, Ilearned that‘if you 

can imagine it, you can shoot it’, 

amonumental work ethic, and an 

understanding of the art of lighting. 

DigitalCamera july2010 

Always be yourself 

Forafew yearsIwas able to follow 

in Charlie Waite’sfootsteps as atravel 

book photographer. There came a 

point whereIrealised thatbeing in 

Charlie’s shadow was affecting my 

approach negatively,and thatIneeded 

to be myself in my photography. 

Photos are everywhere 

An interesting photograph can be 

made justabout anywhereand at any 

time if you have enough imagination, 

asense of light, and akeen eye for 

effective composition. 

Light is the key to great landscapes... 

...so we have to dance to the tune of 

the weather. But there are many tunes, 

and manyways to dance. Learning to 

matchour approach to the potential 

and mood of the weather is a key skill. 

“Our photographs should 

reflect what we feel, believe, 

think, care about and see” 

profile 

* Born in exeter in 

1958,Joe Cornish 

is nowone of the 

UK’s finest and 

most respected 

landscape/nature 

photographers. 

* His work has 

appeared in 

numerous 

exhibitions and 

books, including 

anumber of 

National Trust 

publications. 

* Since 1993 he’s 

been based in 

Northallerton, 

North Yorkshire, 

from where he 

runs agallery, 

exhibition space 

and workshops 

designed to help 

participants enjoy 

and improve on 

their landscape 

photography. 

Study Eastern philosophy 

Let go of expectation and develop 

an approach of mindful awareness. 

Seeing is being. Discoverthe world 

free from words or labels. Stay in 

the moment. Seek to connect with, 

respect and honour the subject. 

If you study yoga, Zen Buddhism, 

or almost any oriental martial art, 

you will be well equipped to take 

landscape photographs! 

Don’t take on too much 

Don’t assume that atask or job will 

take acertain amount of time based 

on normal weather conditions and 

workflows.In practice, most jobs 

take twice as long and cost twice 

as much as you expect them to. My 

biggest problem remains so –too 

much to do, too little time. 

Look inside 

Our photographs should reflect what 

we feel, believe, think, care about and 

see.Thatdoesn’tmeantheyhave 

to be deeply introspective. But if by 

looking outside we can also reflect 

our feelings from within, through our 

use of light, time and composition, 

then we will have begun the journey 

of photography. 

Visit www.joecornish.com.

«clikpic» 

Price list: £35 pa allows up to 100 images; £50 pa up to 200; £80 pa up to 500; 

£180 pa up to 2,000. Discounts available for longer-term subscriptions. 

Please see the Prices section on www.clikpic.com for full details. 

Visit www.clikpic.com for aFREE 14 day trial 

Websites for photographers 

Professionally designed websites 

for only £35 p.a. 

Clikpic is an easy-to-use service for photographers who want 

awebsite without the cost and hassle of setting one up. 

With minimal technical expertise required, you can use our 

online admin system and awide choice of template designs 

to create and edit your own web site quickly, easily and 

very cost-effectively. 

• Update or change your site whenever you want. 

• Have as many pages as you like, in avariety of formats. 

• Dozens of style features and options to customise your site and 

give it your own look, including adding your logo. 

• Link up to PayPal or Google Checkout to sell your prints online – 

you can even have ashopping basket facility. 

• Opt to have your own domain name for an extra £6 p.a. (or if 

you already have one, link it up to your Clikpic site). 

• Add aslideshow; guest book; calendar; blog; an events diary. 

Image watermarking facility. 

• 

With many more features available and more to come! 

Don’t just take our word for it! 

Not only did we win the ‘Best in Test’ with Black 

&White Photography magazine, but we also 

won aprestigious Gold Award from Digital Photo 

magazine. Here’s what they said about us: 

“The Winner: Clikpic” 

“Clikpic impressed us with 10 attractive templates and afine array of 

options in the Admin area. Building the website was uncomplicated 

and completely hassle-free. For the standard £35 fee you’ll be able to 

upload 100ofyour finest shots and there’s masses of options that let 

you control how they’re organised in the gallery. Choose your ideal 

domain name (budget £6-12 for this) and you’ll own aprofessional 

looking photo website in no time at all!”

Digital Camera - Ken Gilbert

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